Ian Hunter

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Ian Hunter's musical pedigree should require no explanation, but, for the uninitiated, the primer is as follows.

Born in Oswestry, Shropshire and fuelled musically by the likes of Little Richard and Jerry Lee Lewis, Ian Hunter Patterson played in various bands throughout the sixties, including The New Yardbirds and, as a bass player, backed Billy Fury,Freddie Fingers Lee, The Young Idea and David McWilliams. He also worked as a journalist and staff songwriter for Francis Day and Hunter before joining Herefordshire band, Silence, in 1969.

Renamed Mott The Hoople by manic mentor and producer Guy Stevens, Hunter became the group's vocalist, principal songwriter and focal point with visually striking corkscrew hair and omnipresent dark glasses. Mott recorded four crazed but critically-acclaimed and highly influential albums for Island Records and possessed enormous live prowess, but poor record sales led to a temporary split and a move to CBS/Columbia. With David Bowie's 'All The Young Dudes' as the launchpad, Mott The Hoople hit superstar status between 1972 and 1974 - seven hit singles, four chart albums (including 'Mott' - still regarded as a seventies' classic); they were the first rock band to sell out a week of Broadway concerts in New York's theatreland, and Ian wrote his universally acclaimed book,Diary of a Rock 'n' Roll Star.

Hunter's lyrical foresight and percipience were astonishing - 'The Moon Upstairs' (1971) pre-empted Punk Rock by five years, 'Crash Street Kidds' (1974) predicted social unrest and British street riots in the early '80s and Queen must have been listening to Ian's five minute operetta, 'Marionette', an obvious precursor to their #1 smash hit, 'Bohemian Rhapsody'.

Various personnel changes in Mott The Hoople ended with the recruitment of the highly talented Mick Ronson as lead guitarist, but personality clashes and strains within the group resulted in its demise after Hunter suffered a physical breakdown in the USA. In spite of the considerable pleadings of their original guiding light, Guy Stevens, Ian traded the safety of Mott the Hoople for unknown and risk-laden solo territory.

On paper, the combined potential of Mott and Ronson was frightening and Ian's first stunning solo album, recorded with Mick, illustrated the considerable opportunity that was missed. Hunter was soon trailblazing again and his second LP, released fifteen months later, whilst labeled commercial suicide, was soon mirrored by Sting after he quit The Police and issued his first solo records in a style reminiscent of 'All American Alien Boy.'

Hunter continued to pool his vocal and writing expertise with Ronson's instrumental and studio capabilities over the next fifteen years, both for recording and production work. The latter included Generation X, Ellen Foley, Hanoi Rocks and Urgent. By the mid '80s however, Ian's output was less frequent, being restricted to occasional songs for movie soundtracks, until he resumed his partnership with Mick in 1988, when they recorded and toured for the first and only time as 'Hunter Ronson'.

Ian has been cited as a major inspiration and reference point for numerous bands including the Clash, Kiss, Def Leppard, REM, Motley Crue, Blur and Oasis. Hunter's influence has remained incalculable; accompanied on stage by Ian Astbury of The Cult, Axl Rose and Slash, Roger Daltrey, Meat Loaf and Bryan Adams amongst others (and at their request), there are now over 50 different cover versions of Ian's songs from artists as diverse as Great White, The Presidents of the United States of America, Status Quo, Blue Oyster Cult, Bonnie Tyler, Barry Manilow, The Pointer Sisters, Willie Nelson, Thunder and The Monkees - further evidence, surely, that he is one of our greatest-ever songwriters.

Freddie Mercury of Queen enquired of a former Mott member in the '80s why Hunter had never reformed such a successful and influential group, a resistance which Mercury failed to comprehend. The clue is in the unprecedented diversity of albums such as 'All American Alien Boy', 'You're Never Alone With a Schizophrenic', 'Short Back n' Sides' and 'YUI Orta' which bear witness to Ian's belief that artistic honesty and independence outweigh any commercial consideration whatsoever. It is also interesting to observe that so-called 'greats' such as Dylan, Springsteen and Elton John have issued their share of patchy albums over the years whilst the quality of Hunter's recorded repertoire has never wavered from the very highest caliber and consistency.

- Campell Devine

In 2007 Ian released his most critically acclaimed album for a number of years. The album, Shrunken Heads ended up in Best Record Of The Year sections of Classic Rock, All Music and Harp to name but three.

