Interview: Don Felder Talks New Tour with Styx and Foreigner, Puts Eagles' Rock Hall Honor in Perspective

“Hit after hit after hit after hit,” says Don Felder, pretty well summing up what fans should expect from the just-begun “Soundtrack of Summer” tour, on which the former Eagles’ lead guitarist shares the bill with fellow ‘70s survivors Styx and Foreigner. “Between all the hits that Foreigner has had and made, and hits that Styx has had and made, and the Eagles catalog and my solo stuff and [the soundtrack to] Heavy Metal, it’s going to be a four-hour party.”

Felder certainly has reason to celebrate. His 2012 solo album Road to Forever (which has been recently re-released with four additional songs) has garnered no shortage of critical and popular acclaim, producing four hit singles to date, including the venomous rocker “You Don’t Have Me,” which is now enjoying its second week atop the Classic Rock radio chart.

The four additional songs on the new “extended edition” of Road to Forever are ones that you’d written originally for the album, right? Didn't you write something like 26 songs in all originally?

Yes, I wrote 26 or 27 songs. I pared it down to what I thought would be the best 16 songs to put on an album, and went and recorded 16 songs. When they were finished we were getting ready to do final artwork, packaging, and also final manufacturing for the CD itself, and we got a call from the record distributor and my management and they said, “Amazon wants an exclusive song off the record; and iTunes wants an exclusive song; and we have a deal with Japan, they want an exclusive song; and Europe and Australia want an exclusive song.” So I had to pull four songs off of the CD and release it originally with 12 songs on it, which my full intent was to have the full 16 songs on the CD; I thought that made a really well-balanced and interesting collection of songs and a diverse collection of songs and music as well. So I was somewhat upset that I had to pull, like, a fourth of the songs of it and then wind up putting it out with less.… It’d be like if you had the Hotel California album and you left off “New Kid in Town” and “Fast Lane,” it’d be like, “Wait a minute. Those are all a part of the concept for that record.” So I suggested that we repackage it with all 16 songs in a deluxe edition and put it out for everyone to hear. 

Is that why the four songs are weaved throughout the album instead of being tacked on at the end, because this is how you’d intended it all along?

Correct, yeah. Song order on a CD is really important, and that was the song order I had laid out for the CD originally. Then we had to go through and pull out those four songs and it still worked, but I just wanted to release it the way I’d initially heard it, conceived it, ordered it. 

A couple years on now since the original release of the album, do all the songs wear well with you?

Yeah, they do actually. A lot of art to me comes from life experiences, whether it’s painting or film or books or music or songs… It all comes from things that people can relate to so that when people see or hear or walk by and photograph it reminds them of something that happened in their own life as well. They’re wearing quite well. In fact one of the songs, “You Don’t Have Me,” is currently Number One on classic rock radio. It’s doing pretty well. I was more than pleasantly surprised with radio’s reception of all the singles we’ve put out. The one before that was “Wash Away,” which got up to Number Four on classic rock radio. I think they’re wearing well with me and it seems that they’re wearing well on classic radio as well.

Back in the day with the Eagles, were you guys ever mindful or curious about chart positions of singles? Was that sort of thing even on your radar?

Well, I’m certain our management and record companies were paying a great deal of attention to what songs were getting action and radio airplay and were being sold as singles. I’m certain they were paying really close attention to that and promoting the songs that obviously were getting the most radio airplay. It’s an interesting concept and it’s changed substantially: Back in the ‘70s and ‘80s people bought entire albums, so the A&R department and the artist and management would decide what one, two, or three singles on that album would be released and in what order. Then the promotions teams would go out and promote for radio. PR people would go out and promote news about that single and so forth.  

Radio has changed and album sales have changed so dramatically where if you like a particular song you just go on iTunes or Amazon and just buy that one song. The whole kind of model for CD monitoring and sales is done all digitally now as opposed to counting how many units were manufactured, where they were shipped to, and what market was it playing well in on the radio [so] they would supply more product to that city or those record stores. All of that has changed dramatically. It’s a lot more accessible to be able to buy a CD if you like songs on it or you can buy one individual song as well. I think it’s a good change. 

So you guys never arrived to play in Milwaukee, for instance, and realized not enough people knew the latest single to know what you were doing at the time?

