Give me what I cry for - promo stickers

Saw these Promo Stickers on Ebay.

There whas a higher bidder/fan!

That's all in the game.

I wish him good luck!!

Listen to Chris Rainbow

Two more pictures from Jet Rebel, a Duth singer who is also a big Chris Rainbow fan.

Interview with Eric Woolfson 1999

Interview with Eric Woolfson, May 1999

Eric Woolfson remains as one of music's greatest composers/performers of all time, besides working along with Alan Parsons for around 15 years in The Alan Parsons Project, he has touched thousands of souls with his musicals, Freudiana,Gaudi and Gambler. Besides future musicals he has in mind, Gambler will shortly be playing in Korea as well.

Any musical path he shall follow, we are all sure will be outstanding as everything he has been involved with in the past...

Now, on to the interview, enjoy!

                                                                         - Arthur Saenz

Q. Why was it that The Alan Parsons Project was developed from the very beginning as a band without a permanent singer?

A. Because we wanted to make records where the producer was the key figure in much the same way as Stanley Kubrick or George Lucas became the focus of their movies. Just as they used different actors, we decided to use different singers

Q. How did you meet Chris Harley?

A. I think we were introduced by Ian Bairnson, our guitarist who knew Chris.

Q. When did you first listen to his works? What did you think about them at the time, in both the singing and composition (if it was his solo material)?

A. I can't honestly recall but the sound he made was both arresting and intriguing.

Q. What's your favorite Chris Rainbow song? (if there's a specific one)

A. I dont have a particular favourite. I like everything he does.

Q. What's your favorite Chris Rainbow song with     the Project? Or album if it's the case.

 A. Similarly its hard to be selective on what he did with the Project but I must admit that 'Gemini' is a gem!

Q. Was Chris ever involved in the composition or production part of the tracks while in The Alan Parsons Project?

A. Chris was never involved in composition but he certainly did contribute suggestions for the productions of the tracks he was on.

Q. There are several songs that seem to be written for Chris'voice/style (e.g: The Turn Of A Friendly Card, The Gold Bug, Gemini, Destiny). Did you ever write a song for Chris' voice, or was he just the "perfect match" when it came down to look for the singer?

A. Chris and I have very similar voices in some respects, and in common with many other writers, I tended to write for my own voice which inevitably meant that the songs suited him as well.

Q. Chris has been known for years and years for his choruses, was there an intention from you to keep those as part of the Project's style/name? (e.g: The Bolg Bug, Let's Talk About Me, Don't Answer Me, Limelight, La Sagrada Familia, etc.)

.

A. I think Chris's sound just developed into a Project trademark and once we started using him it was impossible to stop! Even though I don't work with Alan any more, I still ask Chris to be involved in the recordings of my musicals.

Q. In Camel's "The Single Factor" album, they give thanks to Eric Woolfson in the credits section, did you help them in one way or another at the time?

A. I think the credit they gave me was just because we were working in adjacent studios and I was particularly supportive of what they were doing.

Q. Have you ever had the chance to listen to Chris' work with Camel on "The Single Factor" or "Stationary Traveller"? How did you like it?

A. I can't recall the titles or when I heard them but when you appreciate Chris's talent, you appreciate it wherever you hear it. Incidentally we often heard things in the studios where titles were subsequently changed.

Q. Do you keep contact with any of the Project's musicians, or with the current Alan Parsons lineup? And the million bucks question, is there any possibility/intention to work with any of them in the near future (in plays or studio)?

A. I havent seen any of them in quite some time. There are no present plans to work together. 

Q. Have you had the chance to listen to Alan's recent works (studio or live)? How do you like the music and the lyrics? Is it in any way similar to the work you'd do in a studio nowadays?

A. I haven't heard Alan's recent work.

Q. Do you have any experience touring? Do you actually have any interest in touring?

A. Believe it or not I joined Herman's Hermits on tour for the last 6 weeks before they split up. Touring is not my highest priority.