Runka, runka, three chords and a cloud of dust. The Georgia Satellites were one of the most ferocious bands of the 80’s and what set them apart from the other 10,000 groups who cranked their amps up to 11 was that their wild riffs and tanked cries came from a band that, from the start, understood it’s place in rock tradition and fought hard to solidify it with each recording.

The story starts in the early 80’s at Hedgen’s, a “country club for the spiritually impoverished and emotionally destitute”, as chief songwriter Baird would later identify it. Bassist Keith Christopher, Drummer Mauro Magellan and Guitarists Rick Richards and Dan Baird were playing on the Atlanta circuit in various bar bands such as the Hellhounds, the Brains and the Woodpeckers. These bands would gradually morph into the original Georgia Satellites.

#1 fan and road manager Kevin Jennings, sold an EP of early Satellites recordings to an independent UK record label, Making Waves and the EP, Keep The Faith, provoked an extraordinary reaction from the UK music press, which, in turn, woke up the previously indifferent stateside music industry. The stand-out track on the EP and most peoples introduction to the band was Keep Your Hands To Yourself which was swiftly culled from the bands eponymous debut major label release on Elektra and became a runaway hit, both LP and single only being kept off the respective #1 slot’s by Bon Jovi’s Slippery When Wet and Living On A Prayer. A second hit single, Battleship Chains, consolidated the LP’s platinum success.

Where the Satellites really earned their reputation though, was with their live shows. All those years of three sets a night, paid dividends as their live performances laid waste to audiences across the States and in particular Europe, which took the band to it’s collective heart, a love affair that continues to this day.

Two more Elektra LP’s, Open All Night and the remarkable Salvation And Sin, plus a track, Hippy Hippy Shake, on the Tom Cruise movie soundtrack, Cocktail, followed, but by the early 90’s, all those years of incessant touring had taken their toll and the band split. Dan Baird went on to a successful solo career with Rick Rubin’s Def American, scoring major hits with the album Love Songs For The Hearing Impaired and single I Love You Period. A second LP, the critically acclaimed Buffalo Nickel, followed and Dan also developed a career as a highly sought after producer. In 2001 he released a live album, Redneck Savant, on Blue Buffalo. He also found time to record and tour as part of the alt “supergroup”, The Yayhoos who also featured Keith Christopher. The Yayhoos released an album, Fear Not The Obvious, on Bloodshot in 2002.

Like Keith, Mauro played on Dan’s first solo record and tour and then took time out to raise a family and concentrate on his other interests.

After recording Buffalo Nickel, bassist extraordinaire Keith joined Kenny Wayne Sheppard and has also played on a multitude of sessions.

In 2007 and following a succession of lengthy European tours in support of the double live cd - Feels So Good, the band decided to take some time off to concentrate on writing and to recharge their batteries. During this period, Ken had his first child and decided to spend some time at home. His legacy and importance to the band are stamped all over the forthcoming dvd - Fresh Out Of Georgia which will stand as a worthy testament to his time with the band.

His replacement is none other than Warner E. Hodges, guitarist extrodinaire with Nashville legends, Jason And The Scorchers.

Dan, Warner, Mauro and Keith embark upon the recording of a new studio album in February with a release and major UK tour planned for May.

Can you give me an amen?

Frankie is one of the legends of the British music scene, with a powerful voice that has drawn numerous comparisons. His distinctive voice and song writing ability have earned him the respect of his peers and that is reflected in the number of world renowned artists, including Rod Stewart, Joe Cocker, Etta James, Cher, The Everly Brothers and Ray Charles, who have covered his songs.

Frankie was born on 2nd November 1949 in the east end of Glasgow and first became aware of the power of Rock and R&B through his mother's record collection. She had a fondness for Ray Charles while his older sisters introduced him to Little Richard and Elvis Presley. He identified instinctively with Little Richard's flamboyant aggression. " The music was alive, exciting, I loved it. I realised later that I could get my own aggression out through music. R&B and Soul Music, I just knew was what I really loved".Frankie started writing songs at the age of nine after being given a guitar by his parents. He composed a song called "But I Do " which caused tears of laughter amongst his family members but Frankie was to remain undeterred…His infatuation with music and his natural vocal talent took a positive form in the shape of the succession of early groups.

