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February - April 2008
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Hi Rog, RF: While it would have been wonderful to have the original band recreate that incredible album, the context doesn't exist yet that could support that right effort. In order for something as appropriate and noteworthy as the original band reforming for any reason, Ann and Nance would have to forgive me my mistakes of the past. That way, we could feel comfortable around each other and once again be productive in a democratic relationship. There are, however, no signs of a reunion in the near future. As disturbing as it is for me and I'm sure many fans of the original (and best!) Heart, I'm not sure how you deal/approach news like this. RF: Well, it doesn't phase me. All I can say is that, if and when the correct context to support a reunion exists, I'd be very excited to work with Ann and Nance and the band - all people I have fond feelings for; great memories of; and great respect for. Each of the members of the original Heart were and are exceptional people, each with their forte. I personally feel obligated to give Heart fans every possible thing I can to help them experience what was an amazing amalgam of talent and spirit. I wish I could do more. I've heard that Nancy is working on an autobiography. This timing should be great, as its release will coincide with my autobiography, which will touch heavily on Heart. I've purposely avoided asking about your life during Heart but now that you've 'opened the box', I'd like to find out your feelings about events like this. It really seems they think of Heart as "Us,.....and the band". I can't help but wonder what reaction would take place if you, Steve, Howard and Mike got together with two women singers and did a "Heart" concert??? RF: A lot of people have strongly suggested we get other gals to take the place of Ann and Nance, and we've played with a few who were up to the task. The fact is, we would never get two women and go try to be "Heart." Drosh and I feel very strongly about the sacredness of authenticity. It's all I can do to get him to play Heart material at all, let alone try to capitalize on previous success with an imitation band. How could we possibly retain integrity doing that? Thanks for the opportunity to ask about Heart. RF: I hope a lot of fans come to the site to see these questions and replies. It's high time the Heart history comes clearly into the light. Rog, RF: Wow... good question! Made me remember something I hadn't thought about for years. When I was in grade 8, around 14 years old, I read several books about Jesus's life... more biographical than religious. I was very moved by the possibilities I recognized in study of spirit, which is what he did. I was so enthusiastic about it, I immediately had no friends. So I shut up, but the bottled desire to attain a deep spiritual perspective remained. One thing I wanted to do was go into the desert and exist like Jesus did for as long as it took until I had an awakening. This whole direction was one I struggled with a lot when I was around 18... should I do music or seek enlightenment? Though I chose music and the flirting-with-disaster lifestyle, I've always striven to wake up spiritually. Naturally, it's a very personal journey, which I won't talk about. But as for what other occupation? My dad was a carpenter, but I really struggle with that sort of thing. I'm a good producer, I think. A humanitarian cause would be a possibility. I'm drawn to wanting to help humanity. Thanks for asking! Hi Roger, RF: I'm really not concerned with the when... it's the what that matters most. I intend to make something that uplifts, enlightens, and entertains. I had the pleasure of seeing you with Heart in 1977 opening (!) for Dave Mason in Syracuse NY and in Rochester, NY on the Dog and Butterfly tour. The band was never the same after you left. You were such a huge part of Heart and it has pissed me off to no end over the years how your contribution has been downplayed by Ann and Nancy. And then to see how Steve and Michael were treated just made me even angrier. You and Steve were founding members of Heart! I sometimes wonder how it is even possible that you can be let go like that. I was able to get a copy of a TV show you did in 1976 from Seattle called "After Hours" (if memory serves). It was awesome! It was amazing to see you play so close up. Your fingers are like talons! You are an amazing guitarist! RF: I have no clue what After Hours is, but thanks for your complimentary words. Talons... haven't heard that before:-) I bet you hear from people all the time saying a lot of the same things I have said. I just wanted to add my two cents. Your muscianship has given me a lot pleasure over the years, and I wish you the best in all of your future endeavors. RF: Messages like yours can come at a time when self-doubt is trying its best to inflict uncertainty. They are much appreciated. Fans have no idea how much they mean to guys like me... human beings. Know what I'm talkin' about? Rog, Imagine if forgiveness reigned. The smiles, fun and endless possibilities all of us could have. Instead, some choose to be bitter, making them cold, ugly and only hurting themselves. That's not anyone's fault but their own. The Petra video/song you have on your web site, I watched that. THAT'S Roger Fisher. The contributions you made to Heart making it one of the super groups of the seventies, THAT'S Roger Fisher. Your wife, kids and projects, THAT'S Roger Fisher. NOT past mistakes! Nuf said. Now, to my question; RF: Yep... self taught. Actually, I consider all the great guitarists I was listening to and spending countless hours copying, my teachers. For the first two years of my playing, there were many days of practicing for eight hours... chromatic scales, and things which had little bearing on music... and I wasn't using all my fingers - just thumb, one, two, and three. I suddenly came to the realization I'd been learning - etching into my muscle memory - wrong habits. When I began a wiser approach, it was like starting all over again and I agonized through the process until I had a foundation that made more sense. If I'd had a teacher, a lot of time would not have been wasted. Now, I would advise a beginning guitarist to acquire a basic understanding of theory - how chords are structured; basic scales and how to use them; hearing and feeling the various emotive qualities of modes. Then I would choose one artist to focus on. Learn one song by that person. Copy it absolutely exactly, channeling the soul from which it came. When that one song is mastered, learn a few more, then choose a different artist. The most important ingredient in this work may be honesty, because the aspiring student knows when they've got it right, but it's a struggle that takes a lot of time and tenacity. The beauty of being young is you have a lot of time, generally, and mom and dad's roof over your head. You probably don't have a job yet and your dreams haven't had time to erode or be squashed. Go for it with everything you've got and it probably won't be enough. There are certain ingredients that need to be discovered by living, looking and learning. An important one is inside you. Who are you? Why do you cry? Why do you matter in this world? If you reached success, would it be all about you, or would you retain humility and think of how you can give back? Your greatest strength may be your very soul. Are you aware of the deepest you? Some of these people you're listening to know their soul. That's why their playing thrills you. Rog, First of all thanks for all the great music past and present. It must be a truly awesome feeling to have your music spread around the world and provide so much for so many. You saw monetary reward (at least you better have!)