Q. How much have you liked the experience of working in the plays? Are the sessions and preparation any different from the Project days?

A. I have found the experience of working on musicals much more rewarding as a writer than the rather 2 dimensional world of studio recording. The approach to recording for the theatre is very different to that for a rock recording because basically in a rock recording you start with the base and drums and build the sound round them. In theatre recordings they tend to be added after other instruments are recorded.

Q. Do you think it's been a problem, the fact that the plays are very hard to get on CD? The main public that the plays are made for is the people that go see it, so perhaps it was expected. Was it actually your intention to have them on CD?

A. So far the cast albums that have been made of my musicals have not been as good as I would have liked. this is due to a combination of many factors not the least of which is that voices which sound great in the theatre rarely sound as good on record.

Q. Is composition for the plays very different?

A. Not really, there is not much difference between a concept album and a musical except that the total length of the recording is 2 hours+ for a musical, and about 40 minutes for a record.

Q. Is there more music to come from Eric Woolfson in plays or studio releases?

A. Certainly yes, I am currently working on a new musical inspired by my old hero Edgar Alan Poe.

Very special thanks to the Woolfsons!

Source: Old(inactive) Chris rainbow fansite, managed by Arthur Saenz

Interview with Ton Scherpenzeel 1999

Besides being a permanent member of superband Kayak, Mr. Scherpenzeel has also worked with a wide variety of artists which include Camel, Earth & Fire and Europe .
In this interview we cover several aspects from his musical carreer, but we did emphazize in his works with Camel and Chris Rainbow, enjoy it!

Arthur Saenz, April 1999

How did you get into music?

I started playing piano at the age of 6. When i was 14, i started playing in local bands on piano and bassguitar, a few years later studying (classical) double bass. My first professional band was Kayak, we began in 1972.

What was your first keyboard, and your favorite to date?

I’m not sure. It could be a Crumar Piano, or a Hohner Pianet, or a Farfisa Organ. I have no favourite. It depends on what's needed. There are so many around. They all have their own special sound.

Do you play other instruments, sing?

In addition to keyboards i still like playing bassguitar, a very little guitar. Yes, I sing but mainly for my own demo's. In kayak I sang harmonies, only one song I did the lead vocal for.

How did Kayak started? What's your favorite album with them?

We started around 1971, evolving from local groups and fellow students at the music school (Max Werner and Pim Koopman). My own favourite albums are Royal Bed Bouncer and Merlin
.
What would you say your style is? Has it changed through the years?

I try to create my own style, but of course there are a lot of influences, ranging from all sorts of pop music to renaissance music. Yes, i think it has changed - or better, developed. As I write more for theatre purposes, I don’t have to think whether it can be played on the radio. In the old days, I started writing music first, and then the lyrics came. Now it's the opposite. (when songs are concerned) I get the lyrics (usually in dutch) and create the song around the lyrics
.
How did you get to meet Camel and Chris Harley?

In 1983 I got asked by Andrew Latimer to play the keyboards in Camel. So I met Chris.

What do you think of that experience, working with them in Stationary Traveller?

It was a great experience. I always was (considered) the leader of a band, from then on I could see things from another perspective and concentrate on playing. I liked the music and Chris and Andrew as persons, so I had a real fine time.

What's your favorite song in that album?

Long Goodbyes. I liked to play that live too, I felt I could have written that song, I could identify with it.

Why was it that you decide to work with Chris in your album Heart Of The Universe? Is this album still available anywhere?

I already knew Chris' work and I liked his voice very much. I thought he was perfect for a number of songs I had written, so when we met while working in Camel, I asked him if he wanted to do lead vocals on my solo album. I don’t think it's available anymore. It was one of the first Lp's in holland that came out on cd
.
What was the response from fans at the time? Did you ever tour to promote that album? How did you like the results from that album, in both commercial and musical sense?

