'A New Rising Force'

Iain Ashley Hersey is without doubt one of the finest guitarists and songwriters to have emerged from the USA in the past year.  I got to know about this guitarist from Stuart Smith's 'Heaven & Earth' album and since then I have listened to his debut album 'Fallen Angel' countless times.  His songwriting is a throw back to times when strong hooks and melodies combined with great guitar work were commonplace.  This interview is an insight into one of Rock's most promising talents - enjoy!!

Iain thanks for agreeing to this interview, if you could start by telling our readers about your life/musical history.
 The long or short version? Well, let me try and give you a condensed version. Actually if anyone checks out my web site, there is a pretty good overview there already, so I'll just try and touch on some relevant points.

I grew up in a small New England town in Maine. Started playing when I was around twelve and quickly got into the British blues rock thing that was happening at the time. I was listening to 'Cream' and 'Zeppelin', and later I started getting into bands such as 'Deep Purple' and 'Mountain'.>

After playing with a slew of bands, I started to realize my limitations so in order to better educate myself musically; I enrolled in Boston's "Berklee College of Music". Once there and driven to be the best musician that I could be, I got completely involved in jazz. At this point in my life, I was determined only to be the best artist I could, wasn't concerned about money, wanted to perfect my craft and saw jazz as the highest form of improvisation.>br>
<>Eventually I realized that music does not have to be complex to be good. In fact, sometimes the simpler the more effective, certainly much more powerful. Something that I was really starting to miss.

From there I moved to 'New York City' and really only focused on writing and playing my own music. By now I was back to playing heavy rock with a 'Strat' and a Marshall. After several years of being in New York I returned to Maine for a short while than eventually ended up in Sacramento working with an old hometown schoolmate, a vocalist who was out there already. We worked the area for about a year and than I ended up in LA. I attended Musicians Institute for a year and really spent my time there hanging out with all the 'Heavy' players. I pretty much focused on the Fusion/Jazz thing again, but this time I didn't lose sight of what I really loved, which was heavy rock and roll. I still wanted to grow musically and at the same time retain and develop my identity, so instead of playing in all the traditional modes I would adapt it all to my style. Basically I wanted my playing to be recognised regardless of what genre of music I was playing.

After that year at MI, I was invited to stay on and join the teaching staff. (Which I did for about six years, at which point it just got too political for my taste.) So I taught part time at MI and the rest of my energy went into my original band, 'Outcaste'. After numerous personal changes, dealing with the LA club bullshit and an apathetic A & R community, I rethought my strategy and resigned the band to a recording project only. At least I could get people that I really wanted to play with to at least do tracks and take it from there. Basically this approach would enable me to have complete control and not have to compromise. Not that I'm a control freak but sometimes it's necessary if you want something to come out a certain way.

So that kind of brings us up to the present. I think the main thing I'm trying to bring out here is that I was always working to grow and evolve as a player and really develop my own musical signature.   

Your album 'Fallen Angel'’ is one of the strongest debuts I have ever heard. Although it consists of three different vocalists (Dante Marchi, Mike Stone and Paul Shortino) there is an underlining element of it being a band’ album, how did you achieve this continuity and general band attitude?
Thanks, I appreciate that. A lot of the songs were written when I was working with my band 'Outcaste', so consequently were written in a band environment. As for the rest, I tried to pick people who I would want to be in a band with and that would compliment what I was doing musically. I think this helps keep the same sort of vibe together. Even though there were three different vocalists they all had a similar style of voice. Basically that whisky, bluesy type of voice with a good range and a lot of control.

Also keep in mind that I did use the same drummer (Jimmy Griego) through out, and Jimmy who not only used to play with me live in 'Outcaste', really has a very distinctive, powerful style. He's pretty hard to ignore.

I would also tend to think, that being the primary writer that my writing style would pull it together with some thread of continuity.

The opening track 'License To Kill'’ starts off with Monty Norman's 'James Bond Theme', which does an effective job of setting the scene before slamming in proper with the main track, was this your intention for using the piece?
You hit the nail on the head! This song was written when "Outcaste' was playing live and was intended as the opener. The 'Bond Theme' was added later as it would build the anticipation and worked very well, (as you very well put it), "before slamming in proper with the main track".   