At school there was The Deljacks , West Farm Cottage and a soul outfit called Sock It To 'Em JB which featured good friend Jimmy Dewar ( Stone The Crows , Jude and Robin Trower)He eventually joined The Stoics who were signed by Chrysalis in early 1970. A German tour supporting Ten Years After was followed by an appearance at The Isle of Wight Festival ( as Howl ) but the band unfortunately split before completing any recordings. Frankie then met up with Ex Procul Harum guitarist Robin Trower, Ex Jethro Tull drummer Clive Bunker and bassist Jimmy Dewar who had just left Stone The Crows. Together they formed one Rock's first "supergroups" - Jude. Despite a number of college gigs in the London area, Jude never made it to the recording studio and also , sadly split.After the demise of Jude, Frankie signed a solo contract with Chrysalis in 1972 and recorded his first album "Once in a Blue Moon " using " Pub Rockers " Brinsley Schwartz as his backing band. Material wise the album showcased Frankie's skills as a well above average song writer and " I Can't Change It " was accorded what must have been for Frankie, the ultimate compliment when Ray Charles covered it on his album " Brother Ray Is At It Again "

The Brinsleys ended up backing Frankie when he was given the support slot on Ten Years After UK Tour, bringing him back to Scotland to perform for the first time since the Stoics days. They also cut a four song BBC session for the Bob Harris Show which was released in 2002 on Hux Records.Frankie's career took off after that first album, when on hearing it, legendary producer Allen Toussaint ( of Lee Dorsey – " Workin' in a Coal Mine" fame ) took him to New Orleans to record " Highlife", with Frankie's soulful leanings being allowed a free reign.

Released in January 1974, reviews were good , though without the sales to match it, it was clear the collaboration would be a one off.

During this period, without a band or hit record to his name, Frankie helped his good friend Phil Lynott to write, perform and record a track for Thin Lizzy's " Niight Life" album.This turned out to be the classic "Still in Love with You" which became one of the highlights of Thin Lizzy's shows for years to come. A brief collaboration with progressive rockers Procul Harum saw Frankie front them at The London Rainbow Farewell Show during which he featured songs from Highlife including "Shoo Rah Shoo Rah ", "Brickyard Blues" and "The Devil Gun"Many people had compared Frankie's soulful style with that of Paul Rodgers and when former Free bass player Andy Fraser was looking for a new band, he clearly saw in Frankie a similar vocal talent. The two wrote and recorded together but nothing permanent came of it. Their search however for a permanent lead guitarist led them to Ex-Grease Band member Henry McCullough with whom Frankie would form The Frankie Miller Band. "The Rock", released in September 1975 marked the band's debut with bassist Chrissie Stewart, drummer Stu Perry and keyboard player Mick Weaver completing the line – up. "The Rock " was produced by Elliot Mazer ( Neil Young- Harvest ) and recorded in San Francisco in sight of the famous Alcatraz Prison. Frankie once commented that it was only music that had saved him from that kind of fate and dedicated the album's title song to "prisoners everywhere". The album also featured the legendary Memphis Horns and The Edwin Hawkins Singers who supplied vocal backing on classic songs like " A Fool in Love", which enjoyed a lot of airplay on both sides of the Atlantic and was a sizeable hit in the U.S. "Aint Got No Money " became the album's most covered song with notable versions from Cher, Chris Farlowe and Bob Seger.When the band returned to the UK, Henry departed to record a solo album and Frankie put together his new "Full House" band, with Procul lyricist Keith Reid taking on a management role. The result was a year of hard graft on the road beginning with a 50 date UK tour, kicking off in May 1976 and finishing with a triumphant show at London's Victoria Palace on 27th June. Frankie had added Ray Minhinnet on lead guitar, Jim Hall on Keyboards , ex Enwhistle's Ox Graham Deacon on drums with Chrissie Stewart completing the solid backing band. Recordings for the " Full House" album began in November 1976 and combined Miller originals with choice covers including John Lennon's " Jealous Guy" which Frankie sings with great feeling and a first ever UK chart single - Andy Fraser's " Be Good to Yourself" Full House disbanded after a long American tour and Frankie turned to the States for a third time to work with Aerosmith producer Jack Douglas on " Double Trouble"The Record Plant in New York was where Double Trouble took shape in April 1978 and Frankie brought yet another impressive line-up with him including legendary drummer BJ Wilson from Procol Harum, Chrissie Stewart on bass, highly rated session player Ray Russell on Guitar, a two-man horn section of Chris Mercer and Martin Drover and perhaps the most impressive recruit, keyboardist and vocalist Paul Carrack, who would co-write five of the songs with Frankie. Stephen Tyler from Aerosmith made a guest appearance as backing vocalist and the album contains some powerful playing and singing but in the opinion of opening act guitarist Steve Simpson, from Meal Ticket, both band and songs were even better live. Later in 1978 Frankie went on to have his first Top Ten single " Darlin'", a song written by Q Tips brass player Stuart ( Oscar ) Blandamer .Darlin' was included on the" Falling in Love" album and featured Frankie's new touring band of drummer Fran Byrne, Bassist Ted Comer and Paul Carrack, that trio forming the backbone of " How Long " hitmakers, Ace, plus Steve Simpson and Ed Deane on guitars. They toured Europe extensively and supported Rory Gallagher on the German leg before returning triumphantly to the UK.

