13 QUESTIONS WITH ANDY TIMMONS

If you're a noodling, wanking, guitar magazine-subscribing shred-head, then you know exactly who ANDY TIMMONS is. If not, here's a little background for you: When you look at guitar professional guitar players, there's the upper echelon "Guitar Gods" like STEVE VAI, JOE SATRIANI, JEFF BECK, KEITH RICHARDS, and ACE FREHLEY (just to name a small handful of influential guys), then there are scores and scores of unknowns, and THEN there are guys like ANDY TIMMONS. Andy is a fella who has managed to navigate the often-terribly-unfair music business in order to make a living doing what he loves to do; play guitar...and become possibly the most versatile guitarist making music today.

Take a look at this résumé: Andy first gained notoriety with the poofy-haired, glam-metal outfit DANGER DANGER, a band that sold over a million records worldwide, and had two #1 videos on MTV. He's released six solo discs internationally before signing to Steve Vai's Favored Nations label and releasing his first domestic release, That Was Then, This is Now. He's in the midst of recording disc #2 for Favored Nations. His session work is extensive also; Andy has recorded and/or performed with OLIVIA NEWTON-JOHN, KIP WINGER, PAULA ABDUL, PAUL STANLEY of KISS, LeANN RIMES, and numerous television and radio jingles (just to name a few...there's a real winner mentioned later on). He's also heading to Spain to peform a series of dates at GuitarFest 2003 (the kind of shred-fest you don't usually see stateside).

Considering Andy's accomplishments, it really seemed like a no-brainer to fire off thirteen dumbass questions to him. The real concern was always "Would he answer them or tell us to go fuck ourselves?" (an option every interviewee is given when he or she is sent questions). Well, he answered every last one of 'em...oh MAN, did he answer them.

SteveC: Andy you're in the midst of recording your latest studio disc for release later this year on Steve Vai's Favored Nations label, and it's only your second domestic solo release. How much of an uphill battle do you think it's going to be to establish a US fanbase with your solo material? (in other words, is the desire to be a 'Rock Star' as significant as it was, say, in 1988?)

Andy Timmons: I don't think I ever had the desire to be a "Rock Star" (though I certainly don't deny that I enjoyed my time in Danger Danger). I really just wanted to be the best musician I could be and hopefully play with and be accepted by the players that I admired and respected. It is pretty amazing that this next CD (my 8th) will only be my 2nd domestic release. I suppose it has a lot to do with my bad experiences with the major labels during the DD days. I realized very quickly how low on the totem pole the artist was, and how they got screwed at every possible juncture! I also quickly learned the value of owning your master tapes (the 3rd DD album, "Cockroach"...the best one IMHO) had it's release date delayed and delayed until finally the label decided not to release it at all...and then made it impossible for the band to acquire the masters. It was a drag for me, but I can only imagine the disappointment for Bruno and Steve, who wrote most of the material...they didn't own it!! At that point the band split (or at least, I moved back to Texas while Ted sued Bruno and Steve) and I began finishing up instrumental tracks that I had begun with my trio ("The Andy Timmons Band"...brilliant name, huh?) before I had joined DD. When I had what I thought was a good collection of tunes, I then decided to release it on my own label. I never sent one copy to any domestic labels...I had absolutely no faith that a major would release something that was instrumental and had a variety of styles...how could they market that? I made the record purely because it's what I love to do. It ended up getting picked up by Sony Japan purely by accident. A Japanese promo person I had worked with while in DD saw an add I had in Guitar World for Hughes and Kettner that also gave an address to mail order my CD. I received an irate letter from this person asking why I hadn't sent her a CD (DD did very well in Japan). It just kind of snowballed from there. The point of this long-winded answer is this: Favored Nations is the first label to come along that seems to be doing things the right way. It's basically a partnership between artist and label, with both parties benefiting equally if the release is a success. On top of that, I maintained complete creative control (though I had the awesome opportunity to consult with Steve Vai if I had doubts at any juncture!) So, even though I may have an "underground" fanbase, it's hard to say where it will go from here. I certainly do hope that the next CD will reach even more than the last. It will help to get out and tour, something that I've rarely done in the States with my own band. (WOW, this guy can type just as well as he plays guitar. That could very well be the LONGEST answer in typed-interview history. Maybe. I have no proof of that and I'm not going to look for any. I'm purely guessing.

SC: Rock bands that flourished in the late 1980s were notorious for using studio musicians on their records rather than playing the songs themselves. How much of those first few DANGER DANGER discs was recorded by the actual band members, and how much was performed by outside talent and/or machinery (drum machines)?

AT: The first CD (though I hadn't officially joined at the time) was all the guys playing. Although the guitars were done by Tony Rey (aka Tony Bruno of Saraya...great player!) who is a longtime friend of Bruno's until they found me in Texas. I then came in and recorded a couple of solos during the mixes that Mike Stone did. The drums sound like Steve might have played on pads and used samples. It was the "Mutt Lange" thing to do. The Screw It record was all live with a Dutch guy whose name I can't recall adding some keyboard stuff. Cockroach was Steve back to pads and samples and Kasey (keyboard player) had left the band at that point. (For the record, original vocalist Ted Poley claims that drum machines were used exclusively on the first two Danger Danger discs)

SC: After spending years developing technique, studying classical guitar, jazz guitar, rock guitar, and spending countless hours per day practicing, how does it make you feel when you see acts and/or players with far less chops (and often one extra string) than you selling millions of records and making gobs of cash?

