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“Tomorrow Never Comes”
Lizzy Borden schedules an
Appointment With Death
By Anthony Morgan
On the afternoon of May 17th 2004, former Lizzy
Borden guitarist Alex Nelson tragically passed away in a head-on collision.
Nelson had replaced original Lizzy Borden axeman Tony Matuzak prior to the
recording of 1986 live effort The Murderess Metal Show, gradually etching
his name into the group's extensive history. Reportedly a fun loving, likeable
personality. A move to Palm Springs, California with wife Angel Nelson was meant
to be the start of a new chapter, with a new home and a rental business
acquired. Sadly, it wasn't meant to be. A mass for the late guitarist occurred
at 10am (US time) on the 21st at St. Theresa's Catholic Church in
Palm Springs, followed by a procession to Palm Springs Mortuary & Mausoleum.
After 3pm, Nelson's body was cremated. Frontman Lizzy Borden paid tribute to a
fallen comrade with a special toast on the 23rd at the King's X show
at House of Blues in Hollywood.
2003 was largely spent cutting an album that didn't come to
fruition, so Lizzy Borden shelved the record. Following that, members of Lizzy
Borden had formed Starwood. In the vein of Cheap Trick, the group performed
seventies Hard Rock 'N Roll with a commercial pop edge. Debut full length If
It Ain't Broke, Break It! was issued via Metal Blade Records during July
2004, spawning two music videos; for the songs “Subculture”, and “All My
Girlfriends Have Boyfriends”. The outfit even played several club dates, such as
that supporting UFO at Hollywood's House of Blues on November 14th.
From November 17th-21st, Starwood also supported Motley
Crue's Vince Neil on a short UK tour. That was quickly followed by two shows
with erstwhile Dokken axeman George Lynch from January
18th-19th 2005 at Californian venues. Other dates
occurred, including a June 17th show at Club Vodka in California
(filmed for a DVD release), and a promotion tour of Japan during November. On
the 26th, Starwood entered the studio to record a sophomore full
length effort. Tentatively due in early 2006, it never saw the light of day in
that year - despite the fact it was largely finished. Itching to play Metal once
more, Lizzy Borden discussed tentative plans for a new disc during March 2006.
Minus an axeman, auditions went underway. The successful candidate needed the
ability to rehearse in Los Angeles, play with a taste (ala Ozzy Osbourne axemen
Randy Rhoads and Zakk Wylde), and possess stage presence within a live setting.
In April, it was announced that Ira Black (formerly of Vicious Rumours and Metal
Church) had filled that vacant guitar slot. An actual Lizzy Borden fan who
played the tracks with his own individual flavour, the axeman proved a worthy
addition to the group. During May and June, Lizzy Borden supported W.A.S.P on
select dates during their North American trek.
Starting life in 1983 in the backdrop of seedy Hollywood,
during the eighties Borden had penned such theme-oriented full lengths as 1985's
Love You to Pieces (1985), 1986's Menace to Society (1986), 1987's
Visual Lies, and 1989's Master of Disguise. Heavy Metal's voice
became largely muted voice during the early nineties, causing the group to go on
indefinite hiatus. No longer active, 1994's The Best of Lizzy Borden
compilation release aimed to remember the better times. 2000's Elliot Solomon
produced Deal with the Devil proudly announced their return with a
thundering blast, and so 2007 proved to be sufficient time to build upon that
legacy.
November 2007 brought full length record Appointment With
Death to world audiences, a conceptual album based on the topic of death.
Alongside drummer Joey Scott, mainman Lizzy Borden handled production. Cut at
Zanzibar studios in North Hollywood, mixing duties were handled by Erik Rutan
(Hate Eternal / ex-Morbid Angel) at Florida's Mana Sound. A host of esteemed
musicians donated guest contributions to the recording, including; George Lynch
(Dokken / Lynch mob), Dave Meniketti (Y & T), Corey Beaulieu (Trivium),
Jonas Hansson (Silver Mountain), Eric Rutan (Hate Eternal / ex-Morbid Angel),
Michael T. Ross (Angel / Hardline), Adam Cameron, Zane, and Marliese Quance.
Special effects impressario Ralis Kahn teamed with Borden to create a design
based on the themes which Appointment With Death. Over a period of two
days, photographer Alex Solca shot over a thousand photographs with the group.
The front cover art illustrates frontman Borden as Death, collecting the souls
of three various individuals. By their own hands, they had ended their lives in
three widely contrasting ways. Following the shoot, the set was burnt. The
special attention paid to the artwork was attributed to the impending death of
the compact disc, and the rise of the digital age.