...but I'm sure it pales. RF: It really is a great feeling to know at any given moment, thousands of people are hearing my guitar playing. Yes, the money has been good. The nice thing is it frees up time so I can keep working on art. I grew up on Vancouver Island as a kid in the 70's and your band's music was so on that soundtrack. Barracuda blasting out the carny's stereo speakers as I spun pulling 3g's on the Gravitron at the fall fair...oh ya. And then the other day my 12 year old -- the same age I was then -- cranks up the volume when that same tune drifts out of my car radio...what a cool song Dad! Oh ya son -- tres cool. We rock out. Thanks for helping make those moments. RF: It's amazing - the magic behind music... how it is capable of bringing memories of places, events, and feelings. One of my favorite all-time songs is Beyond The Sea by Bobby Darin. It was one of my brother, sister, and my "ocean songs." When we would go to the ocean as kids each summer, certain songs were pure magic for us. You've been like this enigma for me. Your tone and choice of notes is so distinct..a true signature sound...brilliant and beautiful. And at the same time so intimidating and aggressive to me both musically (I play a bit) and as a personality -- like this guy sounds like he could be one intense mf...back then. RF: Ever since childhood people have told me I'm crazy. I think it's because I'm enigmatic - which to me means I know the wisdom behind my craziness and choose not to hide it like most people - creating the mystery in people's minds, "Wow, he sure is different from other people." To me, it's important to recognize and embrace the differences and wackiness and let it come through in one's signature style. Now I read your post from a few days ago about going to the desert (metaphorically speaking) as a very young man and making this really deep spiritual choice..at the cross roads so to speak. And a part of me goes holy shit...here it is in the raw -- that once again it seems this sound and creativity really does spark from something somewhere deep within each one of us -- as we all know it does...or think we do...maybe :) But if nothing else, here's someone who has made it his life's work to throw this whatever-it-is out there for the rest of us to behold...as art...in the best way that he can. It's just great you can share that Roger...it really is...especially when it is so deeply personal. I just wanted to thank you for doing that as it has answered something for me...which is also pretty fucking personal! lol RF: Hundreds of feet underground, running through France and Switzerland, is a circular, 17-mile-long tunnel containing a particle accelerator called the Large Hadron Collider. One of its purposes is to identify something called the God particle - something which, after it occurs, lasts less than a millionth of a billionth of a billionth of a second. This particle is named thus because it is believed to exist, but no one has ever seen it. If you ask a major artist where and how they get the inspiration that makes them create greatness, they won't be able to tell you. It's the God particle. I watch recent youtube clips of you today and you're like this totally different guy. Happy, laughing...a cool cat...in a good way. And I wonder how and when (and if!) this shift occurred. And I wonder how a shift like that might affect one's art...if at all...? And I wonder if a part of you felt denied by choosing the path you did so early in your life's journey. RF: Generally, I've always been happy, so there has been no real shift. My art has certainly shifted, but the source of creativity is the same. There have been times when I've observed, "This sure isn't a holy path... or enlightening... or healthy," but I don't regret going this route. It makes for a good story :-) ps - early Heart vid's show this funky symbol on the drum kit -- what's the deal? RF: I'll ask Derosier its significance. The answer could take a while to get up here. My Heart questions: RF: When the writing for Dog And Butterfly began, our musical and personal relationship had begun to be more strained. There had been a point while recording Little Queen where I mentally and spiritually quit the band, based on decisions being made which, to me, were not done for the right reasons. What I saw that bothered me so much was the power struggle beginning. While I think the songs I wasn't welcome to play on on the D&B album are great, they certainly don't represent a band. I felt I was being slowly worked out of the lineup. This was a very difficult time for me, as one can imagine. Are there many unreleased tracks still in the vault and will we see any of this stuff come out anytime soon? RF: Not that I know of. I applaud your brother's extremely clear vision of the band and its music. It's very obvious to me that he intuitively knew what fans wanted and how to deliver it. I feel that if Heart had stayed on it's "Little Queen" track (more Zep influenced) that the band would have kept getting more popular. Especially given what was happening in the rest of the music industry at the time. RF: I agree with you, and appreciate your insight to Heart's "7th member." If Ann and Nance could have teamed up with some of the stuff I wrote after leaving, I have no doubt it would have been huge. Derosier and I created some of the highest energy rock I've ever heard, and no one else has heard it. I still have these tapes, and if I were Ann, I'd call me and check it out. I know she could put vocals on there that would awaken the dead :-) If Heart were reformed, imagine the money we could generate to help victims of disaster! Not only could we help victims - we could help in disaster preparedness, even more valuable. I'm amazed at how little people seem to know about what is about to happen to life on this planet. The possibility exists - and this is supported by historical evidence - that a mass extinction could occur within decades. The combined resources and efforts