During 1979 Frankie decided it was time to diversify and made a move towards acting and starred in Peter McDougall's TV film " Just a Boys Game " winning rave reviews for his performance. He also wrote and performed " Rules of the Game" for the soundtrack.The early 80's found Frankie in the capital of country music, Nashville and with some of the finest sidemen that city could offer, cut "Easy Money", an album that merged rock, country and r&b. Frankie co-wrote five songs with Troy Seals, a respected country song writer whose work has been covered by Lonnie Mack, Rod Stewart and Percy Sledge. "Heartbreak Radio ", written by Frankie has in turn been covered by a diverse selection of artistes including Kim Carnes, Roy Orbison, and The Osmonds.

Easy Money's release in July 1980 would effectively end Frankie Miller's link with Chrysalis Records, but the connections and impact he made in Nashville would prove deep and long lasting, since within the decade he would become one of country's most sought after songwriters.Frankie returned to the States yet again with a record deal from Capitol Records and in June 1982, released his eighth album. " Standing on the Edge" was recorded at Muscle Shoals Sound Studio in Alabama, with the backbone of the music being supplied by part of the legendary Muscle Shoals Rhythm section, who had worked on such classics as "Respect " by Aretha Franklin and "Mustang Sally" by Wilson Pickett. While the recording location and musicians involved were definitely American, the material was all self – penned. Songs like " Danger Danger", "To Dream The Dream " and particularly "Jealousy" would be highlights of Frankie's live shows for years to come. From the early to mid eighties and onwards, the live performances were moving back to a rockier side with former Free/ Bad Company drummer Simon Kirke and Brian Robertson from Thin Lizzy joining Chrissie Stewart to form a powerful backing band to compliment Frankie's voice. Together, they cut " Dancing in the Rain " in New York and the album was released in the spring of 1986.The album contained several collaborative compositions with Jeff Barry, whom Frankie had met when a plan to re-record the Crystals' " Da Doo Ron Ron " was mooted. When the record didn't happen, they instead came up with a batch of new songs which feature on the album. The band did a tour of major cities in the USA with Bob Seger later that year and toured extensively throughout Europe into the early Nineties when Frankie had a number 1 hit in Scotland with " Caledonia", a soundtrack from a television advert that was released by public demand.Frankie continued to become an in – demand writer on the country music scene and had started on a new project to record with Joe Walsh and Nicky Hopkins when he suffered a massive brain heamorage in New York on August 25th 1994. It should have killed him but he has shown remarkable courage to claw his way slowly back to health, after spending 15 months in hospital. With massive support from his partner Annette, Frankie is learning to walk and talk again and has even written a new song with lyricist Will Jennings called " Sun Goes Up Sun Goes Down "The BBC filmed a documentary in 1999 called " Stubborn Kinda Fella" to mark his amazing progress.In 2002 a 3 CD tribute album of Frankie Miller covers, featuring artistes like Lulu and Rod Stewart and a charity concert for the Drake Music Trust which featured over 20 live acts at Barrowland in Glasgow including Joe Walsh and Nazareth show the depth of feeling and respect that the music business has for Frankie Miller today.

In 2006, JCPL released the first album of "new" Frankie Miller material in twenty years. The album, Long Way Home received universal praise and supergroup, The Eagles became the latest in a long line of artists to cover a Frankie Miller song when they included Guilty Of The Crime on their #1 album, Long Road Out Of Eden. For 2008, JCPL plan to re-release Frankie Miller's Chrysalis albums. This is the third time the albums will have been re-issued, but, for the first time, each original album will now be accompanied by a bonus disc of rare and unreleased material.