With a fresh stage show based on the album's theme promised to
be in the works, mainman Lizzy Borden generously granted an email interview to
Lucem Fero. Various aspects of Appointment With Death mentioned in the
previous paragraph were brushed over with a fine toothcomb. Also, the mainman
shared his memories of Alex Nelson, revealed how close Lizzy Borden came to
disbanding, how Ira Black came to join the group, details of Starwood's
sophomore album, thoughts on Lizzy Borden's twenty-fifth anniversary and how the
group plans to celebrate that milestone, and Decline of Western Civilisation
II. Possessing a distinct clarity, multiple years of first-hand experience
within the music industry have gradually shaped the veteran musician's
perspective. Wise and more knowledgeable nowadays with the benefit of hindsight,
Borden's words of wisdom could possibly prove immensely beneficial to budding
musicians striving within today's musical landscape.
Hi Lizzy. How are you today? Ok?
I am doing absolutely amazing!
First of all, could you give us an
introduction to Appointment With Death?
Appointment With Death
is a record about facing a reality; at some point in our lives, the
reality is that we will all be having a conversation with the Angel of
Death.
How would you describe your musical
contributions to this album?
For the first time since 1987, I
invited the whole band to contribute to the music on this record. Any
one of us may have brought in the majority of the music to one or more
songs, but then the whole band would implement their input and put
their mark musically on any given song.
What influences did you have on your
contributions to this album?
Musically, we were influenced by the
entire Lizzy Borden catalog - from 1983 to 2000. Lyrically, I do what
I always do; to try and breathe life into the songs, I pick a theme to
work with. In this case, that theme was death.
How do you feel you've evolved over the
last few albums as a musician?
I think I'm a better songwriter, and I
know I'm a better singer. I'm able to listen to the last few records;
that, in itself, is a huge step for me. After I'm done with something,
I usually move on.
How did the recording process develop
at Zanzibar Studios in North Hollywood, California? Are there any
tales from recording that you can tell us?
We have a new guitarist, Ira Black, and
we wrote the music all together. For those reasons, we had to spend a
little bit more time in the studio getting to know each other on that
level. Everyone has a different style, and a different way of working.
Getting in touch with that is the tough part for any band.
You and Joey produced the album, so how
did you both approach the production on this effort? What type of vibe
were you attempting to capture?
Even though we rarely take credit, we
are always involved in the production of every Lizzy Borden record.
Here, our main goal was to make a traditional Lizzy Borden record in
the Classic Metal vein.
Erik Rutan mixed the album, so what
type of mix did you wish for on this effort? What type of mix did Erik
opt for, and how do you feel it strengthens the sound of the
respective songs?
Musically speaking, Erik comes from a
completely different background than we do. This record was a very
complex record, and could have been mixed a million different ways.
Erik decided to go to its simplest form, straight ahead, and it seemed
to work. Most people are saying this is the best Lizzy Borden record
we've ever recorded.
You said that lyrically being graphic
or grotesque would have been too easy, or that being overly morbid
would bring nothing new to the concept. How difficult was it not to
stray into this territory?
To be interesting; that was the goal.
For me though, it's never been about gore. I love horror films, and I
love thrillers. My favourites though are somewhere in between, and
that's what I tried to do with the storyline and the lyrics for this
record.
Were there times during the writing
process where the songs were lyrically graphic, or overly morbid?
Not really. When you're talking about
death though, you can die in your sleep or you can be eaten alive by a
lion. I had to find my input on the subject, but without necessarily
describing my intestines being ingested. That was the challenge.
What are your thoughts on groups who
opt to write lyrically graphic songs, or opt to be overly morbid?
When I see lyrics like that, I
immediately think of the person who wrote it rather than what it was
that was written. Did they write it for shock value, or are they truly
artistic? I'm a fan of Edgar Allan Poe, so I always try and see the
art in everything.
You said that death strikes “fear in
the living”, and infects “us in many different ways”. How do you feel
death has struck fear into you, and infected you in many different
ways, personally at various points in your life?
At the age of fifteen, I was in a
motorcycle accident. I could have died at that point, and there have
been a few more brushes with death since then. Some of my best friends
have died too early; some by their own hands, and some by an accident.
If you know someone who's passed on, then that means death was very
close to you. Instead of you though, death decided to take your
friend. When you know death is in the next room, you may end up
walking out still breathing. It just means that you get another day,
though it doesn't mean that death won't come to visit you soon. You
just never know when.
You said that you write all Lizzy
Borden recordings as though writing a play or a movie, so can you tell
us more about this approach?
