Exclusive Interview with A Real Rock & Roll Animal

Steve Hunter

Interview by Doctor Bob, Thomas, Lisa - summer 2007
interview copyright: http://loureedforum.com
info@loureedforum.com

Lou & Steve - London Hammersmith, 2007 by Thomas 

Steve Hunter has contributed so much to rock music in general that he truly deserves the designation of "Guitar Hero" -- Bob Ezrin

Steve, it was an incredible experience watching you perform alongside Lou in the recent Berlin tour, 
something none of us could have even dreamed of until now. 
And thanks so much for allowing us to interview you!

"It's my pleasure and thank you"

You started off playing guitar in the local scene in Detroit in the 1960s. 
Can you tell us a little bit about how you got involved with Lou Reed

"Actually, I was playing in Detroit in the early 70s. And that's how, indirectly, I got involved with the Berlin album.
I was playing with Mitch Ryder at the time. He had a band called "Detroit" and the band had a record deal
to do an album. I had heard a song by Lou called "Rock N Roll" and had done a slightly
heavier arrangement of it for the album. The producer of the record was Bob Ezrin. 
I heard later on that Lou really liked that arrangement and wanted to work with Bob and I 
on something, which turned out to be the Berlin album."

In many ways an air of mystery still seems to lurk over the original Berlin recording sessions.
How well do you remember them?
"I think I remember them quite well actually. It was only my second professional recording and I was thrilled.
It was also my first trip to England . And I got to work with some of my heroes,
including Jack Bruce and Steve Winwood. So I have many fond memories."

Did the atmosphere during the sessions in some way reflect the dark nature of the album?
Or did it just seem like any other job?

"I knew it was more than just any other job right from the beginning. You could see the intensity and depth in the lyric without even hearing the music."

In what way did Lou communicate the songs to the other musicians? Did he play them to you on an acoustic guitar? Or was Bob Ezrin the one who was responsible for showing you the songs?

"Bob had worked out all the arrangements with Lou in advance of our working on it so he was really the one who showed us the songs."

The subject matter of the Berlin album was very adult and very serious, quite unlike other rock n roll music of the time. How easy did you find to relate to the album when you were working on it?

"Working on the Berlin album was like working on a soundtrack to a movie that didn't exist. The album told a story and all I had to do really was understand the story."

How much did you get to play with other musicians like Jack Bruce, Aynsley Dunbar, etc during the sessions? Or was it more a case of overdubbing your parts onto the tracks on your own?

"This was in the days where abums had basic tracks. Several musicians would play on the basic tracks to get a groove and a vibe. I did overdub some parts and solos but there were at least 4 musicians on all the basic tracks that I was involved in."

Did you have total control over writing your own guitar parts for the album or was Ezrin (or Lou) giving you direction on what to play?

"One of the many reasons I loved working with Bob...He could give you a direction without telling you necessarily what to play. He relied on you to come up with things which was great. So as far as I'm concerned I had lots of freedom to come up with my own parts."

Tell us about how you became involved with playing with Lou again after all these years? When did you first hear about his plan to revisit the Berlin album?

"One day just about a year ago now I received a call from Ezrin saying he had some work for me if I was interested. Then he told me that there were plans in the works to do the Berlin album live in its entirety, and would I be interested. I said YES of course."

- How surprised were you?

"I was genuinely surprised but very pleased. I have always wanted to do that album from start to finish live, and here was the chance."

How easy was it for you to agree to this project? Did you have any reservations?

"Absoltely thrilled and couldn't wait to get started. No reservations at all."

How much work did it take to get your guitar parts ready for rehearsals? Was it strange to have to re-learn your own parts from over 30 years ago?

Yes, it was very strange re-learning something I did over 30 years ago but it was also wonderful because it got me back in touch with that record and how I felt about it. Once I started working on it all the parts just came right back.

How do you think your guitar playing has changed since 1973? Do you feel like you are a different player now to what you were then?