of humankind could do a lot to counteract this, but only if we were able to put away our weapons and adversity and work together, which is the same thing a broken band could do to make a difference, not only in physical applications, but as a demonstration of personal greatness. I don't mean to be campaigning for a Heart reunion... that's not my intention. I am campaigning for every living human to put away the qualities that have always brought mankind down and find a way to help the whole. I wish you and your family the best in the future and I'm looking forward to your upcoming autobiography. RF: Thanks so much. You have no idea how much your involvement means to me. I treasure this intercourse with the people who are responsible for music's popularity. Dear Roger, RF: One of my first "Golden Moments," the phenomenon that happens when you're struck to the core of your being by a lightning bolt of pure magic, was putting on a 45 RPM vinyl single of You Send Me by Sam Cooke. I sat there on the floor, playing it over and over, swept away, goose bumps from head to toes. The very first Golden Moment I'll never forget. I believe it was 1953 and I was, having been born in 1950, three years old. Only mom and I were home, and she and I walked out into the yard on a beautiful Spring morning. Seattle at that time was still small, and hadn't displaced wildlife yet. Mom and I were greeted by the chorus of thousands of birds - a tumultuous, yet perfectly interwoven symphony of melody, joy and celebration. If one has a feeling for what heaven would be like, equate that with the way this music made me feel. Another was the first time I heard All Shook Up, by Elvis. Wow! Brother Mike and I went around singing "Amashaka" all day:-) In second grade I made my public singing debut standing on a desk in the front of the classroom singing Hound Dog. Don't Be Cruel, Love Me Tender, and Jailhouse Rock also rocked my world. Mom and dad always had the radio on in the morning and I remember loving Mr. Sandman, by Pat Ballard; Yakety Yak, by the Coasters; Honeycomb, by Jimmie Rodgers; Let The Good Times Roll, by Shirley and Lee; Be-Bop-A-Lula, by Gene Vincent; Blueberry Hill, by Fats Domino; It's Only Make Believe, by Conway Twitty; Chantilly Lace, by the Big Bopper; Rock-In Robin, by Bobby Day; So Fine, by The Fiestas; Sea Cruise, by Frankie Ford; Sorry (I Ran All The Way Home), by The Impalas, and generally being uplifted by most music. I've always been grateful that mom and dad loved music and started the day with it. Talking about these good ol' days caused me to remember the first song I composed, a commercial for Schick electric shavers. I performed it at 8 years of age to an audience of thousands... of frogs at a nearby pond. Their roaring croaks of unanimous approval were encouraging. One of my all-time favorites is Come Softly To Me, written, arranged and performed by Gretchen Christopher with The Fleetwoods, which was the biggest selling song of 1959. I was on a Los Angeles-bound jet in the mid '90's when I became aware of an attractive lady sitting a few seats behind and across the aisle. There was a tone in her voice and friendliness and outgoing quality which immediately mesmerized me. I went back, introduced myself, and a friendship began that lasts to this day. It was Gretchen. I've been very privileged to have performed the song live with her several times since. When I was in 8th grade I met Steve Fossen and we became instant friends. I remember seeing "The Beatles Are Coming" written on someone's notebook cover. Steve told me who they were and that they were great. My first memory of experiencing them was watching their first appearance on the Ed Sullivan show. It was THE Golden Moment! Absolutely thrilled to my soul... riveted as time stood still... being changed forever by a force that must have been divine intervention. They went on to be the biggest musical influence of my life, as I know they were also many others'. Of course I loved the Stones; The Kinks; Gerry And The Pacemakers; Lovin' Spoonful; Beachboys; The Ventures; ahh, the list goes on and on. Guitarists in particular who drove me were: Scotty Moore; Jim McCarty; Howard Roberts; Nokie Edwards; John Lennon; George Harrison; Paul McCartney (Paul played several of The Beatles' solos, including Taxman); Eric Clapton; Jimmy Page; Jeff Beck, to name a few. Louie Armstrong, Victor Borge, and Buddy Guy are some of my favorite live performers. Jimi... Jimi! Over the years Heart shared the bill with many other bands. Who were some of the bands or musicians that impressed or inspired you personally or musically? RF: From my perspective, the tightest, most polished group we ever played with was, hands down, the Eagles. We had collectively seen them open for major groups in their rise in Vancouver and always loved them. To play on the same stage with them at A Day On The Green in Oakland, California was eye-opening because they took such care in delivering their absolute best. The eighty thousand plus in attendance agreed. Another great was Randy Hansen, known mostly as the world's premier Jimi Hendrix impersonator. Impersonator, to me, is the wrong word to use for someone who pays homage to their major inspiration by invoking their mentor's spirit into original interpretations of the great music the master created. Randy has a healthy repertoire of tricks, moves, guitar knowledge and timing and intuition which he incorporates in live performances, and always wows his audience. I believe Boston's first major live gig was opening for us. I'm sure Tom would agree they learned something:-) Van Halen, before becoming a major force, also witnessed our live show - from on stage - and Eddie told me he thought we were great. Steve Miller was one of my favorites, truly a musician's musician. Carlos Santana was an early favorite. His band was amazing at the Sky River Rock Festival near Seattle in, I believe, 1968. When we played with them at Cal Jam II, his professionalism and experience shone. Your guitar playing has always been about emotion yet you've had the technique to get your ideas across. In some instances I feel your playing changed the meaning of some of the songs - or certainly added some vivid coloration to the aural "landscapes". The "Magazine" solo to me is a prime example (especially the live versions) - you have a cautiously melancholy tune about a young gal fantasizing about rock 'n rollers. Yet at the end of the song, the guitar solo is pretty much bi-polar! And I get the message that this person fantasizing is bordering on despair. RF: When I recorded that solo I was just enjoying myself, playing guitar. I had no thought of interpreting or expressing anything in particular... I've never taken that intellectual approach to playing. In retrospect, if I were to try to verbalize an intellectual interpretation of the solo, it would be this: The guitarist is identifying with the person