When most people write songs, I think
they usually put themselves in as the lead character. That makes it
real, whether it was or not. I usually bypass all of that, and create
a character from the start. I then let him or her do the talking. Once
you develop a character, you have to have somewhere to go. There has
to be some experience, a destiny. A reluctant inevitability is where I
usually like to take my characters.
What appeals to you about this approach
to writing albums, and why do you feel it works for you?
It's like wearing sunglasses inside;
you get to see a lot more, and that's due to the fact you can look
anywhere you want. No one will ever know. I can say anything I want,
and it has no reflection on me or what I believe personally. It's the
character that is screaming his beliefs, and not myself.
You said that each Lizzy Borden record
has a beginning, middle and end, so what does each phase of the
Appointment With Death story document?
Each song is a story within a story,
and the connecting line is death. Still, I try to write songs where
the reader ultimately connects the dots. Within their own imagination,
a reader can identify and create what it means to them. I think that's
the definition of true art, and that is my goal.
Who is the lead character which this
album documents, and on what journey does this lead character take us?
The lead character is death; the
journey is up to you, so start reading.
In what respects is Appointment With
Death epic, heavy, dark and melodic?
Musically, the songs are a soundtrack
for the lyrics; if the lyrics are dramatic or dark, then the music is
there to support it.
A host of musicians guested on the
album. How did they record their respective parts, and what did they
add to the songs?
Some came into the studio, whereas some
others did it at their own studios. Their contribution is
insurmountable. Everybody that played on this record, whether they
were a guest or in the band, added a piece to the puzzle. Looking back
now, if you take any one person's contribution away, then the album
becomes less great. I guess that's how you measure their contribution.
What's your favourite track upon the
album, and why? How would you describe that track? What are the lyrics
about on that track?
I don't dislike any songs on this
record, otherwise they would not have made it to the recording
process. If I had to pick a favourite though, it would probably be
“Under Your Skin”. As it takes away from your interpretation of them,
I don't like to describe my lyrics. That's why they're there in the
first place.
Special effects guy Ralis Kahn has
designed a set for the Appointment With Death tour. What type
of set has he designed?
Ralis designed the set of the photo
shoot. The album's front cover art was based on some of the songs,
whereas the look of the lead character was based on what we thought
the Angel of Death would look like. As far as the live show, we are in
the process of putting it all together. It will represent the visuals
from the cover, and inside booklet.
What can fans expect on the upcoming
tour, and what type of show does Lizzy Borden usually want to give the
fans?
At all costs, our main goal is
entertainment. We don't just play to the fans who know who we are; we
play for the fans who've never seen or heard of us before. Also, we
try to get them involved so that they have a good time with new
strangers.
The press release for the album says
“the Lizzy Borden sound has evolved into a multi-dimensional
ever-lasting-gobstopper”. Can you expand upon this?
It was a reference from Willy Wonka
and the Chocolate Factory. Basically, I think it meant that over
the last twenty-five years, the factory has finally been built. It's
running at full capacity, and is churning out things only dreamt of
before.
You did a photoshoot with Alex Solca,
so how did that unfold over those two days?
The photo shoot was extensive. Our goal
was to make the music and the lyrics come alive on the cover art, and
the inside booklet. We wanted to make the characters in the songs a
visual. In short, we wished to set the stage, set the scene and then
freeze it in time.
Looking back, what would you say is the
best memory you have of Alex Nelson?
He had a connection to everybody. I'm
usually very business like, and don't like to screw around too much
when we're working. He felt it was his job to break that down, and try
to have more fun. He was the only one that could break down the wall;
for some reason, he had that ability with everyone. Even though I
always told him he was the most talented musician I've ever worked
with in every way, He never really thought he was all that talented.
People would ask him who his influences are, and he would say
“everything I've ever seen or heard”. I used to love that quote as it
was so true of all of us.
How would you describe his style of
playing as a musician, and what he bring to Lizzy Borden during the
various times he was a band member?
His personality was everything; if you
had met Alex, then you would've best friends inside of five minutes.
Due to the fact he was a people person, he was the most likable person
on the planet. He was the life of the party, and most people always
wanted to be around him. As far as music goes, he took a break from
playing. Alex put his guitar in the closet for five years, though we
coaxed him back in the band. he took his guitar out, and rehearsed
with us the next day after not touching it for five years. He played
perfectly, and that's a true musician. He was a great singer, and a
great keyboardist. He had it all.
After Alex's passing, how close was
Lizzy Borden to calling it a day?
We were there, but didn't say it out
loud. It took awhile to get the desire back.
When you made the decision to continue
with Lizzy Borden, what was the overriding factor which made you
arrive at that decision?