THE MEANING OF ZALVATION

THE SENSATIONAL ALEX HARVEY BAND celebrates 30 years since the release of 'Live' with the new album, 'Zalvation', breathing new life into something that never stopped kicking in the first place.

Zal Cleminson, Chris Glen, Hugh McKenna and Ted McKenna have torn down barriers to prove an experienced band can still be cutting-edge. 'Zalvation' is essential listening for any rock fan. And the album also proves the credentials of SAHB's final frontman, 'Mad' Max Maxwell.

The album is based on digital recordings made on their sellout UK tour of 2004, but it's much more than another 'live' offering. The band successfully merged classic values with contemporary style for the stage show, and they've done the same in the studio, returning with a 2CD set that's larger than life and in your face. 'Live' was recently voted the 50th best live album of all time. 'Zalvation' is better.

Max named the album when he took to trying to mention Zal's name in as many songs as possible. 'The meaning of salvation' is a line from 'Give My Compliments to the Chef'. As might be expected, most of SAHB's live favourites make an appearance -- but you ain't heard them like this before.

The anger, energy and passion is back - in fact, the band believe 'Zalvation' is quite simply the best recording they've ever made. The best example is undoubtedly the genre-trashing remake of 'Isabel Goudie', a giant epic of a rock anthem which tells the tale of the last witch to be burned in Scotland. Anger, energy and passion.

Naturally enough, SAHB are anxious to take the show on the road with its new twists and turns, and throw it in your face again. The 'Zalvation' UK tour of 2005 is the biggest they've undertaken since 1976 - and, like the album, it'll prove to have been worth the wait.

SAHB were recently given a Nordoff Robbins Lifetime Achievement Award, and last year Scots music fans voted them the fifth best Scottish band of all time. Classic Rock readers rated them in the 50s while the writers put them in the 40s. In two recent Scottish media polls, 'Next' was in the Top 20 of best rock albums.

Help Me Mama I'm A Scorcher Now…
The life and hard rockin' times of Warner E. Hodges.

At a time when full blooded rock 'n' roll music often seems to be in terminal decline and dour singer-songwriters hold sway, it's reassuring to know that there are still individuals out there ornery enough to believe that salvation and deliverance from the trials and tribulations of modern living can still be achieved through the application of excessive amplification. And it's always cause for celebration when such an individual returns to active service after a period of relative inactivity.

One such person is Warner E. Hodges of Nashville, Tennessee's legendary Jason & The Scorchers, a man who definitely knows what the business end of a Fender Telecaster is for. Warner has been a cult hero's to many for over two decades now. A figure renowned not only for his blistering and instantly recognisable style of playing, but also as the most dynamic and entertaining guitar player of his generation.

Warner was born June 4, 1959 in Wurtzburg, Germany. His father Edger, a serving U.S. Army officer, and Warner's mom Blanche were both keen musicians and played in USO country music outfit on base. On returning to The States the young family settled in Nashville where Warner grew up.

Surrounded by music from the day he was born Warner was a marked man and was playing drums in country bands by the time he was twelve. The bolt of lightning that compelled him to switch to guitar hit at an AC/DC concert in 1973, and by fifteen, Warner was regularly playing guitar in many of his parents bands.

With country music in his blood from birth, Warner now dived head long into the other music he loved - hard rock and punk. His influences ranged from; Kiss, AC/DC, Cheap Trick and Jimi Hendrix, to Elvis and Little Richard, The Rolling Stones and Creedence Clearwater Revival, then later The Ramones, Sex Pistols, New York Dolls and The Clash. Rock 'n' roll boot camp came in the form of his early, high-octane, Nashville outfits such as The Electric Boys and The Purple Giraffes.

The journey that led to Warner becoming a guitar player of international renown began, in the summer of 1981 when the son of an Illinois hog farmer packed his guitar and knapsack and headed for Nashville to start a new band. Jason Ringenberg had a vision to arc weld his love of Hank Williams, Eddie Cochran, and Bob Dylan to the reckless, methamphetamine rush of the Sex Pistols and The Ramones and finally make the kind of music he heard inside his head. It was Ringenberg's electrifying Jerry Lee Lewis meets Iggy Pop stage attack that attracted Warner and band mate, bassist Jeff Johnson to the singer in the first place. Johnson was the first member of what eventually became the Scorchers' classic line-up to see the edition of the band Ringenberg assembled upon arriving in Music City. The fledgling Scorchers were sharing a bill at Cantrell's with then-regionally acclaimed indie-rockers R.E.M. Immediately after the show, Johnson called Hodges and invited him to Ringenberg's next gig. This time, it was a slot opening for rockabilly legend Carl Perkins. "I went to the Carl Perkins show and thought, God Almighty, this guy is nuts," remembered Hodges, referring to Ringenberg's incendiary performance. "He spent the entire night in the crowd with this long guitar cord. Everybody else up onstage was scared to death. But Jason, man, he was the show."