It really depended dramatically on every individual market back in the ‘70s. Now radio’s pretty much one or two massive conglomerates—they own all the radio stations. Back then, it was more individual by city and/or state. And if a certain programmer at a certain station loved your record they would play it as much as they wanted to, as much as they got phone response for it. Now it’s all kind of digitized and done on a national level so you don’t really have that much discrepancy from city to city or state to state as you used to have back in the ‘70s. We would get to certain markets and be surprised that people hadn’t heard the song as much as they’d heard it in a bordering state back then, but today everybody pretty much has access to it either online or on the radio, some source where they can find what they want to listen to.

This “Soundtrack of Summer” tour you’re on with Styx and Foreigner, it seems like something that really couldn’t have been done in the ‘70s. People seemed to have had enough trouble getting along with their own bands, never mind that plus two other bands.

Well, yes and no. In the ‘70s the Eagles and Fleetwood Mac toured together for at least a summer, if not more. I was talking earlier about some bands having a bigger radio airplay in certain cities or certain areas… We would flip headlines, so if “Hotel California” was a bigger song in a certain city the Eagles would close, and if one of Fleetwood Mac’s songs was a bigger airplay hit in that city, they would headline and close the show. But we never had any real ego problems between the bands. As a matter of fact Don Henley was dating Stevie Nicks at the time, and after they broke up Joe Walsh started dating Stevie Nicks. It was less than combative between the bands. We got along really well. I still play golf with Mick Fleetwood now and then. There’s no hard feelings about any of that.

I have to say, though, when the proposition of doing this summer tour with Styx and Foreigner was first presented to me, I had to take a minute and really think about what it would be. Styx and I have done shows together, and the people that are involved in the Styx band and crew and management are really nice people. There’s no ego. There’s no drama. There’s no intensity. It’s a lot of fun. They love what they’re doing and they do it really well and we get along really well together.

I had the pleasure of interviewing James “JY” Young a little while back, and he was the most genuinely kind man. He seemed so authentic in his enthusiasm for what he does.

Yeah, and you can sense that in people, not only in their music but in their stage presence and how they are and how they handle themselves and conduct themselves on and off stage.  The people that are in these two other organizations, Foreigner and Styx—not only in the bands but in their crews and management—are just delightful people. It’s a pleasure for me to go on stage every day to not only play music with my band and to sit in with these guys but to live with them 20 hours a day off the road where you’re having brunch together or you’re hanging out backstage before the show. They’re just real good guys. It’s going to be a really great summer for me. 

One thing I’d like to get your take on is the Rock and Roll Hall of Fame. This year’s induction sparked so much debate—of course they all spark debate, but this time in particular it extended to some of the inductees themselves, who criticized the voting process and minimized the honor. The Eagles’ induction [in 1998], is it something you’re particularly proud or appreciative of? What do you make of it?

Whatever field you’re working in there’s only a few honors that can be bestowed on you that really represent an acknowledgment of your creativity, your success, and acceptance of your work. And in the music business there’s just a few, just a handful of accolades—like winning a GRAMMY® for song or record of the year. Being inducted into the Rock and Roll Hall of Fame really is one of the highest honors in the music business that a rock and roll musician can really hope for and should be very gracious upon acceptance when the induction takes place with that. It’s difficult for me to watch people squabbling and arguing about it. 

Although, I have proposed numerous times to the people at the Rock and Roll Hall of Fame—because I do shows with them and work with them, do benefits to raise money for the Rock Hall—to categorize the inductees, much like the GRAMMY® does: They have Best Country Artist, Best Pop Artist, Best Rock Band, Best Vocal by Duo or Group. It’s more categorized so that you don’t have people in the same eligibility.… Like KISS and Donna Summer, how do you compare those two acts to be worthy of being inducted into the Rock Hall? Now if they were in their own categories then it would be easy to separate: Donna Summer should’ve been inducted as a pop/disco singer, as opposed to KISS, which is a totally different band. How do you vote for or justify that? Donovan, how do you compare him to Aerosmith? It needs to be categorized. You know, it’s run the way it is and I respect their decisions and I’m honored to be a part of the Rock Hall. My original double-neck white Gibson EDS-1275 that I played on for years on “Hotel California” is on exhibit at the Rock Hall in the Eagles showcase there. It’s quite an honor being part of that. 

