Interview

by: Troy Wells

The Eddie Van Halen of bass, the Jaco Pastorius of rock. Billy Sheehan is a true original. At a time when the focus was on lead guitar playing, Sheehan came on to the scene and changed the way we look at rock bass playing forever. His innovative technique is the perfect combination of groove, chops and restraint. His diversity has lent itself to such bands as Mr. Big, David Lee Roth, Niacin and Talas. I sat down with Billy at the Detroit stop of the recent G3 tour in which he performed as a member of Steve Vai's band. He has recently recorded a new Mr. Big album as well as his first ever solo album. We discussed both of these new releases and much more. -

BallBuster: Tell us about the new solo album.

Billy Sheehan: I did a true solo record, I played everything pretty much on my own. Most of the guitar I played was a baritone 12 string, a bass tuned down to B E A D which is a lower tuning than a normal four string bass. A baritone six string electric and a baritone six string acoustic. I sang on everything. I got lucky to get two great players to join me: Terry Bozzio did two tracks with me and Steve Vai of course, played a solo on one song. A blazing, amazing solo. But I did everything else and it's coming out in August on Steve's label Favored Nations. It's called Compression. It's hard to describe the style of it - there's definitely some early Bowie in there. And nowhere on the record will you find the words "heart" or "love!"

BB: It seems like I'm one of the last die-hard Mr. Big fans in the U.S.

BS: Actually, we get a lot of email. It's just hard for them to be a coordinated bunch. We still do real well - sell a lot of records in the U.S. It's just difficult for the band to tour in the U.S.

BB: We've had to rely on bootleg videos from Japanese television since you guys haven't been on tour here since 1994. That's really a shame - Hey Man was worth it for Take Cover alone!

BS: Yeah, that's a great tune. I thought it was modern and up to date too. Unfortunately we got stigmatized a little bit with being a "hair band." But when hair bands were out, they didn't allow us to be a hair band!

BB: How frustrating is that for you over here?!

BS: It's not so bad. Things are good, we sell a lot of records, we tour. A lot of bands are having a lot of trouble much worse than we could ever imagine. So we're pretty happy to have financial successful and artistically creative situation. The pendulum will swing also and things will change in America and I think the success of this tour says a lot. The place is packed everywhere we go. People are into the players. It may not happen in a year, but eventually people will get back to playing again. All through history it's happened like that: The Monkees, Tommy James and the Shondells. All those bands came in for awhile and everybody forgot about Hendrix and all that. Then it swung back again way back in the 60's. It's happened many times. Maybe those trends last longer; maybe they're shorter even sometimes. I think it will come back.

BB: Isn't it odd though that something like exceptional talent and technical proficiency on your instrument actually goes out of style?

BS: Well that's why I believe America owes a debt to Europe and to Japan for keeping some amazing artists alive. Not just rock guys, but some of the greatest Jazz and Blues legends who probably wouldn't be able to earn a living at all if it wasn't for touring in Europe and Japan. Buddy Guy will play in Germany at some huge hall - sold out show. In America, they're going "Buddy who?"

BB: Isn't it a bit of a juxtaposition to go from playing some pretty serious places in Japan and the Far East and you come over here and can't even finish a club tour?

BS: No - I honestly love playing anywhere. In L.A. with Niacin sometimes we play this little place called the Baked Potato. It holds about 80 people tops. Fire Department law - 80 people! But we have a riot, we have a blast! I have my drink on someone's table in front of me. We have a great time. I don't mind playing small places at all. Sometimes they're a lot more intimate. I grew up playing clubs and I've done shows when I started to play where there would be eight people there and six of them were waitresses. Some of those were the best nights of my life.

BB: What is your take on bootlegs?

BS: Bootlegs I've got no problem with. Pirating is different - where they take your actual CD and just copy it. But that happens especially when a big record comes out like Prince or Michael Jackson or N'Sync. Like for movies a lot of times they'll go in with a video camera, film the movie and then it's on sale in Hong Kong on DVD! Bootlegs - I got almost all the Mr. Big bootlegs - I got 40. What I want to do is just post them on a website. Just put 'em all up as .mp3 files and give them away. The thing is with the band, they're selling our shit without our permission. We go in [the bootleg shops in Japan] and we get all the shit free! So that stuff doesn't bother me. People who buy that have already bought the record; have already purchased everything we own, so I don't mind that at all. Lars Ulrich from Metallica caught a lot of heat from fans, but he's helped so many young bands because they're not gonna make any money! Metallica could stop playing tomorrow and never work again the rest of their lives and live an extravagant lifestyle. That's not the issue. The fact is a lot of young bands out there are going to try and put records out, they get popular, it gets Napsterized, they don't sell like they should sell and they don't make any money. And they'll never get to that spot. So.bootlegging I don't mind. Somebody holds a microphone up at one of my shows and records it - just give me a copy! A guy in Erie, Pennsylvania did a Niacin show. He had a mini-disc player, and he goes "do you mind?" I said "I don't mind at all but you've got to give me a copy" - and he did.