It wasn't long before Hodges and Johnson had replaced the Scorchers' original guitar and bass players. Several weeks later, Perry Baggs took command of the drum kit, and the classic line-up of Jason & The Nashville Scorchers was born.

In those days before No Depression magazine and Americana radio The Scorchers' thermonuclear fusion of punk rock and honky-tonk music was totally unprecedented in Nashville. To the point that it could get you run out of a club or even worse and it almost did on several occasions. The bands sound at the time approximated nothing less then Joe Strummer riding a wrecking ball through the Grand Ole Opry.

As rock critic and early devotee Jimmy Guterman would later report, "Onstage, the early Scorchers...eschewed all subtlety. Drummer Perry Baggs concentrated on destroying his snare with style and bassist Jeff Johnson stood intent and rail-straight, an ideal foil for the two wild men up front...Guitarist Warner Hodges slid from delicate lap steel to Keith Richards-style guitar heroics without making one seem like a departure from the other. Whether he stood at the lip of the stage, leaning over the audience, sucking a cigarette, or he spun himself into speedy circles that would have made any mere mortal dizzy, Hodges personified the country boy too thrilled to be rocking to care how ridiculous he looked. The same went for Ringenberg. His own dancing during the rocking numbers suggested (The Honeymooners') Ed Norton on 'speed', but when he strapped on his acoustic guitar and stood centre stage, no one could argue that he wasn't haunted by the ghosts of Hank Williams and Lefty Frizzell."

Cut in four hours in somebody's living room, live to four-track, the Scorchers debut EP, Reckless Country Soul, hit stores in the second week of 1982, and immediately sent shock waves through the Nashville rock underground. "They called themselves Scorchers for good reason: They kicked butt," commented country music historian Robert K. Oermann, who was the senior music writer for The Tennessean, Nashville's morning newspaper at the time the Scorchers burst onto the local scene. Oermann also penned a USA Today story that helped break the band to the rest of the nation.

"Their shows were so physical," said Oermann. "Jason acted like a guy who had been attacked with a cattle prod. And I still maintain that Warner Hodges was one of the most charismatic lead guitarists of his generation. The two were like twin poles of electrical energy. You could almost see the bolt of lightning that connected them. The Scorchers never sold more than a million records, but nobody who saw them will ever forget it."

But if in 1985 the Scorchers were poised to conquer the world, by decade's end the bottom had dropped out. Excess, personal problems and the fickle winds of the music business all contributed to a fall that was as dramatic as the band's rise was meteoric. It started with Capitol's ineffective marketing of 1986's Still Standing just as the record's first single, "Golden Ball and Chain", was getting some serious airplay. Soon Johnson left the group; by the time the band's more rock oriented Thunder and Fire surfaced in '89, the Scorchers were all but finished.

As Warner said later, "We worked on Thunder and Fire for two years, Jason wrote like 70 songs and we demoed and demoed and demoed just busted our butts putting the band back together [after Jeff's departure]. I didn't think it was that bad a record. Maybe not quite the direction we should have gone, but we gave the record company the record that they quote/unquote wanted. We put a lot of time and effort into it and then it just fell flat on its face. And then Perry got sick with diabetes and we said, 'The hell with it'. The Scorchers didn't break up, we fell apart."

Warner moved to New York, where he played with Iggy Pop and guitarist/producer Eric Ambels band Roscoe's Gang, before relocating again to California and largely abandoning the guitar to work in the video business. "I ran," he admitted. "I guess I hid and ran. I didn't know how we could try any harder and be any less successful. I seriously didn't know how we could put any more effort into it for so little return. We just couldn't play the game anymore."