A lot of the squabbling this year was with KISS, with some of them criticizing the fact that no members beyond the original four were inducted.

The Eagles were fortunate in that there were only seven people that were involved in the band, and we asked Bernie [Leadon] and Randy [Meisner], who had since left, to come and participate in the induction and receive the award because they had been a big part of the original founding concept and early records. We felt that they should be part of it. But if you’ve got a band that has a lot of transient members, it’s difficult to do that when you’ve got 17 guys on stage being inducted into one group.

Dates and venues for the Soundtrack of Summer tour, featuring Don Felder, Styx, and Foreigner, are listed on donfelder.com. Road to Forever (Extended Edition) is available now on Top Ten, Inc. Records. 

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An Interview with James 'JY' Young of Styx

“I’ll be darn,” guitarist James “JY” Young says with a chuckle when told that Styx garnered praise recently from Rolling Stone, which cited the band’s current Midwest Rock ‘N’ Roll Express tour with REO Speedwagon and Ted Nugent as among “The Ten Hottest Summer Package Tours of 2012.” “That’s a turnaround for Rolling Stone in relation to us, but who am I to disagree with them?” says Young, who has been in the band from the beginning.

Truth be told, Styx have never been critical darlings, but throughout a 40-year-career that’s withstood various personnel changes and creative conflicts, the band has sold over 30 million albums and continues to draw sold-out audiences across the country.

“In these troubled times, when you’re looking for a place to go to sort of be reminded of how great it is to be alive in a country like the United States, come on out to a Styx show and leave your troubles at the door,” Young says. “We’re all gonna be surfing away with joy by the end of the night. It’s therapeutic. It’s uplifting. And it’s just a heck of a good time.”

The concert industry can be fickle and unpredictable, but Styx has maintained a steady presence and a steady success on the road.

We have definitely asserted ourselves as a live concert act…. We’re seeing more and more young people in the audience at our shows, under the age of 25, even though the internet seems like it’s killed the record business. A lot of the record executives who used to have great power no longer even have a job. And the whole thing has been turned topsy-turvy as a result of the internet and digital downloading, and the digitization of music to CDs in the very first place. Live concerts really are the only thing that you can’t digitize in a meaningful way. There’s something about the live concert experience, when you’re sitting there with 1,000 or 10,000 or 20,000 people or 50,000 people depending on the venue and they’re all singing along to the songs. There’s an energy there that no matter what kind of stereo system you have at home—5.1, this, that, and the other thing; no matter how great the Blu-ray is—it’s just not the same as being there.

You guys made your name early on with your albums—you performed live then, too, of course, but back then albums were a dominant form of expression—but now since the tide has turned to make the live performance so crucial, you guys clearly have the chops to do that too. A lot of recording artists, once they’re expected to perform live, are lost.

We made albums starting in 1972 and then started performing live [with] that music, but it was a struggle for us for a number of years. I think those years where we had to sort of sell our new music, if you will, or at least perform new music in front of people that had never heard it before [taught us] you have to have stagecraft to bring the songs to life after you’ve recorded them. We did start [out] making records, but we weren’t that successful doing it until we’d made a few. And so we had a chance to learn what not to do before we had our first great record success, so then when we did finally have record success our stage chops were finely tuned and finely honed. The way things were in the ‘70s—in the early half of the ‘70s—there was a chance to develop.

Live concerts were very exciting for the baby boom generation because rock concerts had not been that much of a factor in the ‘60s. Once the post-baby-boom generation came into their economic powers, people wanted to go out and have a good time and rock music was their music of choice. It was the music that spoke to them. And we were there for it and we had a chance to develop without the microscope on us for a while. Then when the microscope did get on us we were ready for the closer examination that we were given.

Much of this has to do with professionalism, of course, but how do you keep the material fresh—some of these songs you play are 35-40 years old now—when you perform it live today?

Each night you’re performing in front of a different audience and you see different faces out there and different reactions, and that sort of pushes you into slightly different directions each night. There is that aspect of performing the same material over and over that it tends to just get better when you do that.

In this day and age we have the ability to put on a spectacular show from the standpoint of great sound and great lights that people can do many magical things [with] that they could never do before; and a video wall behind us that can changeably do things on a regular basis to enhance the songs and create a different energy in the room. When you have all those elements they really need to be coordinated.

