For 40 years James Stevenson has lent his unique talent to a massively diverse selection of bands & solo artists with the release of "40 Years in the Rock 'n' Roll Wilderness (a Selective Retrospective)" you can now marvel at the diversity while enjoying some truly great music....and guitar solos!
What made you decide to release a retrospective?
It’s something I’ve been thinking about for a few years. The logistics
were quite complicated, getting all the right permissions etc. but I kind of
wanted to do it for myself – me being the only common thread. I think it’s an
interesting collection – and also I wanted to introduce people to some of the
lesser known artists whose work I really admire and to introduce fans of one
band to others I play in.
Why now?
The time just felt right. It’s actually taken about two years to sort it
all out.
With such a long and broad career how did you go about choosing which
tracks to include?
Tons of different factors. It was hard. I would have loved a Scott
Walker track on there, but sometimes the logistics were too complicated or
permission was impossible to obtain. I had to like the track myself. I know
that sounds weird but I have played on stuff I didn’t like just to pay the
bills.
What was it like revisiting some of the more off the beaten track songs
during your selection process?
That for me was a really enjoyable part. I hadn’t heard the Charlie
Harper song for years. The Gary Holton track was something I suddenly
remembered at the last minute and knew I had to include it.
The album kicks off, quite rightly, with “Urban Kids” by Chelsea,
recording that must have been pretty special considering how young you were at
the time?
Yeah I was nineteen I think. Kit Lambert produced it. Working with him
was really great. I think that was the first time I played proper lead guitar
on a record.
I’m guessing from some of the absences of material reflecting parts of
your career you may not have been able to secure the rights for some
songs?
Well everyone was really helpful. Billy Idol’s manager
refused me permission for the Gen X track – so I went to Tony James who got
them to change their minds – so I owe him for that. When I went to Beggars for
Desire by Gene Loves Jezebel they just said I could have it “gratis” which was really
sweet of them – usually you have to pay an advance. Obviously it’s easier if a
mate, or you yourself, own a recording.
There's nothing representing your time in The Cult?
Well I’m not on any Cult recordings. I’m sure no guitarist except Billy
Duffy ever will be. I was just a hired gun. There might be the odd live
recording with me on it but I was never a member of the band – I was just a
hired gun, so it never entered my mind to try to include a Cult track.
What made you choose “Andy Warhol” by Gen X ? Does it have fond
memories or is it a nod to your present Bowie connection with Holy Holy?
I just thought it was a great version – very different to Bowie’s. The
band really gave it our own slant. And I suspect many people have never heard
it. Dancing With Myself would have been a bit too obvious.
You’ve said on social media before that one of the favourite things you
ever did was the Henry Badowski album “Life Is A Grand…” I’m guessing it’s not
an album that most people are familiar with, what makes it so special to you?
Well I was in bands at school with Henry so I’ve known him virtually my
whole life. He’s a very talented and unique songwriter and instrumentalist.
Yeah, he just made that one album for A&M in 1981, but he still has a cult
following. I’ve often tried to talk him into recording new material
commercially, but he hates the music industry.
Your start with Chelsea & Gen X doesn’t seem a natural fit to bring
you to Kim Wilde & Annabel Lamb what was it they wanted you to bring to
their sound?
Well things just happen along the way don’t they? Mickie Most got me in
with Kim because he wanted there to be a band in the Kids In America video. I
only play on a few tracks on her first two albums. Annabel was really just a
session. Wally Brill who produced the first Chelsea album was producing it – so
he knew what I sounded like and wanted a bit of that on the song. She went on
to have a hit with a cover of The Doors’ Riders On The Storm of course.
I thought I knew most of the acts you’d been involved with, baring some
of the sessions maybe, but The Hot Club and The Smart are new ones to me! What
can we expect and what made them essential tracks to include on “40 Years…”?
Well Hot Club was the first band I had with Glen Matlock. We only made
two singles, both with different singers. Steve Allen from Deaf School and The
Original Mirrors is on the track I chose, which was a B side. When he left we
got Clark Datchler in. He and Calvin went on to form Johnny Hates Jazz. It was
kind of an unfocused band – but still important to me because it got me out on
the road again which I hadn’t done for a while because I’d been a professional
mimer with Kim for over a year. As for The Smart let me make it clear at the
outset the name The Smart was nothing to do with me LOL. Dave Martin the singer
was the rhythm guitarist in Chelsea and he and Geoff the bass player left to
form The Smart in 1980. They asked me to join a couple of years later. We made
an album that never got released at the time. Epic kept saying they were going
to sign the band but never did – typical of the industry at that time. I
actually really like the album – you can get it now – so I had to include a
track.