The solo in this opening track features some great arpeggio work, was this solo off the cuff’ or written down prior to recording?
The arpeggio part is most definitely worked out, sort of a signature musical interlude if you will. So yes even though it is technical and may sound improvised, I actually look at it as part of the composition. The rest of it was wild abandon, basically going for the throat. If I stumble on something I like in my improvisational madness, I may end up trying to use it again because it sounds and works well.

'Goin Down and Dirty'’ has a great groove and an even more addictive chorus, how did the writing for that track come about?  
Towards the end of 'Outcaste' I was starting to get more into and conscious of heavy grooves and less with the pyro-technique type of playing which showcased technique and virtuosity just for that end. Lyrically, it gets into the darker side of life and human nature. A reality check if you will. So musically it was intended to have a dark groove and be a bit 'Narly'. It's definitely not a love song!

It's also in a 'Drop D' tuning which I really love and lends itself well to a very heavy, bluesy sounding groove. Just for the record, I wrote this song some time ago before this tuning became so much in vogue, and which unfortunately now has been way overused. So as much as I like this tuning, currently I try to steer away from using it. OK guys, time for something different!

'Distant Memories'’ is a classic track with another awesome chorus, where did you get your inspiration for this song?
Lyrically it is a very reflective song. A little bit on the melancholy side but not necessarily depressing, looking back at one's past, where one has been and where one is now. It also represents where I was at a certain point in my life. With that said, I would say that people and things in my past that I would still occasionally think about were the inspiration.

I had previously written a song called 'Don't Look Back' which had a similar lyrical intent. With the vocalist (Jim Viger) that I was working with at the time, we took the idea of that song and it eventually morphed its way into this one. He took the 'Don't Look Back' idea and came up with the chorus line and melody of "Distant memories of love are on my mind". We worked on the arrangement together, but that song has also been through a few incarnations so it's hard to remember now who did exactly what. So aside from the main chorus/melody line that Jim came up with, in its present stage, I've ended up writing most of the present lyrics.  

The solo is an absolute stunner, your Strat sound is so pure and in your face, yet possessing an almost woody/crying/brittle quality, how did you go about recording all the brilliant guitar sounds on the whole album?
The basic philosophy was the simpler the better. Essentially, it was a 'Strat' straight into a Marshall. Get as pure and natural a sound as possible on tape, than add what it may need to enhance or compliment it in the mix stage.

Most of the rhythm tracks were played on a '54 'Strat' (I actually used two different ones, mine and one borrowed from a friend after I had made the bad call of selling the first one.) But what a sound...just listen to the last track 'Moriah'. All the melody and solo stuff was THAT '54 straight into the Marshall. Every time I hear that track I still regret letting that one go, I'd buy it back in a heartbeat if I could locate it. Last I knew it was in floating around Europe.

I also used a '57 and for a lot of the solo work a composite 'Strat' that I constructed myself from an ESP body of one-piece ash, a Phil Kubicki neck (with a'57 V neck shape), and 'Seymour Duncan Classic Stack' pick-ups. My workhorse! It doesn't sound quite the same as the vintage ones, but it is a bit easier to play if you need to do a lot of bends and vibrato due to the scalloped neck and larger frets. I also don't have to stress out or worry too much about it taking it to a gig or on the road.

I've since picked up an early '56 'Strat', but I did not get it until I was finished with this CD, so consequently it is not on it. There is a picture of it though on the inside of the front cover of the CD Booklet.  

The instrumentals in my review I described as a cross of Ritchie Blackmore, Eric Johnson and a bit of Satriani (his 1995 s/t album being the main point) maybe a little Larry Carlton, which guitar players are your influences, both when you first picked up the guitar and now?
God, I've been through so many phases of influences. Early on it was the main three: Page, Clapton, and Beck. Then I got into straight ahead blues players such as Michael Bloomfield and Johnny Winter. From there I got totally absorbed with Ritchie Blackmore, unfortunately to the point I sounded exactly like him. This turned into a very valuable lesson for me. The reason that 'Blackmore' or some other well know player commands your attention is because THEY are unique and have THEIR OWN musical signature and style. So consequently I spent many years really trying to not sound like Blackmore and have since avoided getting too hung up on any one player. I guess the moral of the story is, "To have many influences is good, but to have just one is not, and no matter what you pick up, do it your own way".