looking at the magazine, longing to be the one pictured. His spatial playing early on represents the hunt for the key to making his dreams come true. Realizing the leap of faith he must take, he energetically reaches a climax of determined, unbridled, inspired raw energy... a gift. I think this is hilarious. I'd rather just feel it and not think much:-) But you're right... solos like these absolutely change and crystalize the listening experience. Forgive me if I read too much into the music....But my question is, how do you feel about the whole 1980s through present "shredder" type guitar playing? Have there been some modern players that you feel play inspirationally or do you tend to go back to the old school players for inspiration? RF: Shredders tend to get put down a lot, which is easy for anyone to do, who isn't capable of shredding. To be able to perform that way on guitar requires an enormous amount of practice. Why do some guitarists choose that road? Yesterday Eva and I went for a walk, with 7-year-old Rogie joining on his bicycle. "Watch this! Watch this!" After successfully jumping his bike on to a curb, he looked back to see our reaction. Eva and I looked at each other with a "What's the big deal?" look. The big deal was that Rogie had acquired a skill and wants everyone to know about it. He wants to be appreciated. He wants to be loved - one of the strongest motivators in our lives. I believe shredders have leaned in that direction because at some point they realized they could. Not everyone can play like that. I certainly can't, but it's also a matter of what one is attracted to. I'm not attracted to jazz or shred guitar the way I am to a David Gilmour solo, or an early Clapton solo. Jimmy Page playing The Rain Song thrills me to my core. Shredding doesn't take me there. Yngwie Malmsteen is among the best shredders, but there are many moments in his playing that are incredibly emotive and melodic. Satriani hits points where his playing is so soulful it is breathtaking. Nashville cats are so damn good, I laugh out loud... listen to Brad Paisley, for one. To me, the bottom line is, this is a big world, with a lot of different tastes. To belittle any kind of musical expression is pointless, because there are people out there who are elevated and liberated by their enjoyment of it. For you or me to judge it is, possibly, a waste of time. Lastly, I find it slightly disturbing that the Wilson sisters (esp. Ann) don't seem to take much accountability for the business/artistic moves they've made. On "Behind the Music" they laugh at their videos and the whole 1980s image, yet they were willing participants in it. They had no problems with a #1 hit CD and song. They made boatloads of money. Yet as the 80s ended and alternative became popular they changed their tune and went "independent" with the Lovemongers. Now they've adopted their old logo and have started playing more old material. Credibility isn't that easy to win back IMO. RF: I'd say, the fact they can laugh at their past is a sign of greatness. Of course, they at some point would need to embrace the first four albums' music... wasn't that when they wrote the most, and created their most original and inspired compositions? Isn't that the public consensus? Isn't that what thrills the audience the most? The fact that I was in the band at the time of that music's creation may be irrelevant in some peoples' opinion. Another response to your comments: The music business is a constantly moving target, replete with corruption and deceit. Survival in this context requires a continued reinventing, or at least refreshing of one's approach in order to be competitive. I believe the sisters did whatever they felt they had to do to keep their heads above water. The fact they succeeded makes me applaud them. There is no one who can say that - even though they may have taken controversial steps to be successful in this industry - they are not two of the most talented musicians in the world. The question, "What could they do to achieve their maximum potential in this industry?," is perhaps more answerable by you than them;-) I regret that the "Behind the Music" special on VH-1 made no mention about any of the Wilson sisters' negatives - like drug use and other problems. Instead, they come across as two sisters victimized by band members, record labels, kids making fun of overweight people, lovers and who know who else. RF: Any journalistic or commercial approach needs to have a "spin." Whether or not the spin involves honesty or correct reporting is irrelevant. The spin dictates the shock value; word-of-mouth factor; and entertainment value. These three factors drive reporting - not necessarily truth or the whole story. To support the idea that any kind of publicity is better than none, Mushroom Records' partner, Shelly Seigel said, "Ink is ink." If any of the Heart band members are concerned about the whole truth and nothing but the truth, maybe they should write a book :-) JF: You have had a long and distinguished career, and you seem to be unstoppable still. So let's start with the present and life in the Czech Republic. After what was a whole adventure moving and getting settled there, how do you like it now? RF: There were several reasons for wanting to move to Europe: 1) My wife, Eva and I wanted our son, Roger to attend school in Europe, 2) I wanted out of America for awhile, having seen the life style and values in Czech Republic, 3) I wanted a change in my life... an adventure, and 4) I'm working with Michael Kocab - a great musician and also an icon in this country. He was one of Vaclav Havel's right-hand-men when they ousted Communism in 1989, and had the most popular group in this country for many years - Prazsky Vber (Prague Selection). He has become a dear friend, and I hope we can collaborate on more projects in the future. Living in a post-Communist country has its difficulties. Slow motion bureaucracy is frustrating for Americans who take for granted our generally quick ability to get things done. I don't know if it is true with other foreigners who have moved here, but everything I attempt seems to be fraught with difficulty and frustration, if not impasse. Other than the difficulties, the friends and family I have here are wonderful, and I enjoy being in a place where the last few centuries are only a tiny bit of its history, while encompassing the entire life span of America. The implications of this long-tested, mostly pure genetic hierarchy are found in subtle mannerisms common to most Czechs. The fact that this area has been conquered over and over and has been subject to not only inhumane authority but also the Black Plague dictates that the people here have an invisible bond and an unspoken communication. To most Americans, I believe these people would seem generally very poor. Even if they don't have a lot of possessions and fanciness surrounding them, what they