AT: I've never looked at it like that. I can appreciate all of it...as long as it's a good song. All the chops in the world are meaningless unless there's a good melody and composition. It's true that Kurt Cobain made alot more money than Alan Holdsworth ever will, but at the end of the day (and I think Holdsworth is a brilliant player...I'll never be able to touch what he does!) I'd much rather listen to a NIRVANA song. I'm just extremely blessed that I've always found a way to make my living playing guitar!

SC: Andy, you were interviewed on an underground radio show (it was done at Musicians.net) in Texas, admitting that you played guitar on a CD by none other than BARNEY the big purple dinosaur (Don't deny it. We have the audio... The internet is indeed a lot of fun). How difficult is to supress intense laughter when performing "Comin 'round The Mountain" for some yutz in a foam dinosaur outfit? Did you get a flat studio musician rate or did you get points on the back-end? (If so, then all is forgiven because that stupid dinosaur moved a lot of product)

AT: It's funny you bring that up...it was definitely one of the most challenging sessions I've ever done!!! You never know what you're getting into sometimes when you're hired as a session player, though I should have had a clue since the producer that hired me used to produce all the Show-Biz Pizza and Chuck-E-Cheese pizza music (both the TV adds AND the music the bears play...and yup...I played on those, too!!) When I showed up at the studio, Barney had already done the vocal tracks (damn...another missed opportunity to meet a legend!). We began with some electric tracks (Old McDonald, etc) but the tough part was the acoustic tracks. They would play the track (She'll Be Coming Around The Mountain' When She Comes....Hi There!!) and I would crack up every time (not good with the live mic on the acoustic!) Finally got the take and went home with a funny story (and probably a decent check!!) It's a living!!! (Indeed it is, and so is playing on Chuck-E-Cheese commercials, too. I'm sure we could use that for fodder somewhere down the line)

SC: Andy, you've performed with DANGER DANGER, LeANN RIMES, KIP WINGER, OLIVIA NEWTON-JOHN ...and BARNEY (let's not forget the dinosaur), so willingness to work with diverse acts or experiment doesn't appear to be a problem for you. Is there anyone you're UNWILLING to work with, or have been advised NOT to work with?

AT: I can't really think of anyone off hand...but I'm sure there's someone out there!!! (You may have noted at this point that I'm not quick to be negative toward other musicians....) (translation: 'I gots bills to pay, so I ain't badmouthing anyone')

SC: While you're not originally from Texas, you're now based there. What is it about Texas that seems to produce monster guitar players (ie; Eric Johnson, Billy White, Eddie Head, Scott Stine, Dimebag Darrell, Junior Brown, Doyle Bramhall II, Stevie Ray Vaughn, Derek Taylor, and Rusty Cooley)? Is it the water supply? Is it the lure of large-breasted, promiscuous, southern gals? Cheap cost of living? Do tell...

AT: I wish I knew, because there is definitely SOMETHING!! There's quite a few other players that have that Texas "thing" that you may not have heard of... Bugs Henderson, Jimmy Wallace, Mike "Junior" Clark, Buddy Whittington, Dave Hineman...and that's only in Dallas!! I just wish it would rub off on me!!!! (yeah, and I wish some large Texas boobies would rub off on me. Perhaps I should consider relocating)

SC: Hypothetical situation: One sunny Texas afternoon, you receive a call from KIP WINGER, who asks you to perform on a summer tour with him in some smaller venues. The gig pays a few thousand bucks per week, but you'll be playing his brand of farily compelling music (the solo stuff). However, you've already been offered a cool million to perform in the "Summer Barney Bash", which takes place during the same time frame and would require you to wear a purple jumpsuit. Do you play for a few hundred people with Kip, or slap on the purple tights for the Barney Bonanza?

AT: Well, I've still got the purple jumpsuit from the DD days... tough call...oh hell...I'm sure Kip'll understand!!! (Holy crap. Honesty. We do enjoy honesty 'round here. André, go get the purple tights!)

SC: You're headed to Spain in a few weeks to play roughly a dozen Guitarfest 2003 dates with Tony Hernando and Mattias Eklundh of FREAK KITCHEN. Other than the annual G3 Tour, what (if any) comparable gigs exist in the U.S.?

AT: Not sure...let's put something together! How about Ritchie Kotzen, Reb Beach, and me???? (Attention promoters, managers, and booking agencies: That lineup would be VERY cool. Someone get on that, pronto)

SC: You've done a number of guitar clinics for aspiring young guitar players throughout the world. The music business (at least here in the U.S.) doesn't exactly embrace technically-proficient guitar players in 2003. Is there ever an urge to get up in front of these kids at these clinics and scream "Go learn a trade!" or "Save yourselves! Learn spot welding!" ...?