After that, I got into the Jazz/Fusion players, Pat Martino, Allan Holdsworth, Scott Henderson, Joe Diorio, Mike Stern, and John Scofield. I Also started listening to and appreciating horn and keyboard players, John Coltrane, Charlie Parker, Miles Davis, The Brecker Brothers, Oscar Peterson, Bill Evans, etc.

Now it's very hard to single out any one 'Cat'. I still love 'Henderson' and 'Jeff Beck', but rarely do I find the time to just sit and listen to them. When I do, I purposely don't pick up the guitar and play along or learn their licks, I just let myself absorb the overall vibe and impact of what they are doing. Generally speaking I don't spend a lot of time listening to other guitarist, I tend to get off on a great vocalist more than anything else. Actually, about the only time I find that I do listen to stuff is when I'm in the car and than it's some Bad Co. CD that my girlfriend has left in there.

'No Stranger'’ is another superb track with a bouncy early Whitesnake’ feel that would make a great single, are you a little disappointed that the album hasn't got the exposure it deserves outside its Japanese release, its got pretty much top marks in every review I've read does it make you a little despondent that record companies are not picking up on this?
To answer the first part, it's not so much disappointing as it is more frustrating, basically because it would be nice to see more people aware of it and have access and exposure to it. Especially with all the positive feedback.

In regards to the Major Co's, I stop dwelling on them a long time ago. Unless you've got some sort of strong inside track, your chances of getting picked up are very remote. They are very corporate and unfortunately know very little about or are interested in music other than a product that can turn a quick profit. Since the kind of music I'm playing isn't exactly on the top of the corporate favourite flavour, I really don't waste a lot of energy worrying about them.
What I do find annoying and am finding out is all these small independents, regardless of what they think of the music don't want to spend the small amount to License it unless you have some recognizable names.

Any news on more widespread availability of the album, will it be available through your website in the near future?
Frankly, I am out of patience waiting for somebody else to pick it up and have decided to again put it in my own hands. (Sometimes it seems like that is the only way to get things done.) So the good news on that front is that I will be releasing this CD myself. By the time you post this, the order will be in and ready in a couple of weeks. It will be available both for sale on my site and whatever outlets I can get it to (Artist Underground being one.) At least it will be accessible to people that are interested in it and they won't have to pay the ridiculous amount that it does as an Japanese import (I've heard it was available through Amazon.com for $40.00. That's ridiculous!) This will be the same as the Japanese version including the artwork except it will not include "The Outcaste' which is a Japanese bonus track.

So anyone that may be interested should drop me a line via my website and I will sell directly to them or at least let them know where to go. At this point I'm hoping to have it the $12.00 to $15.00 dollar range.

Have you had the chance to do any touring on the back of 'Fallen Angel'’?
I have been doing quite a bit of live playing lately, but not with the 'Fallen Angel' stuff. Basically I've been working with other people to keep my head above water. My intention after I get this CD out is to focus on putting together a live act to support it. The problem is that without having proper funding it is very hard to get people to commit to anything, at least here in LA. The other issue is that a lot of the key players are now spread out. The drummer is in Amsterdam, Mike Stone, the vocalist is in Boston, and Jim Austin the keyboardist is in Maine. So at this stage I need to find other players locally or set up gigs in other areas where everyone can converge.

I have been in contact with a great vocalist in Germany. With the drummer in Amsterdam maybe I can line something up in Europe. Once I've gotten this CD issue taken care of, this will be the next issue to focus on. It certainly is time and I will keep you posted as it all develops.

Looking back now what are you thoughts on 'Fallen Angel', is their anything you would change or redo?
(LOL) Done this earlier and put it out sooner! Seriously, the other thing is since it was done in different stages, there is some diversity in the tunes. Basically my writing and taste have evolved over a period of time. So the other thing I might have done differently would be to have done two different CD's. (I still might.) One would feature the heavier/ high-energy material while the other would favour the instrumental and bluesy/moodier tracks.

Personally, I kind of like the diversity, but what I'm finding is that there are some who really gravitate towards the heavy stuff and tolerate/ put up with the instrumentals and there is an audience that is really taken by the instrumental stuff and doesn't relate as well to the other.