do have is immeasurably valuable. It is more than strong camaraderie. It is more than great generosity and the need to uplift. It is more than impeccably clean self sufficiency. It is an ineffable, quiet consideration and harmony that generally feels close to the earth. I'm generalizing, but these are the qualities that attract me. Of course, these are human beings, and far from perfect:-) JF: What does your life and routine (or not) consist of there? RF: My dad once advised me, "Watch out for routine, boy. Mix things up. Don't do things the same way all the time." I took that to heart and generally run freeform... routinely. A typical day is: wake up at anywhere from 4 to 6 AM. Make brewed coffee just for me. Get on the computer, catch up on email; check the news; check the business implications for the day; update my to-do list; have Eva's latte waiting when she gets up; do the dishes; wake up Rogie in a gentle, caring manner; make breakfast - either my own blend of muesli-with bananas or bacon and eggs, or Eva makes something else; drive Rogie 15 minutes to school while telling him a scary story; return home and work on my latest music and/or video project; write and/or practice vocals and guitar... this is getting boring. To synopsize, I do the usual stuff most people do... with very noteworthy exceptions, which will be documented in my autobiography. JF: Going into the music now, your song, Petra, which you performed live for a TV show there, has quite a slow and hypnotic mood, what was your inspiration for that? RF: In June of 2005, sister Kay, brother Mike and myself went to Andalsnes, Norway to meet with our family there. I saw in my cousin's mother the embodiment of femininity and motherhood. I'd been writing song after song, inspired greatly by having just been introduced to Rufus Wainwright. Wondering what I should write about next, Petra walked into the room. "That's it," I thought. "This will be for Petra." At that moment it was suggested we go for a drive high into the Norwegian mountains to visit an ancient hunting area. Armed with pen and blank book, I bagged a poem underneath thunderstorm skies so severe that a man on another mountain not far from us was killed by lightning. I was inwardly entertained by the fact I was writing a love song for all women while surrounded by high intensity. By the time we got home the words were finished. The music flowed out easily and I had what I knew was the best song I've written. JF: What other projects are you working on in your new home? RF: The focus is on the words you're reading now, which will be part of my autobiography. Some working titles are: The Wisdom Of Nonsense; Play It By Ear; or maybe simply, Rog. There are times when I feel bored with rock music - not because I can't totally immerse myself and thoroughly enjoy playing it, but because IT'S BEEN DONE. It can't ever be greater than it already has been. Some new form or variation, sure, but Rock? Hey, no one is going to improve on the Beatles or several of the other classic groups. Don't get me wrong, there's a place for pertinent and timely rock music. But for many of us "who were there," the race has been won and the winners have all gone home to bed. Maybe that seems negative or defeatist or cop-out, but if that's what I feel, it's difficult to be motivated to engage in it. After I finish this autobiography, I'm going to finish some of the high energy songs Derosier and I composed. Some of this stuff is fantastic - very Zeppelinesque, but original. I guess the truth is, I have some kick-ass rock music in the can that I'll be excited to release when I have a band that it's suitable for. But there is no burning need right now to finish it. I've spent most of 2007 thinking about what I should do and it all boils down to creating a work which includes photos and videos of noteworthy moments of my life and very personal text to pass on to my kids. This is the gift I always wished I could have had from my parents - to really feel like I knew them, so this book is for my kids. In 1977 I bought a broadcast-quality video camera and began documenting Heart. I have very entertaining footage from that era that I know will delight many people. I also know the Wilson sisters reasonably well, having lived with them and their parents, being close to the entire family. I bring to the table a perspective that no one else has to offer... and I offer it for the right reasons and with no lack of integrity. This perspective, in the context of "The Life Of Rog," I believe, makes for an entertaining experience. JF: Your solo albums have focused on issues you strongly believe in, like the environment, family and humanitarian causes and albums such as Standing, Looking Up and Evolution have had strong overtones of these themes - can you tell us a little more about these solo endeavors? To me, Standing, Looking Up was one of the first electronic music endeavors. When I hear cutting-edge electro music of today, I hear my first solo album. It was way ahead of its time and I love it... very happy with that album. Evolution is an album reaching out to elevate, illuminate and uplift. In 1995, I realized that a global calamity was the only thing that could bring humanity together. I figured people should start to focus more on spirituality and preparation for moving on beyond this body, as I believed something big and devastating was going to happen. I had no clue about global warming then. Now, even though so many know about it, people don't seem to realize the implications: we are going to have to help each other like never before in history. While this seems like a big negative, it's not. It's exactly what we need: a motivator to bring us together... because if we can't show that we can harmoniously inhabit this planet, maybe we don't deserve a place on it. I love the music of the Evolution album, but it needs to be remixed and re-mastered and I strongly urge people to wait before buying it. JF: And you are involved in The Human Tribe Foundation, which is dedicated to supporting these causes, can you tell us a bit more about that? There are more hats than I am able to wear. If someone would step up and say, "Hey - I'll handle that!" I'd be happy to put energy into The Human Tribe Foundation. I have specific ideas that require a lot of money and engineering expertise. Someday I hope to be able see some of these things come to fruition. One project is: I have a design for what is basically an ark that would survive (theoretically) a global calamity. I'll elaborate on this idea, and others, in my book. Human Tribe. What does that imply? That we are one: people, humans. No countries, borders, religions, barriers, walls... just people. A tribe living on Earth. That, to me, is reality. RF: This was the response I gave to a very talented friend who received an inheritance and made himself a nice little studio:
Damn, Roger. You kick ass. :-) I've been thinking about that question, continually. :-) hmmm ... meaningful for the world. Was Hendrix's stuff meaningful for the world ? Zeppelin ? The Beatles ? Dylan ? For me, the answer is yes. But, why ? hmm ... All good music is meaningful for the world. Take the music away and ... god ... that would be horrible. I will be happy to capture my musical potential. I'm capable of so much more than I've displayed. In the past, I was at the mercy of others, in regards to recording. Now, with the advancement of technology, as you are fully aware, one can easily obtain the necessary tools at your local Guitar Center. For the good stuff, it takes a little doe, but I've got it, now. :-) ... As to making money with what I produce ? I've always believed that if I build it, they'll come. :-) I would very much like to hear your answer to those questions, Rog. RF: In my opinion, the music Hendrix, Zeppelin, The Beatles, and Dylan made was great largely because of its relevance to the times. They responded to a need in society. Specifically, as an example, the early Beatles songs broached sensitivity and kindness - willingness to step down from pride. In a world where females needed to grow into equality, this was a very important message men of that time needed to understand. So, what does the world need now? We know well-crafted songs about sex, relationships, pain and epiphany will have a good chance in the marketplace. Personally, I've stayed away from sex songs because the few I've written don't seem to stand the test of time well. They're embarrassing! There is no doubt in my mind as to what the world needs now, musically. In my opinion, we - all life on the planet - are in extreme danger. If we don't start taking big steps, as humanity, soon, the suffering is going to be incredible. We really do have to put away our differences, band together, combine our knowledge, resources, and imagination, and create solutions. It seems many people are either unaware of, in denial of, or don't care about, the following:
A lot more needs to be added to this list, which I'll do when I have more time. The point is, the new music needs to motivate people to act. Whoever comes up with good ways of achieving that will make a lot of money, I'm sure. Hopefully, a lot of that value will go to helping all life. Addendum: (by Mike Fisher) What do you think of the rock scene these days as compared to the scene from years ago, especially the 70's? Personally speaking I do think that there are a lot of good bands, but overall the industry is over saturated with mediocre bands but that's just my outlook on it.... what do you think? I for one really think that this all started with MTV... you probably won't agree with me being as that's a quick way to push a band & give them exposure...lol... RF: I'm so immersed in my personal world of daily living and creativity, I'm not nearly as in touch with the current scene as I could be. When one does a little hunting, it's still possible to find the same depth of lyrical content; emotion; performance; as well as amazing production. To put down the music of "these days" is, to me, an over-generalization. A few of my current favorites are Rufus Wainwright, Jeff Buckley, Justin Timberlake and Nelly Furtado. I recently discovered New World Symphony by Dvorak, which is wonderful. What about Stevie Wonder's last album? Wow! I adore Mark Knopfler. There's a band called Clever Bastards that I find amazingly heart-stirring. MTV, in my opinion, changed the playing field... it didn't stop any good song from being a good song. Over-saturated by mediocrity... well, that's a current world problem in all fields, isn't it? iTunes is the best! Rock on, APPLE! Is Music Important To Brain Health? RF: The underlying key to excellence in all human endeavors is the ability to concentrate. As we age, the brain, weathered and damaged from many varied abuses, ceases to be as responsive as in youth. It was once believed that a damaged brain cell was finished... kaput... game over. Scientists have, in recent years, found the opposite to be true. Certain stimuli can actually trigger re-growth of damaged brain cells. Like a training athlete, the more we challenge the brain, the more it responds and the longer lucidity remains. It is a proven fact that studying and practicing music counteracts the tendency toward Alzheimer's disease. The simultaneous use of motor skills, memory skills, deep emotional involvement, and striving for perfection, as found in the playing of music, challenges the brain like nothing else. The millisecond-accurate decisions regarding tempo, tone, style, phrasing rhythm, and emotion, cultivate a highly refined organ. One key thing about learning and practicing music on an instrument is the pleasure factor. Unlike the ambitions and striving in other areas, music involves such joy... it provides the vehicle for the time and quality of practice gained by no other means. Generally, musicians practice – at least in part - because they love it. This love of daily evolution is vital to all-around growth, especially brain growth. Practicing and performing on a musical instrument is excellent for the brain. Merely listening to and appreciating music involves memory, pleasure, emotions, and, in the case of dancing, physical stimulation. This is great brain therapy. In addition to exercising the brain with challenging tasks like playing a musical instrument, consider the importance of exercise and the intake of oxygen. Muscle activity keeps synapses stable, while inactivity triggers a loss of receptors. Walking in particular is beneficial because, while increasing blood circulation and oxygen and glucose intake, there is no great demand put on muscles. In other forms of exercise, muscles absorb more oxygen and glucose, leaving less for the brain. Less physical activities are also beneficial. Examples of very worthwhile brain-stimulating activities are: reading; writing; doing crossword puzzles; playing games like Scrabble and chess; doing tai chi and yoga. Working with modeling clay or play dough is an excellent way for children to grow new dendrites (the intricate nerve fibers through which neurons communicate), as it promotes hand-brain coordination and agility... much like playing an instrument. It is the combined use of body and mind that is most effective in the regeneration and sustenance of healthy brain matter. When a musician practices, scales; songs; various patterns; and performance moves are committed to muscle memory. This culturing process involves changes at neuron-to-neuron synapses. Synapses are the junction between two nerve cells, where the club-shaped tip of a nerve fiber almost touches another cell in order to transmit signals. These changes, called long-term potentiation (LTP), improve the communication between neurons, creating memory. This memory lasts for weeks, but begins to fade if not revisited. This is why the musician must