In the early 90s it was Jeff Johnson who decided to try and reunite the band, after hearing and liking EMI's 'Essential Jason and the Scorchers', Volume One collection, which compiled the Scorchers first (and some would say best) two albums Fervor and Lost & Found, plus some choice rarities into one volume. Jeff called Warner first, who hadn't played guitar in roughly a year. Warner hung up on him after hearing Jeff suggest a reunion, but he called six more times that same night. Eventually, Jeff tried Jason, calling him at four in the morning "until Jason agreed to do it." Warner eventually agreed to a reunion as well, with his rationale being "Okay, I won't be the bad guy". Perry also agreed and with the original Scorchers together again, the group began touring in 1993. The reunion shows were a critical and commercial success, eventually extending into 1994. A demo tape of new recordings was also made that year, and Jason was able to secure the band a new contract with Mammoth Records. The band released their comeback album A Blazing Grace in 1995, following it with, Clear Impetuous Morning in 1996

In 1997, Jeff essentially retired from the music business and was replaced by Kenny Ames, who is with the band to this day. The bands final album was the live Midnight Roads and Stages Seen, which was released in 1998. After the demise of Mammoth Records and Perry deciding to leave the band, the Scorchers to all intents and purposes have been in semi-retirement ever since, although they did continue touring for a while with Fenner Caster joining on drums.

Post-Scorchers, Warner hooked up with guitarist Todd "Todzilla" Austin to form a new band called The Disciples of Loud. More than living up to their name, The Disciples were a much heavier sounding beast than the Scorchers and gave Warner the chance to handle lead vocal duties for the first time since before he joined the Scorchers. Over a two year period The Disciples undertook several successful U.S. and European tours and put out a self produced album.

Since then Warner has been tearing up the stage as a member of Stacie Collins road band, Hotter than a smoking pistol, Nashville up and comer Collins blends sassy hillbilly vocals, gut-bucket blues harp and Southern rock styles with the same reverence and disregard for tradition that the Scorchers applied to country music twenty five years earlier. In terms of looks, singing ability and attitude, Stacie's equal parts Daisy Duke, Kelly Willis and Joan Jett, with the harmonica chops of Slim Harpo and James Cotton thrown in for good measure. When schedules allow the band also features Stacie's producer Dan Baird on rhythm guitar.

With his passion for playing loud and proud rock n roll electric guitar well and truly reinvigorated, Warner is throwing himself into playing with more gusto than at anytime since the heyday of the Scorchers. 2007 is shaping up to be a pivotal year, not only is Warner continuing to tour with Stacie, but in June the Scorchers reformed for a jubilant home town benefit show to raise funds for Perry who is now suffering from kidney failure, although even that wasn't enough to stop the original Scorchers wildman from commanding the drum-stool for much of the three hour show.

September 2007 saw Warner kick off his solo career in no uncertain terms with a fifteen date U.K. tour. Backed by the current Scorchers rhythm section of Kenny Ames and Fenner Castner on all dates, Warner joined forces with Ginger of U.K. metal-popsters The Wildhearts for four special shows under the banner of Ginger & The Scorchers. Coinciding with the tour was the pre-release of Warner's debut solo CD. The album - Centerline - features ten songs, seven of which were written by Warner, covers of Merle Haggard's Branded Man and Jerry McCain's She's Tuff (as popularized by The Fabulous Thunderbirds) and a new version of the Scorchers standard Harvest Moon. The album was co-produced by Warner and Dan Baird, features contributions from both Dan and Stacie Collins. It's set for an Ap[ril release through JCPL, with some UK dates to coincide. The Dan Baird connection continued when Warner became the new guitarist in Homemade Sin, the first fruits of which will be a studio album in May and a major British tour to coincide.

Part of a thriving mid-eighties Nashville alternative rock scene that also included the Scorchers and Steve Earle, Ken McMahan and his band, the Dusters, criss-crossed the continent for seven years, thrilling audiences with a dynamic mix of roots rock and electric blues. The trio toured steadily and played hard, on-stage and off. By the time that the smoke had cleared, the band had recorded two solid albums (This Aint No Jukebox and Unlisted Number, respectively) and McMahan had earned a deserved reputation as a top-notch guitarist.

Ken is now a Product Specialist for Gibson Guitars and occasionally performs with bass player David Barnette in the Dusters.

McMahan stepped out on his own in 1994 with the self-titled Ken McMahan & Slumpy Boy CD produced by Dan Baird. Two years later, with Thats Your Reality, McMahan had further matured as a songwriter and performer and the well-received sophomore effort won exuberant praise from critics and fans alike on both sides of the Atlantic. His next release, Ball & Chain was a fitting follow-up to the previous solo records.