"Well, I think I had better be a different player after 30 years! I would be very worried if I weren't. I have learned infinitely more about guitar and music than I knew then. Especially through teachers like Ted Greene. I also think the scope of what I like to play has broadened loads since then. I'm hoping there has been a natural evolution in my playing and, hopefully, in a good way."

We have all heard the sad news that your fellow gunslinger Dick Wagner has suffered from a huge heart attack. Our thoughts continue to be with him in what we hope to be a speedy convalescence. Have you spoken to him or heard anything else?

"Yes...He and I have several mutual friends who have kept me posted on his condition. From the last I heard he is doing very well and mending nicely. The prayers and thoughts will continue to help though."

So much has been said about you and Dick a s a guitar duo. What do you think it is about your playing and his that gave you such chemistry?

"Well, it's probably the fact that we both liked similar kinds of playing and music but I also think it comes down to a mutual respect thing. We wanted to do some things we hadn't heard other duo guitar band doing. And I think we simply enjoyed playing together."

Many listeners have commented that it unless you know whose guitar is in what channel, it is virtually impossible to tell what parts are being played by you and what parts by Dick, both on Berlin and on the two live albums. Do you ever listen to any of those recordings and have trouble figuring out whether it's you playing a solo or him?

"For one thing I don't think Dick played a lot on the Berlin album. I know he sang on some things. But, no, I have no trouble hearing my parts. Your playing becomes your voice and just like your voice you can pick it out of almost anywhere. I would imagine Dick feels the same. Sometimes, though, when it comes to rhythm parts on records...it can depend on the mix and that can sometimes make those parts more difficult to hear. But soloing for sure no problem."

We have heard that you recently worked together on a new Hunter/Wagner song, written and recorded for a new film 'Rock n Roll Animals'. Could you tell us a little about this project?

"Actually that's a project that's still in the works. After Dick's heart attack it was put on hold until he is feeling better."

The Rock n Roll Animal Band is thought to be one of the greatest live rock bands of the 70's. Who actually put this band together?

"I'm not really sure actually but I think it was mostly Bob Ezrin. He knew all of us and how we played so I think he had a big hand in getting us all together."

What do you think it was about this group of musicians that made them work so well together?

"That's a diffcult question because there are too many variables to consider. But I would think basically that we all liked the same kinds of music and all had the same goals in mind. We wanted to be the best band we could be and do the best job we could. And we all enjoyed playing with each other. Other than that, I think it's just simply that it worked well."

Have you heard from Prakash John, or Pentti Glan or Ray Colcord anytime recently?

"Yes, I saw Prakash and Whitey (Pentii) a couple of years ago at a reunion of the Nimbus Nine Studios where we recorded the Alice Cooper stuff. They are both doing very well in Canada and still playing. Ray is doing TV and movie scores out here in LA and doing very well. I speak with him occasionally."

You mostly used to play a Les Paul with P90s in the old days. Now you have switched to a Gibson SG. Why is that?

"Actually, I started on an SG and then went to the Les Paul TV Special when the SG I had was stolen. Most of the guitar stuff on Berlin was done on the SG that was eventually stolen. So when I heard about redoing Berlin live I thought the best thing to do to get close to the sound I had gotten before was to go back to an SG. It was like seeing an old friend."

For the guitar players among us, do you mind taking us through what effects and amps you have been using on tour recently?

"With the Berlin tour I used a Tone Kind amp of Lou's. We plugged it in and it sounded so much better than what I had, Lou just told me to go ahead and use it for the tour. For effects, I used a Pete Cornish SS3 pedal (which is an awesome pedal by the way) and I had a Fulltone OCD distortion pedal. There was also an inline buffered booster in case I needed a little extra punch, and a volume pedal. That was it."

Do you spend much time on specific technical exercises to keep your playing in shape?

"No and I suppose I should. But for me it's always been, playing keeps me in shape. Even if it's just 'noodling' as we call it. Just simpley playing. I do try to keep my vibrato up that way...that's something you can lose a little. But other than that, nothing else."