Yeah, to play interesting bass is
great. Usually when you're playing in the Rock sector you have to play
less than you're able to, and then sometimes do a little bit more than
the normal four four groove (laughs) which is nice too. At the end of
the day, it has to fit with the songs - I'm not one of those quarter
of an hour solo players. I'm a team mate, I'm playing with the best
and I want to have success with the band and not success as a soloist.
That's even if I could play a solo album in half an hour, as it would
make me famous but not the band.
How difficult was it to find someone to
play guitar for Lizzy Borden following Alex's passing?
Well, we were lucky. Due to Starwood,
we had a good amount of time between Alex's passing and searching for
a new guitarist for Lizzy Borden. We auditioned eight or ten guys; the
last one to come in was Ira Black.
You auditioned several guitarists, so
why was Ira Black ultimately chosen? What potential chemistry did you
see with him?
Ira came in recommended from a friend.
What he had different from some of the others is that he was a fan of
Lizzy Borden, and not just looking for a gig. He came in, and knew the
songs through and through. Ira played them in his own way, but still
traditionally. We offered him the position on the spot.
Did any other guitarists audition whose
names Metal fans may recognise?
I'll never tell.
How does Ira put his creative stamp on
Appointment With Death?
First of all, he came in with a lot of
material. Some of it was disjointed, whereas some of it was well put
together. We were all eager to do something a little different, but at
the same time remain loyal to the past. Ira had to adapt to the three
of us, and we had to adapt to him. That took about six months, and I
think we finally got to a place where there was a mutual understanding
of each other. Appointment With Death is the end result.
Can you talk about the video shoot for
“Tomorrow Never Comes”?
The video shoot was filmed in an
abandoned hospital in downtown Los Angeles. It's about a girl trying
to escape the mental ward, though there are lots of unanswered
questions about this girl. If we continue with the storyline in the
next video, then those questions may be answered. Or again, we may
leave it to your own imagination. The girl in the video represents one
of the characters on the record.
You mentioned that CDs will be no more
in future, so what are your thoughts upon the digital market? Do you
feel that the digital age will be a great thing for Metal music?
If they can find a way for people to
pay for it, then I think it could be amazing. Until then though, it
really hurts a band like us. For some reason, most of our fans must
not have credit cards - we don't sell a lot of records online. As all
the major chains have closed, it's very difficult to find the records
in stores. These stores may sell other things, and have limited space
for CDs. I know a lot of bands that put out records as part of
obligation to a contract, and not for any other reason. They know it
won't sell to the level that they are used to. I hope it starts to go
in our favour soon.
There's going to be a new Starwood
album, so what can you reveal about it?
We spent a good amount of time working
on this record, and wanted it to be different than the first one. We
really worked on the songs for that reason, and I can't wait to
release it sometime in 2008.
What song titles are there, and what
themes do those songs explore?
That's another interview for another
time.
Which direction will it go in, and how
will it differ from the previous album?
The songs are better, and the
production is better. We had a lot of fun working on it, and you can
tell when you listen to it.
When do you hope to release it?
Sometime in 2008. At this point, I'm
not sure what label it will be released on.
What's your least favourite Lizzy
Borden album, and why?
I would have to say Menace to
Society. This isn't due to the songs, but as a result of the final
mix. It was a case of too many chefs in the kitchen. Everybody wanted
to be louder than everybody else, and that squashed it down. Instead
of being bombastic, it was condensed - that was not the original plan.
If you had the opportunity to re-record
that album, what would you change about it?
I would love to remix it, though there
are a few records in our past that I would love to remix. We have
always worked with low budgets, and we still do. We make miracles with
the money that we have to work with to put out our products. If people
only knew the amount of money that we have to work with to do the
things that we do, then I think most people would be blown away by
what we accomplish. Also, they would be blown away by how much we had
to make it happen, comparatively speaking.
Looking back, how do you view albums
such as Love You to Pieces and Master of Disguise? Do
you feel they're classic albums, or is that not the case?
In my mind, yes. Love You to Pieces
was our first production, and our first release upon the world. Again,
we recorded the album with almost no money at all. We did all right, I
think. Master of Disguise was the first record where I learned
a lot about myself. Finally, I learned how to sing in the studio. I
learned that I could do this on my own without a band, though most
people never find that out until it's too late to turn back. I took
the chance, and Master of Disguise became our biggest selling
record.
In 2008, the group will be quarter of a
century old. What plans are there to celebrate that? A live concert /
DVD? Live tour? A new best of release?
Right now, all of our attention is on
the release of Appointment With Death. We have a lot of great
ideas on how we want to celebrate our twenty-fifth anniversary, and at
some point soon we will have a meeting. We'll start to work on some of
those projects, and we'll then get them out all throughout 2008.