Initially I wasn't planning on using some of the older tracks such as 'License to Kill', 'Distant Memories', and 'Goin' Down and Dirty', (to me they sounded a bit dated) but when I did this deal with AVEX, they basically wanted all of it. So in some respects that helped me decide to include it all. The next challenge was to make it all work together, so what I've tried to do was open very strong, ease it down gradually, build it back up, and then end with a very moody, reflective piece (very much like a movie.) Hopefully I did ok with it, people will just have to let me know what they think. Depending on feedback I get, in the future I still might do two separate CD's, but for right now it was more a matter of expediency and financially more practical to do it as one.

You played on Stuart Smith's 'Heaven & Earth' album on the track 'The Road to Melnibone'’ and I believe an un-credited part on 'See That My GraveIs Kept Clean', do you have any plans to work with Stuart in the future (a joint album would be superb) and how did you get to play on            'Heaven & Earth'?
Stuart as we speak, is working on his follow up CD to 'Heaven and Earth', but for this one he wants to have a dedicated band and not have all the guest appearances that he had on the first. There might be some writing involvement, but we'll see. (I've have thrown some ideas his way, so we'll see if he wants to make use of them.)

Playing on his first one came about because we're good mates and aside from him liking my playing, he wanted to help me get some exposure, which it has. He was working on this moody instrumental 'Road to Melnibone' and he knew I was very much into this sort of thing, so he showed me what he had so far and let me see what I could come up with. He had this great melody for the verse section, but needed to have it go somewhere. I came up with different ideas, some of which ended up as the pre-chorus, bridge and modulation, than I harmonized it.  When we recorded it we switched off on playing the melody and solos. Yes, it would be fun to do something sort of project together...maybe someday.

You have a collection of vintage Fender Stratocaster's, what is it that appeals to you so much about this guitar?
In regards to the vintage issue, number one is the tone!  Call it what you will, but there was just a certain magic going on at that time (the '50's early '60's.) It's what I refer to as the 'Golden Age of Guitars'. In the '70s it just all went to crap. I think it all just became too corporate and mass production. There is certainly some nice stuff being made today, so the quality and workmanship is again of a high standard, but I've yet to see anyone really duplicate the sound that these guitars from the '50's have. Some get close, but there is still a difference.

The woods that they used were much better than what we have available today. Aside from already being very old at that time, it had also been air dried for many years (now it's kiln dried.) So at the get go it was already a very light, dry piece of wood that would be very resonant. The pickups were hand wound with heavy gauge wire. Through the years the wire would get brittle and the magnets would get a bit weaker giving the pick-ups a unique tone.

They also used nitrocellulose lacquer (a plant base) in as thin a finish as possible, which helps the guitars to breath and be more resonant. By the mid '60's they had switched to using very thick polyester finishes, which would tend to keep the natural sound of the wood more constrained. So as you can imagine, this would not be as conducive to a resonant sounding instrument.

Combine all this with people at that time who had pride in their craftsmanship, a keen eye towards using the best materials they could get and producing as excellent a product as possible... it adds up!

In regards to the Stratocaster in particular, I find it a very unique instrument to play, very much like a fine violin. It'll squeak horribly if played badly or can just sound so sweet with someone who really knows how to bring the most out of it. Single coil pick-ups can be very unforgiving; they pick up every little nuance, so consequently it's a very hard guitar to hide behind. Humbucking pick-ups, such as on a Les Paul, are very full and mid-rangy sounding which hide or mask minor imperfections.

The other thing that's cool about the 'Strat' is that it has a particular frequency range that really cuts through a mix. A lot of times I see guys playing with humbuckers, and they just sound like mush or are buried in the mix.  Some guys, like Eddie Van Halen and Billy Gibbons, really can make humbuckers work well, but aging they are also playing in a three piece arena, so have less to compete with frequency wise.    