BB: There were rumors a couple years ago that there was trouble between Eric and other members of the band.

BS: Well, it's been difficult and that's probably the reason that we can't tour. Because Eric won't do two shows in a row. You've gotta play three, four, five nights in a row in order to tour or you can't make money. It's just his thing.

BB: Does he have trouble with his voice?

BS: He says he does. But I think, and it's just my opinion, that if you warm up before the show - which Eric does not do - if after the show you cool down, get on the bus and get to sleep - which Eric does not do.I've seen Steven Tyler - we did a whole European tour with Aerosmith - every single night, Steven Tyler hit every single high note in every song, all night long. He'd get to the arena at 4:00 in the afternoon for a 9:00 show and start warming up, running the stairs, doing his voice. He'd get done [after the show], they'd wrap him in blankets, throw him on the bus and he'd be gone.

BB: And he's got 10 years on Eric!

BS: Exactly! So it's my humble opinion that any singer can do it if you care to. So, no offense to anyone, but I just believe that's true.

BB: Does he smoke too?

BS: He started smoking. After awhile it's going to catch up.

BB: So we're not going to get a Mr. Big tour for this new album?

BS: I can't see how it could happen. Again, the guy's got a gift and I think it's kind of a sin to.and have so many people want to hear the band. I get emails from people all the time.

BB: He was always consistent every time I saw him.

BS: We did a European tour and he lost his voice quite a bit. Again, after the show, if you want to hang out in the lobby and talk with the fans til 4:00 in the morning, you're gonna fuck your voice up for the next show. So, instead of making the four or five fans happy in the lobby, why don't we concentrate on the 7,500 fans that are paying to get in to the next show? Again, it's just my humble opinion.

BB: Your voice sounded great tonight on La Grange! You sound exactly like him [Billy Gibbons]!

BS: He came out and jammed with us in Houston.

BB: He did? Did you sing? What did he do when he heard you?

BS: He freaked! The reverend. It was amazing. I did La Grange with Billy Gibbons. I did Ain't Talkin' Bout Love with Ed Van Halen. So those are feathers in my cap. I'm not ragging on Eric at all. He's a good guy. He's got one of the best voices I know of in any band. But I just wish he would focus and we could tour in America. Because I see all these bands out touring all summer long. So when Steve called and said "What are you doing this summer? Want to go on tour?," I said "Yes! I gotta play."

BB: I saw you with Niacin and it was absolutely frightening! Dennis Chambers is amazing and it seemed to drive you to a whole other level of playing.

BS: When I started that band, commercially one of the reasons was that I wanted to expose myself to players like that and try to absorb some of what they do. And Dennis really has changed my life for the positive. Pat's a big Dennis fan, he loves Dennis' playing. He understands, he's seen us many times. Our first Niacin record, we were in Japan touring and I said to him, "Hey check it out Pat." He came up to me later and said "Billy, I don't know what to tell you man. This is unbelievable." I had no idea it would have that kind of impact. Pat's playing has improved quite a bit as a result of Dennis. He comes out and sees us and he's inspired as well. I've been lucky to play with some good drummers: Virgil, Dennis, Greg.He knows all kinds of different styles, so when he plays rock, he brings a lot of the elements in. As a result it's unique and cool, fresh. He's an amazing player.

BB: Speaking of Eric and now with Richie coming in, how does it feel to have half the band be black now?!

BS: [laughs] Richie's a very soulful player. Some producer used to tell him that "Richie get over it, you're not black!" He's got a real smoothness and vibe. He's got a great voice, and he's a blazing player. He had very little trouble doing all the stuff from the old Mr. Big songs - Daddy, Brother stuff and.

BB: I noticed there was no drill though.

BS: That kind of one of Paul's things - let him take that with him.

BB: I've heard demos from the first album. Did you guys demo every album?