Several of the guitar solos in Berlin are dual harmony parts. How did you approach these parts knowing that Dick wasn’t there to play the harmony this time?

"Actually I gave that a lot of thought. I even tried using a harmonizer to get the harmony. We also thought about writing a part for perhaps a cello. But when it came down to it, it just seemed the best thing to do was just do my part and let it go."

Was it intimidating coming into Lou's band knowing that the other three guys had been playing and touring together for years and that you would be the new member?

"Not at all really. Those guys were so cool and we are all players so it just seemed very natual and very easy."

You and Lou didn't used to play guitar together in the seventies. Lou's playing borders on free jazz sometimes, it is really unique. That must have been a different experience for you?

"It was a little different but then I love things like that. It always makes me a better player and musician. Playing with Lou was an absolute blast."

You treated fans in Europe with a taster of your famous "Intro" to Sweet Jane. The "Intro" in its entirety is an incredible piece of music and really unlike anything else in rock. Can you tell us a little about how you came to write it? Was it based on scales or modes or advanced music theory like the compositions of so many of the 80's guitarists? Or was it just something you heard in your head?

"The simplest answer to that question is that it was something I heard in my head. I knew very little about scales or music theory in those days. I played almost entirely by ear which has its pros and cons of course. I actually started writing that piece while I w as still in Detroit . I kept refining it and changing it over the next few months or so. I had a short gig with the Chambers Brothers and we actually played a version of it in that band. The best the piece ever sounded though was in that band with Lou. I had almost thrown it away a few times. But when those guys played it, it came to life."

People have described "Intro" as The guitar statement of the 70's. Are you surprised by how much of a big deal people have made about it over the years? How do you feel about it when compared with your other compositions?

"Yes I am a bit surprised really. Of course I never thought in a million years anyone would even care about it really. So when there has been so much notoriety it amazes me. But at the same time, it is very humbling and it's one of those things you dream about as a musician and composer. It doesn't matter how it might be compared or to what. Just the fact that people seem to like it so much, it's one of the most important events in my career. And I am so grateful. I was very proud of it when I first heard the recording. But I didn’t really expect what happened after."

When you originally worked with Lou in the seventies he was taking a lot of drugs and had a very decadent image. Now Lou is doing a lot of Tai Chi and has a very healthy lifestyle. How does it feel to have rejoined his band in such different circumstances 33 years later? Does he seem like a totally different person to you?

"ANYONE seems like a totally different person after 33 years! But, all I can say is I have had such joy and pleasure working with Lou again. Whatever was going on in the past that long ago does not matter to me in the least."

Do you have a favorite song from the Berlin album that you would look forward to performing, or did it vary from night to night?

"Because I had always wanted to do the entire album live and in order for so many years, every song is a joy. I think maybe if I had to pick a favorite it might be 'How Do You Think It Feels'."

Does any one night or venue in the recent tour stand out for you above the others?

"The first show in London stands out as one of my favoriters but they all had their special moments. And there was something very special about doing 'Berlin' in Berlin . That was memorable for me."

Were you surprised by the kind of reception you had from the audiences during this tour?

"In a way I was Yes, because we had done the record over 30 years ago. It was wonderful feeling that response though and knowing so many people, including many who weren't born when the record was recorded, actually 'getting it'."

Can you think of any interesting or amusing anecdotes from your time touring the album around the world?

"I probably had to think about this question more than just about any of the others. But I'm afraid I couldn't really come up with anything. Usually when things go wrong they later become quite funny stories but everything went so smoothly on this tour, in large part because we had such a great crew. There was a fair bit of travelling of course so I guess there simply wasn't enough time for anything, other than the shows, to happen."

You are working on your third solo album produced by none other than Bob Ezrin himself! What should we expect?

"Well for the moment I will tell you this...it is an all acoustic record...something I have wanted to do all my career. I'll leave it at that!

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