Derek Shulman of Gentle Giant Interview
Interview with Derek Shulman of Gentle Giant about his book Giant Steps
Giant Steps Book Cover
Jws Good day Derek thank you for agreeing to talk to me.
DS My pleasure.
Jws I have the book right here.
DS Have you read it yet?
Jws I’m about halfway through it, I’m at the stage where you just made Octopus and Phil has left the band.
Ds Ah the Italian tour.
Jws I’m really enjoying it, I like the stories you tell and I liked that Tony Visconti wrote the foreword, he really got you, didn’t he?
Ds Yes, I think he saw something in us that he could appreciate and do something with that would have great credibility as well as being challenging. Tony is a musician first and foremost and I think he respected our musicianship and skills. I’m still in touch with Tony I saw him a week or so ago, we always have a good time when we meet. When we made those first albums, we stayed with Tony as we were new boys from Portsmouth. Tony is a great musician Classically trained and has a good ear for things. He was a real joy to work with on those first two Gentle Giant albums.
I think he appreciated that we had an ethic that sought out an identity of authenticity. We weren’t like any other bands in that we wrote complicated music that stayed true to its origins. In doing something new and different and I think he saw a kindred spirit in that, at least I hope he did.
Jws You’ve always sought that haven’t you especially in your later career in the “industry”.
DS Yes I have always sought out those groups that were doing something unique and original and not merely followers. A lot of the acts that I worked with and signed have had long careers and have stayed true to their original aims and ideas, like Dream Theater, Pantera and even Slipknot. All have both stayed the course and also stayed true to their original ideas and remaining as the leaders in their field and not merely being followers. To me authenticity is the crucial element for longevity and success.
Jws Which band have you worked with do you feel missed out on the success that they were due and failed to capitalise on?
Ds For me there are 2 that come to mind Dan Reed network and Enuff Z'Nuff. I thought Dan Reed had it all, incredible band with fantastic songs totally unique and with tremendous talent yet somehow America didn’t take to them the way they should have. Dan and I are still in contact, I’ m still devastated that I couldn’t get them over the line the way they deserved.
Enuff Z’Nuff were also a band who had it all and blew it because of a situation that wasn’t handled properly and allowed to fester and get out of control . Sadly drugs had entered the equation and it destroyed them. Those first two albums were incredible but once again they failed to optimise the opportunities they were offered, tragic really.
Jws You talk about this in your book of course?
Ds Yes, I do there are lots of stories in there about everyone I’ve worked with Jon Bon Jovi and the rest. Jon is going out again next year he just sold out 9 straight days Square Madison Square Gardens and I believe the 02 in London is sold out as well. He’s still going 40 years down the line.
Jws You got involved with AC/DC too?
Ds Yes they had been a big act for warmers, but the last couple of albums Flick of the Switch and Fly on the Wall hadn’t done as well as previous albums and they were going to be dropped by the label and I said to Jerry head of WEA at the time you can’t drop AC/DC. They are the essence of Rock and Roll, at that time I had Stevie Nicks and Pete Townshend on my label so I offered a swap of Stevie Nicks so that’s how Atco got AC/DC. Now I know Malcolm’s older brother George as we’d played with the Easy Beats in our Simon Dupree days and he remembered me.
He told Malcolm that he could trust me as I was one of the good guys, that was allowed access to the inner circle of AC/DC. So it comes to making the album and I wanted to get Bruce Fairburn, Bob Rock and Mike Fraser in to produce it but they wanted to hear the songs before, so I took Malcolm and Angus to Vancouver to meet them and play them the songs. Normally AC/DC don’t play their demos to anyone so this was a real test of trust for them with me. Thankfully it worked out and the resulting album ( The Razor’s Edge) returned the band to a new level of success with Thunderstruck and Are you Ready and Money Talks all making a strong impact this allowed their career to continue. I felt it was a real victory for me personally and for the world of music.
Jws So are you doing anything musically now?
DS Yes I’ve actually been in the studio recently. I’m revising the lost album In A Glass House that has nor previously been available as we couldn’t locate the master tapes. I’ve been working with a Brazilian guy who is very up to date with all the technology, He has been able to separate each track individually and correct the balance for remixing. It sounds great and I think folks will be glad that it will be available again. Steven Wilson has helped and advised me on a Dolby Atmos mix for the album. Steven is a real music lover and I enjoy working with him as he cares about the music so much. This new version will come out next year.
Jws Well Derek my time has gone so i’ll wish you well with the book and thank you for your time today.
Ds My pleasure nice talking with you too.
Author John Wenlock-Smith