practice the same passages repeatedly over the years – to "dust off" parts that were learned in the past. This process of aligning and training synaptic communication is referred to as receptor aggregation. The opposite is receptor dispersal – the equivalent of long-term depression. This is partially why musicians achieve such satisfaction from playing... they are doing precisely the best thing possible to counteract depression. Two additional factors are important in brain health: oxygen abundance and temperature. Mild hypothermia (low body temperature from exposure to cold) is now frequently used world-wide to reduce intracranial pressure and cerebral blood flow. When the brain is cooled, there is a reduction in cellular metabolism, which protects cells from membrane breakdown. This is why it is so important to sleep with one's window open, providing cool, oxygenated air. The hundred billion brain cells that comprise the brain use more that ten times the amount of oxygen as the rest of the body. Heart smart is brain gain. One can live without food for a few weeks; without water for days; but only for a few minutes without oxygen. Breathing properly – slow, deep breaths – is something most good vocalists practices throughout their day. Most oxygen absorption occurs in the lowest portion of the lungs. Deep bell breathing requires less muscular energy than shallow chest breathing – which most people do. Of course a major factor in brain health is eating good food, particularly that which contains specific vitamins and amino acids. An 88% reduction in the frequency of vascular dementia was shown in elderly men who took supplements of vitamins E and C. This effect was greater in men who reported long-term use of both vitamins. Vitamin C is concentrated in the fluid around neurons up to 100 times higher than elsewhere in the body. When levels become deficient, vitamin C is leached out of body tissues, maintaining adequate levels in the brain and lungs. If this maintenance didn't occur, the brain would be destroyed by a frenzy of free radical damage in a matter of minutes. Better than popping vitamin pills, eating fruits; vegetables; nuts; and grains provide phytochemicals – much more effective in brain health. Dark red grapes and gingko leaves protect cerebral blood vessel walls by neutralizing free radicals. Found in the curry spice, turmeric, curcumin is a powerful antioxidant and anti-inflammatory compound. Seeds; nuts; and soybeans – and their unrefined expeller pressed oils – have the highest concentrations of vitamin E. The richest sources of vitamin C are rose hips; guava; black currants; cranberries; kale; parsley; peppers; Brussels sprouts; broccoli; collards; and cabbage. More powerful than either alone, vitamin E works in synergy with selenium, one of the most powerful detoxifiers of heavy metals that damage the brain and other organs. Very important as well, is magnesium. The most notorious depleter of magnesium is alcohol. Extreme alcohol induced magnesium deficiency is also know as delirium tremens. Excellent food sources of magnesium are almonds; avocados; pumpkin seeds; spinach; peanut butter; and wheat germ. What is the food containing the highest level of antioxidants? BLUEBERRIES! They contain nearly 60-times recommended daily levels. To describe a person engaged in a daily life style conducive to good brain health, he or she would:
The answer to the title question is an emphatic YES!
I've often wondered how Ann & Nancy wound up with the name Heart when it was your band in the first place? RF: This answer is detailed in my book. In a nutshell, when brother Mike was happily with Ann, and Nance and I were happily together, the Heart Partnership was formed. Mike and I, in our wisdom, insisted the girls be given 51% of the rights in the partnership. Hey Rog, RF: Louie Louie! Within a few minutes of picking up the guitar for the first time, I played it on single strings and quickly discovered fifths, playing power chords within fifteen minutes, without outside input. I was so thrilled, I never stopped! Working on my happiness - you will have to give me some of your tips - you seem like a genuinely happy and positive person. RF: AGGRESSIVE BAGGAGE REMOVAL After awhile you'll feel so light, you'll have the desire to fly. Flying can only occur after a decision. All of us eventually make that decision, but to many it is heart-rending. It needn't be so. Forgive me if this sounds terribly ignorant, but as a big fan of early Heart (70s), I would appreciate it if you could post a reply on your Web Site that gave an overview of the specific events and dynamics that made you leave the band, and also an overview of your relationship and breakup with Nancy. I assume the two things may have been related somehow, but only you can let us in to what really happened. Heart, during its formative years, had such an amazing unique and special sound. The decline of Heart's spirit and musical authenticity seemed to coincide with your leaving the group. The whole 80s keyboard-pop, big-frizzy-hair scene just seemed so wrong a direction for them to take. Even to this day, nobody plays acoustic guitar quite like Nancy does. I will always remember Heart as possibly the greatest pure "guitar band" in Rock history. That's where the magic was. RF: On the menu of "Questions Regarding Heart," yours is absolutely the most delicious, and above all, most delicate. Your summary of thoughts speak for many people... I've heard this said a thousand different times and ways, but none as succinctly as yours. My reply may disappoint some. I'm currently engaged in a project that began in 1977 when I bought a broadcast-quality video camera and began documenting the rock band I was in at the time, Heart. This footage, which the public has never seen, shows a lot of behind-the-scenes moments which, when coupled with my large library of on-stage footage, will be a must-see for Heart fans. I'm now gathering video interviews with many of the original players, managers, secretaries and people who played an interesting role in the Heart story. This perspective of Heart will be available in the context of my autobiography, which I intend to have ready for sale November 1, 2008. This will be an unusual book because, not only will it be an e-book - available online - the hard copy will have urls pointing to the text-related slideshow or video, so as one is reading, they can, for instance, see a backstage Heart video showing exactly what the author was talking about in the text.