When you pick up different Stratocaster's for different songs do they mean something different to you? Is one like a Ferrari, another a BMW or Mercedes?
Oh yeah! Like I touched on earlier, the best sounding 'Strat' I've ever had or have heard was this '54. It was just amazing, it was so powerful and 'Ballsy' with this full frequency range; lots of bottom end, punchy midrange and sparkling highs. The downside was that the neck was very big so it was akin to driving a truck in traffic, not an easy guitar to play and not one I would use for real high-tech, intricate or fast playing. For slower more emotional stuff it would just "Make you weep instantly". This guitar's body aside from being made of a grainy single piece of ash had also been refinished so you didn't have to be as concerned with being real careful with it.  It also had this incredible heavily 'Flamed' maple neck, and when the lights would hit it, it would just look stunning. So this is an example of a great stage guitar. Being refinished, it was not that valuable as a collector’s guitar, but it still had all the appealing aspects of being vintage, plus a looker to boot!

On the other hand, I have a pair of 'Strats' from '56 &’57 that sound great and I will use in the studio, but I don't really consider them live guitars. Due to their rarity, (the finish on both is 'Blonde' with gold plated hardware and they are in very nice original condition), they are just monetarily too valuable to take a chance with. So unless it's in a very controlled environment it's hard to justify bringing them out, and rarely is the stage what I would consider a controlled environment. But then again, this is what makes Rock and Roll exciting and fun as it’s supposed to be!

Than there's 'Green Meanie' the composite 'Strat' I mentioned before. While not quite having the vintage tone of the others (though it certainly is no slouch in that regard), it is very easy to play, which makes it great for more intricate/high-tech stuff, and killer for bends and vibrato. Also not being of a lot of monetary value, with its share of battle scars already, it's a great candidate to flail around on stage for show.

I saw a picture of you playing the 'Strat' Ritchie Blackmore used in the 'Stone Cold'’ video (at the NAMM show?), this guitar is now owned by Stuart Smith, was their any strange aura in this guitar? (see photo above)
It was actually Stuart's guitar at the time. It is a cool guitar; I was using it because it was there and available to play. Stuart was also playing at that NAMM event and probably had handed the guitar to me. It was a few years ago, so now I'm a little sketchy as to what the story was, I also have photo's of myself from that same event playing my '54 'Strat', so who knows.

I do find the "Stone Cold 'Strat'" interesting because it used to belong to Blackmore (who at one time was a big influence) and seeing how he had modified it, etc. (Aside from the scalloped neck, he had epoxied the neck to the body so that it would not shift. Wow!) I do find it a fun guitar to play as it does play quite well, the pick-ups are 'Duncan' Hot Rail's ('Strat' style humbuckers), which aren't exactly my "cup of tea" (I suspect that Stuart added these.) The other thing that I'm not crazy about is that the body is made from very heavy ash, which is very characteristic of 'Strats' from the '70s.) Anyway, to answer your question, I can't say that I got or get any sort of vibe or aura from it, but then you have to realize I'm not overly concerned with pre-owed celebrity items. I tend to look at things for what they are, not who used to own them, so on that note, not to sound unappreciative or disrespectful, but at the end of the day I tend to see it as a mid '70s 'Strat'...interesting in a novel and historical aspect, but to me personally, guitar wise nothing super special.

The back inside sleeve of the CD has the great disclaimer, “This recording was made with the spirit of simplicity and a mind for the purity of tone strictly utilizing vintage Fender Strat's and Marshall's!!!" What model Marshall do you use and has it been modified, what cabs and other effects do you use?
The Marshall’s were all earlier ones from the late '60s. My favourite and one used for most of this was a 100W plexiglass front Marshall, probably late '68 or early '69 that has had one channel modified by Reignhold Bogner. He does wonderful work and makes the amps sound gainier but still very natural, not at all like a master volume control.

The cabinets I used were Basket Weave Grilled Marshall 4x12's from the late '60s with original 25w green back Celestion speakers. You can't beat them! Even these older Marshall’s have a different tone. To me they have a very warm but brittle and punchy sound. As with vintage guitars, again different materials were used. Aside from the old Celestion speakers sounding very warm, the actual cabinets were constructed from 12 ply birch plywood which enhanced the punchiness, in later cabinets the backs where made of particle board. I do understand that some of the stuff Marshall is making today sounds really nice. So I will just have to check it out.

At the solo and overdub stage I also put a TC Electronics Booster/Distortion pedal between the guitar and amp. I only used the Booster section, and what it does is send a stronger signal into the amp (with out adding distortion), which drives the head harder.