Ken played on Trent Summar and the New Row Mob's CD Horseshoes & Hand Grenades, which hit 3 on the R&R Americana Chart. Released by Palo Duro Records. Trent Summar is just coming into his own as an artist, entertainer and songwriter. Always known as a consistent and exciting touring artist, Summar has garnered notoriety in the Nashville songwriting community with songs recorded by hit makers Gary Allan, Pat Green and Billy Currington. In fact, "Love You" a Summar/Jay Knowles co-write hit the Top 10 in both the Billboard and Radio & Records Country Singles Chart for Jack Ingram.

In 2000, Ken and Dan Baird went to the UK to see what they could get into. In 2001, a show from that tour was released as a live album titled Redneck Savant. In 2003 and in support of a new album of previously unreleased Dan Baird and Georgia Satellites tracks, Out Of Mothballs, the band hit the road for a major European tour. This time ex-Satellites and the rhythm section from Dans Def American solo records, Mauro Magellan and Keith Christopher were on board. A performance from this line-up was featured on the legendary German television show Rockpalast. This was followed in 2004 by a second tour where the shows were recorded for a new live album Feel So Good which was released to coincide with a third tour in 2005.

The captivating energy and soul of rock ‘n’ roll and the blues empower the stages of today’s music world. With the audiences’ undying passion for both musical styles, THE CRASHERS uniquely juxtapose the commercial appeal of rock ‘n’ roll with the embracing seduction of the blues. THE CRASHERS feature veteran blues / rock guitarist GARY HENDRICKSON, who has dazzled the scene with his tone and natural delivery (really cool sound) for over two decades. JENNIFER DEPREZ, is the vocalist and charmer of the combo, her voice is heard all over the USA in various ads for radio and television. Her petite frame belies the power, clarity and heart of her vocal skills. Founding member JOHN WARTENWEILER, is steady and in the groove, when he plays the doghouse (upright bass to you), the entire feel and mood of the band changes with him. MAURO MAGELLAN has been in the band a mere thirteen years. He provides the fat back (powerful rhythmic drive) and his unique powerhouse drumming style gives the band a distinct feel which sets them apart from other blues based acts. The ex GEORGIA SATELITTE still travels the world pounding out his bombastic style of rock ‘n’ roll. JIMMY VOGELI plays piano and Hammond organ. Not only is he exciting to listen to, he’s even more fun to watch. This sought after keyboard player is not shy when it comes to getting the audience rockin’. THE CRASHERS are frequently backed by the talents of many outstanding musicians – the album is produced and features contributions from MAURO’s old sparring partner in the SATELLITES, DAN BAIRD – giving them a fresh sound every time they play their unique style of the blues.

Telephone conversation in January 2003. Record company to Dan Baird, "Dan, you wanna contribute a Bruce Springsteen cover for a Brooce tribute album. The proceeds are for Parkinsons Disease research, so it's a good cause".

Dan to record company, "Sounds like a good idea but why don't you ask Rick Richards, he does a mean Cadillac Ranch".

Record company to Dan, "Well, why don't you back Rick on Cadillac Ranch and get Rick to back you on another track"

Dan to record company, "I've always wanted a crack at Johnny 99".

The 20-foot long, 1971 Buick Skylark sat in the driveway. My first car. Sort of excited, I got in and turned on the radio. At this point I discovered that not only was the radio just A.M., but that it only received one station – WKCK, Northern New Jersey's Home of Country. So was born my forced love affair with country music.

As I cruised New Jersey listening to my one-station radio, two things drew me in – the simplicity of the music, and the honesty of the words. So when time and circumstance ultimately led me to create my own music, it was born out of these things."

This time was about three years ago. The circumstances were the end of his marriage as well as the death of someone very close to him. Jeff taught himself some basic chords on an old accoustic guitar and sang songs he wrote for anyone who would listen - for as long as they would listen (mercifully, not too long back then).

Eventually a couple of musicians in his neighborhood heard some of his songs and offered to play with him. These sessions led to Jeff's philosophy on arrangement - "listen to the song with just acoustic guitar and vocals - then add only what the song demands".

This philosophy was shared by Keith Lentin, a phenomenal (by anyone's standards) guitarist Jeff met around this time, who serves not only as lead guitarist, but as the band's Music Director and producer of Jeff's first album. Keith provided the introduction of Steve Holley - extraordinary percussionist and backbone of the live band.

Anyway...
...while the music Jeff writes today contains elements of country, rock and blues, the one thing that has always been consistent in his music is honesty - and so it will continue that way.