AT: I don't think I'll ever say..".run right out and get involved in the music biz"...though I'm always honest in my accounts about the realities of trying to make a living playing music. I'm very fortunate that I was never discouraged when I was growing up...even Mom said "just decide what it is you want to do with your life and do it!"...I wonder if she would have preferred a spot -welding son???? The bottom line is that you have to play music because you love it, not because you expect to become rich by being in the music business!! (hear that kids? Grab a torch, some goggles, and fire-retardant mittens... and go learns yourself a trade!)

SC: Like many musicians in rock bands who rose to fame in the late 1980s, you've had to look outside the U.S. to make your money with your own material. a) How many languages have you tried to/been forced to pick up as a result, and b) Which country's cuisine (which dish, specifically) sends you sprinting to the bathroom in a panic clenching your butt?

AT: It's always a good idea to attempt some basics of the native languages of the countries you visit...in fact just a few words will usually greatly impress your host! My Asian tour last year proved the most challenging cuisine-wise. Once the word got out that I love spicy food, it was alsost like throwing down the gauntlet! Everywhere I went, they would take me to their favorite spicy restaurants. I fared well most of the tour, though one particular night in Hong Kong proved very challenging!! The owner of Tom Lee Music took me to a very special Szechwan restaurant that he had only heard about...famous for the spiciest dishes!! I was OK with the Peppered Squid (which if prepared properly, numbs the lips and tongue...it did!) Finally, the Devil Beef arrived to the table. The poor kid next to me took a bite and was having trouble breathing!! The host and I were laughing our heads off (not believing how spicy it was) while we sweated profusely and asked for more Cokes!!!!! We paid for it the next day!! Other honorable mentions: Turtle belly, chicken feet, and a dish my Taiwanese host called "Snoopy Soup"....I passed on that one! In general, they're very impressed if you let them show you thier local cuisine, not insist on going to TGI Fridays or McDonalds.(apparently, they get those requests a lot from touring Americans...c'mon guys...be more adventurous!!!...and bring Rolaids and Pepto!)

SC: A young lady posted the following on your official message board on August 8th (I swear to Christ, I'm not making this up): "HALLO ANDY, SORRY FOR MY ENGLISH, BUT I WONT TO SAID YOU ARE VERY VERY STRONG IT WAS MORE TIME THAT I DONT ASK A GOOD SOUND." If you had to guess, what is this chick talking about? When you're approached by a gushing fan overseas who is struggling to communicate with you, how do you respond? Is there just a lot of nodding and smiling involved?

AT: You're right...lots of smiling and nodding!! I have to assume she's saying something positive. Or maybe I smell bad? I have a bad sound? It's completely amazing that I get e-mails etc from all over the world...got one from Iran the other day, asking when I might play there!!...the internet truly brings the world to your door. (Wow, there are Iranian shred-heads? Whod'a'thunkit?

SC: It's fairly well-known that much of the turmoil in DANGER DANGER was a result of original singer Ted Poley not getting along with Bruno Ravel and Steve West. What was the worst conflict you ever witnessed between them (ie; were the conflicts limited to lawsuits or were punches being thrown and teeth falling out)?

AT: Nah, no fisticuffs to report...just bad vibes and lawyers. They were just completely different personality types...throw money into the equation, add Ted's father (a lawyer) shake well, and......KA-BOOOOOMMMMMM!! The only near-brawl to happen was actually between Bruno and I!!! Oddly enough since we were buds on the tours (rooming together)...just one of those things that happen when you're cooped up with the same folks for months. Luckily, no punches were thrown (though it could have happened when I licked his nose to piss him off...worked pretty well)

SC: Hypothetical situation number two: While on a flight to play in Europe, you ask for a stiff cocktail, but the dimwitted stewardess serves you a Molatov cocktail instead...one that blows up and torches you beyond recognition (but only you, the rest of the passengers are A-OK). Surprisingly, you live, but you're so badly messed up, that you're never going to play guitar again. How is Andy Timmons going to pay his medical bills?

AT: The old-fashioned American way...LAWSUITS!!! (just kidding folks...I really despise our litigious society!!!!!!) (Yeah, so do I...but let's see what happens when you're all burned up and crispy because some dipshit decides to fuck up at 30,000 feet. Hey, it could happen you know.)

AT: Thanks!

Now THAT was fun AND informative, wasn't it, kids? Where else are you going to find out about inter-band trauma, playing on a Barney CD, AND which foreign foods give you the shits ALL in ONE interview? Thanks to Andy for putting up with our stupid questions. We'll be sure to book him (in purple tights) when we hold the first annual FoundryMusic Fart Fest... or some event equally as compelling, to be determined later on.

CHECK OUT ANDYTIMMONS.COM, ANDY'S OFFICIAL WEBSITE

CLICK HERE TO FIND OUT ABOUT GUITARFEST 2003, WHICH ANDY WILL BE PERFORMING AT IN SEPTEMBER

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