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Keep On, Good Friend... Voices That I'd Ever Worked With

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Keep On, Good Friend... Voices That I'd Ever Worked With THE BILLBOARD INTERVIEW Continued from page DC -14 and what is a person, and if you're attracted to what you're seeing, you're attracted to it, you know? It's a kind of ele- vated song about androgyny, and, in spite of the fact that it's down and dirty, it has a kind of lofty concept. Did the band have any qualms about singing it? Well, they went for it. And John Kalodner loved it 'cause he likes getting in dresses. Didn't you see him in the video? He was in an all -white bridal gown, looking fetching. You wrote `Angel" with Steven Tyler the next day, but when Billboard interviewed Aerosmith for their 25th anniversary, many of the members talked about how much trouble they had, as a hard rock band, doing a ballad with strings. I think that [Tyler's] vocal performance on that song is one of his best. It's like, all of them had a limited concept - all of the groups. I mean Jon Bon Jovi didn't wanna sing "Livin' On A Prayer." He thought it was too wimpy. I con- vinced them; Richie and I went crazy. We said, `Jon, no, you have to do this, you have to." He was rolling his eyes because he wanted to rock out, and that's not what was hap- pening. It took a lot of forcing and-guess what ?-once you start having success and everybody likes it, then they relax. SINCERE CONGRATULATIONS TO DESMOND CH I LDS ON 25 EXTRAORDINARY YEARS. "Dude" looked like a I inner: AC ra'1/Iiiii Whether it's a ballad or a rocker, your songs aren't for the meek. I do work with really strong characters, like Alice Coop- er and Joan Jett. All of these people have very distinctive personas, very distinct points of view. I guess it's a good marriage, because, if you have strong emotions, it'd be nice to have someone who can be expressive with your voice. I think that a voice needs to have a lot of strength to hold all STERLING SOUND of that emotion within without cracking up. 1790 BROADWAY NEW YORK. NEW YORK 10019 TEL 212 757 8519 FAX 212 757 4607 E -MAIL INFOI, STERLING -SOUNC COM You mentioned Joan Jett. How did you come to work with her? I got a call from [Jett's manager] Kenny Laguna because work, and she was very shy. We have a really EMOTI )N" he loved the TAY WITH ME" "1 AM MADE OF YOU" "I COUNT THE MINUS" "PRIVATE great relationship. She came to see me last year, and we talked about getting together to write. I adore her. We wrote an incredible song called "Ashes In The Wind" that was on Desmon one of her last records. I just think she's the greatest. She really inspires me when I sit down to write with her. I feel her so much, who she is. She's so sincere. In spite of her O `ryll your songs and produc image, she's so organized. All her songs are handwritten, they're perfectly neat; she's a Virgo and she's just unbelie- I've had the honor and pleasure to veably together, you know, you'd never expect it [laughs]. to Who's the best singer you've worked with? your genius never fails shin I would say, technically, Bonnie Tyler. She was the most prepared, had the best, most positive attitude and best sense of humor, and she had one of the best voices and expressive Keep on, good friend... voices that I'd ever worked with. i v Although you were still having hits in the early to mid- '90s, alternative music took over. What did you do? Campbell During that period, when top-40 music turned away from pop, I think everybody looked to country music to feel GY ARMY" Continued on page DC -18 1116-HjALL & OATES AND THAT'S WHAT HURTS" "RUN \WAY BRIDE SOUNDTRACK BILLBOARD NOVEMBER 27, 1999 DC-16 BILLBOARD TRIBUTE www.americanradiohistory.com.
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