In regards to the effects as I mentioned earlier, everything on the CD was added at the mixing stage.

You are well trained / versed in the guitar, with stints at both Berklee and GIT, what did these places give you the ability to do best?
Setting aside any musical style or direction, what I really got was a very solid background in music period. Rock, blues, funk, R&B, jazz, fusion, classical or whatever, it is all built from the same basic musical building blocks. Music is a science and one that should be understood. To be a true musician, you need to know how it all goes together and works. You can always break the rules later (as well they should be), but first you need to know what they are. That way you're the one who’s in control as opposed to letting the music control you. Even though I'm a strong advocate of having one's own style, one should not be limited by it either. One should be flexible enough to play in different genres, and I don't mean superimposing the same licks over something else but blending with the characteristics of a particular musical form. Than the real challenge is to still sound like yourself regardless of what you're playing.

Generally, I feel schools are good for learning the nuts and bolts, but than you need to take it to the next level, which is to venture out and make it your own.

What would your advice be for someone just starting out on the guitar?
That's a tough one because everybody is so different. I feel no matter what anyone is getting into, that they should do it because THEY want to do it and/or feel led to do it. Perhaps take a good look at yourself first and ask. "Why am I really doing or into this!?"

If its because you feel driven to create or express yourself through it, than the next thing would be to seriously look at it as an art to master, a craft to commit and dedication yourself to! Be willing to do whatever it takes to learn and grow and be the best you can at it.

Learn from as many sources as you can and don't get too hung up on any one influence. Ultimately, you want to develop your own voice, so be true to yourself. That is what'll make you unique and stand out.

Persistence and patience are other aspects one should develop and be aware of. Be persistent enough to be consistent at working towards your goal, but patient enough to wait for the results or see the rewards.

I may be mistaken but I hear quite a bit of finger picking on certain solo's, is this a part of your style or are you a certified plectrum man?
When I started out, I was exclusively a pick guy, unless I was playing classical. Now I'm almost 80- 90% fingers. The small percentage of time now that I now use a pick is for certain things that just don't work well with your fingers, certain techniques such as sweeping arpeggios or Yngwie-ish type things.  But the tone you can get out of a guitar using your fingers cannot compare with using a pick. You can just wrench these tones out of the guitar. Even when playing rhythm I'm almost all right hand thumb and fingers. Playing with your fingers can also be very percussive.

You had made some mention earlier about my guitar tone having certain elements in it ("woody/crying/ brittle")...well that has a LOT to do with the way I attack the strings. So yes, playing with my fingers is a major part of my style and tone.

Have you started writing for your second album? If so what style will ittake and can you give us any working titles?
My main focus is to try and get some mileage out of this current one, I also don't want to give too much away too soon, but yes I've got a few demons working to get out! Definitely a much stronger emphasis on groove and feel. I also find myself being more drawn towards the atmospheric/moody instrumentals and bluesier influenced things as on the 'Fallen Angel CD. The songs that I gravitate to on that CD are 'Oceans of Time' and 'Moriah'. Let's just say it will be less high-tech (unless there be the need) and much more emotional.

Where do you see your music heading in the future?
Who knows the answer to that one? The record companies have been trying to figure that one out for years and obviously can't which explains why they keep coming out with these cloned flavour of the month acts.

Regardless of style, hopefully the quality of music will get better or at least come back into vogue. Unfortunately people tend to like what they hear or know, if they start hearing better quality music they'll start to expect it. Can you imagine someone like Bach, Beethoven or Mozart trying to not write to the best of their abilities and purposely trying to sound bad or out of tune! Now that's a scary thought!

More importantly is where one will go in the future. The main thing is to stay true to yourself. Music should be expression and art first, a product second. True sincerity and honesty are what I feel really sell.

Any parting words for your fans?
First off, I appreciate your patience. Secondly, I'd love to hear from you, so please feel free to drop me a line via my web site http://www.iainashleyhersey.com I think feedback is a very good thing. I'm also setting up an email-mailing list to keep people informed about what I'm up to, so again you need to let me know so I can include you.

I'd like to end by thanking you Iain for taking the time to answer these questions and I wish you all the luck in the world, you deserve it dude.
Very much appreciated, it was my pleasure.

All questions by Andy Craven.
© 2000