The woman who directs our lights every night and the guy who runs our sound and the guy who runs our monitor mix, in particular, it’s good if they know which song is coming next and what’s going to happen in the show; because then the whole production can be tighter. And, honestly, there are times when we like changing it up and do so, but in order to put on a great production that is multimedia everybody’s got to be on the same page and everybody’s got to know when there’s a dramatic stop or a dramatic start. If the timing is off on that it’s like you wasted the moment… In order to put on a great show I think that’s what you need to do. There needs to be structure and consistency.

It must be gratifying to know that Styx has made such an indelible impact not just with music fans, but in pop culture overall.

We are so embedded in pop culture it’s amazing to me the references that surface to our music. I mean, Adam Sandler certainly had a bunch of them. There’s references to our music all over the place; [in] George Clooney’s movie, the latest one he was nominated for the Academy Award for [The Ides of March], there’s one of the female characters walking around with a Styx T-shirt. These kinds of things are stuff you can’t plan for, and just kind of happen. That just shows the impact that we’ve made. I’m astounded and humbled by it.

I’m sure there are people who know Styx songs without realizing they’re even by Styx.

Some of those people from the baby boom generation, they don’t really know Styx that well; they’re not really die-hard music fans. They’ll come out to a show and say, “I knew every one of those songs you played.” They just didn’t somehow attach them to us. So that’s kind of the beauty of us continuing to perform 120 shows a year. There’s a whole audience of people out there that actually know our music and just aren’t aware that it’s us doing it. It seems kind of crazy at this late date, but everybody’s got a different agenda for their daily lives…

Music is such a universal force that has the power to calm, to soothe, to inspire, and in the best cases to heal. And it just finds its way into people’s lives in different ways, unexpected ways. That’s the beauty of us continuing to perform, which is something I love to do.

How was the ambition Styx had as an emerging band any different or similar from what the band strives for now?

For me it was just something that appeared—on the surface anyway—as a job that you didn’t really have to work at. It was a career in the avoidance of work. That’s what it meant to be a rock star: You didn’t really have to work. But the reality is to succeed and to continue to succeed over a span of a number of decades as we have requires tremendous amounts of work and utter and total focus. 

And some days it’s a very frustrating career. You have to travel from one end of the country to the other—sometimes in the span of 48 hours. I’ve gone back and forth from the East Coast to the West Coast back to the East Coast, and that will kill an ordinary human. It definitely takes its toll on you, but that’s what it takes, in a way, to continue to succeed in this business, particularly now. I don’t know what anybody else in this band could possibly think of to do at this late date as far as another career goes. Eventually this becomes the only thing that you can earn a decent living at because it’s the only thing that you really know. 

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An Interview with Lawrence Gowan of Styx

Styx is out on the road this weekend, treating fans to their distinctive brand of rock 'n' roll on the opening dates of their latest U.S. tour. Unlike past tours during which the band has mostly concentrated on the hits, Styx is devoting most of each evening's show to performing two of their most celebrated albums, The Grand Illusion and Pieces of Eight, in their entirety.

In modernizing its history, the band has also produced Regeneration, Volume 1, a seven-song EP comprised of re-recordings of six Styx classics as well as the new track, "Difference in the World," all played by the band's current line-up — Tommy Shaw, James “J.Y.” Young, Lawrence Gowan, Todd Sucherman, Ricky Phillips and, on occasion, founding member Chuck Panozzo — and available only at the venues on this tour.

For vocalist and keyboardist Lawrence Gowan, who is twelve years into his tenure with the band, the EP has given him a means to make a lasting imprint upon a legacy that he helps to keep alive on the concert stage.

How did the idea come about to do The Grand Illusion/Pieces of Eight tour? Other bands — Rush come to mind — have done full-album concerts, but Styx is doing two albums each night.