Many will know Gary Holton from his acting career in Auf Wiedersehen,
Pet or musically for his time in Heavy Metal Kids so where does The Gang Show
fit in?
Well just after Hot Club, Glen and I formed a band with him. As well as
an actor he was a rock and roll legend of course. I don’t think Big Tears has
ever been released before. I just realised I had to include it right and the
end of compiling 40 Years. I remembered it in the nick of time. I saw The Heavy
Metal Kids at The Biba Rainbow Room when I was about fourteen and they were
brilliant – especially Gary. I think I went to that gig with Henry Badowski
actually……
For those that haven’t heard it before it may surprise some people that
you feature on “Brand New You’re Retro” by former Massive Attack member Tricky
which is very different to the genres that you usually favour.
Yeah – you end up on all sorts of records along the way LOL. I actually
loved playing on Maxinquaye – I’m pretty sure I’m on a lot of it – but only got
credited on this one track.
Was it difficult trying to mix different genres into a working running
order?
No – it’s more or less chronological except here and there where I’ve
kept tracks by the same bands next to each other in the running order. For
example Desire and Break The Chain by GLJ are about seven years apart time-wise
but I kept them next to each other on the CD.
When you approached this project did you have certain essential
cornerstones that you had from day one or was the selection process fairly
fluid?
The track-listing changed all the time. I was mortified when I first got
refused Gen X – although I wasn’t in the band for long it was an important part
of my career I felt I had to include. The cornerstones were the bands I feel
are most important in my career – Chelsea, Gen X, GLJ, The Alarm, The
International Swingers and Holy Holy.
Did you have any trusted friends that would suggest songs to you or
give you a deciding vote if you were stuck?
Yes a few people. There are friends you respect whose help you engage
when you can’t make a decision. Jules Peters vetoed the original cover LOL –
which I’m glad about because Karl Parsons came up with a brilliant one after
that.
What tracks were on the short list but didn’t make the final album?
It was especially tough deciding which tracks to include from the first
Chelsea album and also The Smart. I nearly went with Something’s Got To Give
from Under Attack too because I love the song. Also from Chelsea’s Faster,
Cheaper And Better Looking – Cosy Family Way almost didn’t make it but then I
decided I really liked the guitar solo LOL.
You’ve chosen just 3 songs to represent your work within The Alarm, “45
RPM”, “Superchannel” & “My Town” what is it about them that stands out for
you above others?
Well Superchannel and 45 were both hits, that’s why I went with them.
Then it was a toss up between My Town and Something’s Got To Give. Tough
choices.
You’ve not chosen anything from your latest albums with either Chelsea
or Gene Loves Jezebel is there any reason for this?
I just felt they were too recent – I’m really proud of both Mission
Impossible and Dance Underwater - they need to be listened to in their entirety
– for now anyway.
Your collaborations with Glen Matlock see you choose 2 tracks from the
Philistines & 3 from The International Swingers. Now that Glen has left the
Swingers do you have any plans to work together again?
Well John Carlucci’s been playing bass with The Swingers and he’s worked
out great. But with Glen never say never, I guess. He told us the reason he
didn’t want to do TIS anymore was that he wanted to stop playing bass and
concentrate on being a singer songwriter. But recently he’s been playing bass
with Clem and Walter Lure in The Heartbreakers so who knows.
The retrospective closes with 2 tracks from your excellent solo album
“Everything’s Getting Closer To Being Over”, I remember you saying you were
writing a follow up album so what’s the latest and how long will we have to
wait to hear it considering how busy you are?
Well I’ve written the title track – it’s called The
Other Side Of The World. It’s about my younger brother Dave and his battle with
early onset Alzheimers. It’s been absolutely fucking heartbreaking
Are there any plans for a Vol. 2 if the album is successful?
Hadn’t thought of that. Maybe, although getting this one together has
been a monster job.
Lastly……what can we expect from James Stevenson in 2018?
Well there’s a lot of Alarm in the diary. I
want to get out and promote Dance Underwater with GLJ because I think it’s such
a great album. Holy Holy too of course and also there may be some stuff with
Daphne Guinness whose album I played on courtesy of Mr. Visconti. Sometimes I
don’t know what to expect to come round the corner myself……
James, as always it's been amazing! Thank you & see you at the Gathering!
"40 Years in the Rock 'n' Roll Wilderness (a Selective Retrospective)" is available to order now for just £15 plus £3 p&p! Just CLICK HERE for details!