BS: No. But there are some other demos around. The original Green Tinted Sixties Mind without Eric singing. Kelly Keeling is singing. And there's other stuff. But ultimately I'm gonna post everything on the web. I've also got some other stuff. Geddy Lee was late for sound check and I got up and played with Neil and Alex. We just jammed and they gave me the tape. I'm putting that up. I got up and did Closer to Home with King's X at the House of Blues in L.A. Doug's amazing. I love that guy. He's so great.

BB: I wanted to talk about the new album Actual Size and the last album, Get Over It. I thought there were some great songs on Get Over It, but one thing I missed as a fan of the old stuff, was the technical musicianship. Not only was it toned down, it was almost gone.

BS: That was a complaint of mine too.

BB: Did they say "Don't do that, it's not in anymore?"

BS: Yeah, a little bit. I think that it's a mistake. People know you from one thing.I understand growing and uplifting them as well, but there's also an element of things that I think should remain in there.

BB: Can we blame that on Eric too? [Laughs]

BS: Uh...Yeah! [Laughs] No, not necessarily. I think it's some of the consensus of the band, other than myself, is to tone it down sometimes. I don't agree, so I'm the odd man out on this argument. Again, it's just a matter of opinion and that's the way they feel. It's a band, it's not my show.

BB: Who would you say is "they?"

BS: I think all the other guys. This new record reflects that a little bit too. There's not a lot of playing, so to speak. Which - I'm disappointed. I think there's some good songs on it, some good playing, but.For me the thing I really liked about Mr. Big was the fact that there's some cool songs and a good singer. And the structure of the songs.and every once in awhile you'd hear this."Holy shit! Cool!" I'd like to see that element emphasized more, but like I said, I'm only one of four. I put my vote in. I made sure my "chads" were punched through all the way.

BB: Kotzen has evolved so much as a songwriter, after having had three solo instrumental shred albums out; he's probably gotten that out of his system.

BS: Yeah, he's done some wild stuff. But I think he should.don't waste it. Every guitarist on this tour has incredible abilities. Between John Petrucci, Steve Vai, Joe Satriani and every guest we've had out there, they all know about music and melody. It's important. It can be done. I've seen it done every night on this tour. I think it's important to not deny the abilities that you have. Utilize them as best you can. There's a time and a place for everything.

BB: And I think what was done was appropriate throughout the Mr. Big catalog. Eric says in the first video that the first album has "more chops than a butcher shop."

BS: And he means that in a derogatory way.

BB: You can't tell me that there's not great songs on the album. Had Enough is still one of my favorites. People might not realize that you were the sole composer of that song.

BS: Thank you, I like that song. That was a Talas song. I was playing it in 1984.

BB: I think Paul was the last of the four of you to come through here.

BS: Paul is a wonderful guy and I really could never say anything bad about him. But we actually didn't really connect personally a lot. I never really spoke to him too much when he was in the band. He's not gregarious or outgoing. He's a good hearted guy, he's an honest person. Talented player.

BB: One thing I have to comment on is the B-side from the last album, your cover of Burn.

BS: Right on! I fought tooth and nail to get that recorded. I did the keyboard solo on bass. That was a challenge. But overall, the song wasn't that difficult to record. Again, it makes my case.when we played that song in Japan, the place exploded. We just played it instrumentally because Eric refused to sing it. But I actually had to sit down and learn it off the record. It was cool, I loved it. I used to play Burn in Talas years ago. Ian Paice came out to a bunch of Mr. Big show. Incredible drummer. The first time I heard Ian Gillan's voice was in Jesus Christ Superstar, and I thought "who the fuck is this guy from Deep Purple?" So I went out and bought In Rock [sings first line of Speedking]. Holy Shit! And then Ritchie Blackmore, oh my God! And then Fireball came out.they were some of my favorite records. The guitar solo in Strange Kind of Woman is one of my favorites.

BB: But when it's all over, will Blackmore be rated up where he should be?

BS: There's a lot of guys like that. Rory Gallagher is one of my favorite guitarists of all time. People don't even know who he is a lot of times. So you just gotta go with what you like. Sadly and oddly, when a guitarist passes on, sometimes it's the best thing for their career - horribly. Because they stop at that one point of the peak and they never blow it. They never put out a shitty record and they never do something stupid or make some dumb ass career move that will later on reflect on them poorly. If Ritchie Blackmore would've stopped playing after Machinehead, it would've been unbelievable.