Hi Roger. Before I ask my question, I just want to say thank you for forming the band Heart and thanks for giving your fans such as myself the opportunity to ask you questions! You're a cool guy and an awesome guitarist! My question is, what do you think a concert would be like if Ann and Nancy Wilson performed with THE MAN Billy Joel? RF: I would think it would be pure magic. Billy has the capacity to touch deeply, as do Ann and Nance. I'd love to see their performance. Hey Roger, RF: Heart was still playing nightclubs while living in Vancouver, B.C., in 1975. One of our favorite places to play was Oil Can Harry's. Led Zeppelin would party there in the elite area of the club after their shows in Van. One night, after their show in town, Nazareth came in and saw us. They were keen to meet us after our show, and praised each of our individual skills. They asked me to join their band. I told them I was happy in this band and that we were going to be big, thinking, "Probably bigger than you guys." At any rate, they invited us to join them for a tour of Europe, which we ecstatically agreed to, and did. Were there any groups you wanted to join even if it weren't practical (I'm thinking of how Eric Clapton always said his deepest wish was to have been asked to join The Band, even though he knew it couldn't happen)? RF: As arrogant as it may sound, I wanted to be in a band with Paul McCartney, but not so much a side musician as a co-writer and recording guy. I always believed our synergy would be very good. I wanted the same situation with Paul Rodgers... I think we could write great songs together. There weren't really any groups I felt desirous of joining. My dream was always to be successful based on my merits. The dream is alive and kickin'. I work toward that every day. After leaving Heart, Kiss approached Heart's manager Ken Kinnear, saying they were interested in having me audition. I certainly mean no disrespect to a great group, but they didn't really turn me on at the time. I had Ken ask them what the pay would be. They responded with, "Come down and audition, and we'll take it from there." I was unimpressed with that response, so passed on the opportunity and lived a somewhat hermit-like life in the middle of five acres of woods, until I met my second wife, Maureen in 1983. That five acres of woods is now an extremely fond memory in the minds of Maureen, Dylan, Michaela, Lily and me. Also, I remember at the first Heart convention you said (and played) that Mistral Wind was your favorite Heart song. I wanted to know what you regard as Heart's finest recorded performance. You know, the one where everything just fits together perfectly. What would be your choice? RF: To me, Barracuda rose to the cream of Heart's recorded crop because we all knew it had the potential to be big. As we were recording it, it seemed to take on a life of its own, where we became the servants of a worthy master, who insisted we not let up until every subtle aspect of it was polished like the finest silver. We never worked as hard on a song as Barracuda. By the time we got the "keeper," it was rolling along like a train on autopilot - a huge powerful moving mass of dreams and hopes on its unstoppable way to Rock And Roll destiny. I wonder why it is called VOX? Do you know? What language is that? From Latin? I just don't know that one.. somewhere in all of my music training I missed that one! RF: On a recording track sheet, when the engineer is writing the instruments, or entering them into the computer, given the number of tracks, there usually isn't much room for the naming of which instrument is on which track, so they're usually abbreviated. Vox works nicely for vocals. Hey Roger, I am wondering about the gear/amps you used in the early days with Heart. I am mainly interested in knowing about your amps and pedals in the 70s, especially at this live performance I am assuming it was Marshall amps. Btw what year, and pedals, specifics? Thanks! I love your tone there. RF: If you look closely when the camera is aimed at stage left, you can see my 2 100-watt Marshalls sitting there. One is back up. The live one sends to a 2-12 box near the front of the stage, which is very loud, allowing good sustain, and baffled, so as not to be too loud. At that time, I used an MXR digital delay, Phoenix Systems flanger, and volume pedal. I plan on having an in-depth accounting of my gear in the book. I was wondering why you don't mention Alias that much? It's not even under your "Bands" link on your web site. As a matter of fact, I think I may be the first person to ask you about it. RF: The experience with the band Alias in 1989 and 1990 was filled with spicy unfaithfulness; questionable record company tactics; alcohol abuse; and psychological warfare. Mike, Steve, and I, overall, did not relish it. I'll elaborate in detail in my book. What are your feelings regarding drugs? How would you approach the topic with your kids and kids in general? RF: If you're looking for some good, positive input to show your kids, I'm afraid you may consider me the wrong guy to ask. What I did with my kids was let them see real life. I love having people around and would host many parties. I didn't try to hide much from my kids, and they saw what goes on... in my case, nothing very hard core - just people getting intoxicated and having a good time, with lots of music-making. Each of my kids was taken aside at a right moment in their life. I told them, "I know you're going to do whatever you choose in your life. I'm not just your father. I'll always be one of your best friends. I'm not going to tell you to or not to do something. What I will tell you is: be smart. When your friends are partying and want you to try this or this, do what you want, keeping a watchful eye on everyone and everything around you. Don't hurt yourself or anyone else. Be smart. Don't get so out of it you endanger anything or anybody. Have fun. Be smart. Don't hurt and don't get hurt." Unfortunately, I never had this conversation with my first child, Alicia. She became addicted to heroin at a fairly young age... having nothing to do with me and my "free" lifestyle. She died in her early 30's of diabetes. Kids in general: We parents know you're going to do what you're going to do. There is nothing we can do to stop you. What we can do is be your real friend... the kind you can confide in; the kind you wouldn't hesitate to call if, in no matter how crazy a situation, you needed help; the kind who won't judge, won't condemn; and won't ostracize you for anything you do. We confide in you... you confide in us. We respect you and the choices you make, simply because they are your choices, and you respect us. I was very fortunate to have been given a long leash by my parents. That allowed me to be free and experience life, making my own decisions and sometimes suffering their consequences. The beauty of this kind of relationship, in my opinion, is, the kids are elevated by the faith and trust their parents have in them, and are inspired to do what makes the most sense. So far, it has worked well for my remaining kids. It seems they are all headed in very good directions. My kids love me. We have a bond way beyond what is normal. We know something together, few people seem to know. The result is communication of real stuff. |