Yeah, anything worth doing is worth overdoing — that is the Styx motto. Long before it became a cliché that was the Styx way of doing things, and I definitely fit into that mold. About four years ago, just before we went out with Def Leppard, we were learning the rest of The Grand Illusion album with this in mind, with the intent that, “Why don’t we play the whole Grand Illusion album and then some other stuff in the show?” But we never had the opportunity to really focus a specific number of dates on doing that because we then went out with Def Leppard and, of course, you’ve got to put your greatest hits in front of everyone when you go out on a tour like that. But to go out on our own — because we do half the shows a year on our own — we realized, “This is where we can really take the ‘Evening with Styx’ to greater heights.” So we finished off learning The Grand Illusion and really microscoped that record for all the sounds and the order of the songs and how to present them live. And then, of course, the moment we all got that under our belts, someone in the band immediately goes, “We should do two albums.” [Laughs] That’s just how it goes. We figure we’ll double the workload, which means we’ll double the fun.

Was it difficult to learn some of the songs that hadn’t been played in years? Tommy has said that some songs haven’t been played at all.

I quickly gravitated toward the ones that J.Y. would say, “You know, we’ve never played this on stage.” That made me think, This is absolutely fresh territory. So I went at those ones really hard initially. Then as the whole show began to take shape, I realized it’s really great to play the songs in the exact order that people first experienced them. I can relate. I remember listening to Close To The Edge by Yes, daily, in the exact order. I’d never just jump to Side Two. I’d have to start off at the beginning and carry through that 40-minute experience. When I saw the band live and they played that album I just remember [it] being so otherworldly, because you bring so much to the table yourself in your own experience. So to play the two records in that manner I now feel is going to be a tremendous experience for people... And I really appreciate how well they were composed and put together.

How did recording Regeneration, Volume 1 come about?

What’s happened is that a couple of new generations have arrived on the scene and have embraced Styx basically through our live concerts. They’ve come to know the band or they’ve heard of the band through a myriad of cultural references from South Park or the Adam Sandler movie [Big Daddy], Scrubs. They began to make comment on the fact that, “Look, Journey have re-recorded their greatest hits. Foreigner have done them. How come we can’t get this band’s rendition of the classic songs?” Apparently those voices got raised enough times that our manager said, “We have to do this.” So we thought about it seriously and luckily we had a test run because we had to do a couple songs for Rock Band, the video game. That was kind of a litmus test as to how we would approach it. We do the songs in kind of a beefed-up way when we play the songs live. They’re larger than they are on the original records.

You also have to make it fresh for people who’ve seen you more than a couple times.

Exactly. And we’ve done it a lot. We’ve been around the world four times now. We’ve played over 1,200 shows. The band is really focused on that aspect of its career where we’re a straight-out progressive rock band, but with the emphasis on the rock side. And we realized we have to find the sweet spot between what we’re doing live and what the original records were because otherwise they won’t translate and immediately connect with people like the originals. So that became an exercise in deciding what songs do we really microscope in on and make sure that they’re exactly like the originals and where do we go a little outside the lines? We found that balance.

So when we went to record Regeneration, we stuck with that as our guide. We stuck to the original tempos on the records, for example, but without some of the speeding up and slowing down that the originals had. And we paid a lot of attention to the fact that one of the main features of Styx is its three-part harmony between Tommy, J.Y., and on the originals with Dennis DeYoung. Now it’s the three-part harmony between those [first] two fellows and myself. Because I don’t sound like the original singer, we had to find a way of making it sound exactly like Styx, but with my voice worked in there. That’s what we attempted to do. And when I’m singing lead on the songs I sing them as if I’m just trying to relate to the lyric as sincerely as I can. Luckily I’ve had a thousand-plus cracks at it in front of live audiences. That’s where you find what you really feel about a song and try to convey that as a vocalist.

So you don’t approach it as, “I’m covering Dennis DeYoung.” You approach it as, “This is me relating to this.”

I’m thinking, Here I am doing my version of this Styx song. I’m not thinking of any one individual. The whole is greater than the sum of the parts. I’m thinking of Styx as an entity and what I’ve been able to bring to the band and [it's] probably in the same light as when Tommy came into the band after their fifth album. He learned all of John Curulewski’s parts, but it’s really Styx that he was contributing to, not trying to uphold, “Here’s what the second guitar player did.” So that’s really how I have to approach that. I’m aware of the people who were in the band prior to my coming onto the scene. And that does factor into the equation, but not as much as what Styx is today and how we sound doing these songs.


Check out Styx's official website for information on tour dates and locations.

Photo by Ash Newell

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