How do you feel the band Lizzy Borden
in 2007 differs to the band in 1983? How do you feel the band differs
from nearly a quarter of a century ago?
In some ways, it hasn't changed from
when Joey and I put out an advert saying “looking for musicians to
form a theatrical Metal band”. We've learned so much along the way,
and all those things are evident in our most recent releases. The
studio is our friend now instead of the dread, whilst the live show is
just as vicious as ever.
How do you feel your perspective has
changed over those twenty odd years?
Things come and go, and you have to
role with the punches. We still have to deal with people saying one
thing, and doing another. That alters the course that you set out for
yourself, and there is almost nothing you can do to change that.
That's the tough part. Those problems been there from the very
beginning, and I imagine it's never going to go away. The one thing
I've learned from Alex though is try to have fun along the way, even
with the obstacles.
What do you feel you've learnt as a
person and as a musician over those twenty odd years?
Everything! I've learned how to sing,
I've learned how to write, I've learned how to do really long
interviews…… and I learned how to have fun doing the things I love, no
matter how pissed off I get at the people who interfere with that.
Looking back, what are you own personal
highlights from being in Lizzy Borden over the past twenty odd years?
My own personal highlights include
playing the Reading Festival with Alice Cooper in front of
fifty-thousand people, and playing the Bang Your Head and Wacken
festivals. Also, another personal highlight is putting out what people
are saying is our best record after twenty-five years as a group.
Do you still keep in touch with the
former members of Lizzy Borden?
Every once in awhile, I still see Mike
Davis. He plays with Halford when Rob (Judas Priest vocalist) does his
solo material.
Lizzy Borden participated in the
documentary Decline of Western Civilisation II, so how do you
feel that captured the LA heavy metal since in 1988?
I'm proud to be in one of the only
documented movies about a musical movement that changed the world. It
all started in Hollywood, and I was there at the beginning. I watched
it turn into the monster. Some of this is in that movie, and that's
the only thing that we have which documents that time in that place
that I know of.
Spheeris has since admitted that a
scene with Ozzy Osbourne in the film was faked, so did Spheeris have
you to fake any scenes in there? Did she deliberately try to discredit
the heavy metal scene with that movie?
No. She filmed us backstage doing
unspeakable things with the women that found their way back. She
filmed it all, and didn't have to fake anything. It was our own
reality at the time, and she just had the camera rolling.
Unfortunately, she ended up cutting most of that out of the movie. She
ended up getting Steven Tyler and Joe Perry (Aerosmith), and Gene
(Simmons) and Paul (Stanley) (Kiss), so something had to go. That's
fine with me though, as some of that footage might have gotten us all
in trouble.
Can you pin point the exact moment you
thought “I want to be a musician”? Where were you when the thought
dawned on you, and what age were you? Also, why did you decide to
become a musician?
Since I can remember, I've always
wanted to do this. When I was roughly seven, my grandfather bought me
a guitar. When I saw Kiss for the first time though, I said to myself
that this is the greatest job in the world.
How did family and friends close to you
react when you informed them? Were they initially supportive, or did
they think it was a phase? How did their reaction make you feel?
My dad still thinks it's a phase I'm
going through; after twenty-five years, he can't wait until I say I'm
done with all of that. I guess it was hard telling everyone “Meet my
son, Lizzy” though! I've been Lizzy for twenty-five years, and I will
die that way.
As a musician starting out, which
musicians did you particularly idolise, and why?
Kiss, Alice Cooper, The Tubes, Deep
Purple, Rainbow, and Judas Priest. I loved some groups due to their
show, whereas I loved some other groups because of their singer. It
was mostly about how the music, and the image, made me feel.
What are your upcoming musical plans,
and where would you like to take your career in the coming years?
We hope to get out another Lizzy Borden
record soon, whereas our second Starwood record will be out during
2008. I personally hope to get into film too, and wish to make my own
videos. Also, I wish to possibly film- a horror film at some point.
What message do you have for the people
who've followed and supported Lizzy Borden over the last twenty odd
years?
The fact that you have followed us for
twenty-five years makes me think we're doing something right. I hope
we keep doing it right, and I hope you love our new record
Appointment With Death.
Thanks a lot for the
interview, and I wish you and the other guys in Lizzy Borden all the
best with Appointment With Death. Are there any final thoughts
you wish to share with readers?
Please download all you want, though at
least buy one copy of Appointment With Death to support the
band and Metal. Thanks; I'll see you on the Appointment With Death
tour, and yes, oh yes, there will be blood.
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