I still quite like the album, it's so different from what i did before. In hindsight there is too much computer drumming and too little real musicians, but in its context, it's still o.k. Commercially it didn't do much. There was a single, Waiting for the Night, that was played a lot on dutch radio and got good response. But overall, it wasn't exactly a smash hit. I didn't tour, and found out what I already knew in my heart: I am no solo artist
.
What other artists have you worked with?

Lots, but mainly from Holland. Most of their names wouldn't mean anything to you, except maybe the band Earth and Fire. From 1988-1994 I joined, and we did a lot of live performances in Holland. We made one album with this line up, called Phoenix (1989).

Do you have any current or future musical projects?

Lots, mainly writing and recording for theatre projects in Holland (most of it is released on cd, which you can see at the Kayak site), and sometimes I'll produce a record of another artist. Composing is my living. In april there is a premiere of a musical about the Bellringer of the Notredame, that I have just finished.

Have you ever considered working with Camel or Chris again? Do you keep contact with them?

I'd like to, but I live in Holland, and Camel (or Andrew) lives in America. As I don't fly, it's a bit hard to organize. I don't want to tour anymore, so that's also a problem when albums have to be promoted. I am still in touch with Andrew though. When there's a chance, I'll ask Chris again to sing, if he wants to - I don't know what he's doing at the moment, we didn't keep in touch. If you are in contact with him, say hello from me.


Very special thanks to Ton Scherpenzeel and Jim Coleman for their kind contributions.

Source: Old(inactive) Chris Rainbow fansite managed by Arthur Saenz

Interview with Andrew Latimer 1999

May 1999, Camel remains as one of the greatest bands of all time...its sound has developed day by day, as well as Camel Productions, which has most of Camel's albums available.
The interview below is intended to give you an idea of Mr. Latimer's musical relation with Chris Rainbow during early eighties, it's a short but very valuable interview.

Hope you all enjoy it!
Arthur Saenz


Q. When and how did you meet Chris Rainbow? Had you listened to his solo works before or you found about him through The Alan Parsons Project?
A. I first met Chris at Abbey Road whilst recording 'The Single Factor' or possibly 'Nude', I can't quite remember (1981 or 1982). I do remember David Paton telling me that Chris had a great voice and we met one day in the corridor of the studio. I immediately liked Chris. He was incredibly funny!

Q. How was the experience of having Chris and David on "The Single Factor"?
A. Chris & David sing like angels together. They also posess a great deal of silliness. So working together was both rewarding and fun.

Q. Did the fact that vocals were completely different, change Camel's style/music?
A. It did change the sound of Camel but... in a way... that's Camel is all about. Change.

Q. Was the reaction from the public in concerts any different from your previous tours? Having Chris Rainbow sing most of the songs.
A. Difficult to say really.

Q. Did he ever have something to do in the production part?
A. No.

Q. "Long Goodbyes"...first time someone had Chris Rainbow sing in very low and high registers at the same time, Ton Scherpenzeel's favorite too, what do you think of that song?
A. One of my favourites, too. Chris did a lovely job. He has fantastic range and I liked the way the character of his voice changed when the register was low or high.

Q. What's your favorite song from Chris during his "Camel years"?
A. Long Goodbyes.

Q. "On The Road '82"...there's a new, very special chemistry, why do you think that particular lineup worked out so amazingly well?
A. I would say humour was the galvanizing factor.

Q. Would you like to work with him again in future releases?
A. Absolutely.

Q. There's a new Camel album soon to come. How different do you think it's been, to be working with Camel Productions?
A. Camel Productions is the best career move I've made (apart from forming Camel in the first place). It gives me complete artistic freedom, direct access to the people who buy the reocrds and enables me to carry on making music.

Source: Old(inactive) Chris Rainbow website managed by Arthur Saenz

Chris & Donnie Munro

Message from Donnie about Chris' death

My Dear Friends

It is with the deepest sadness that we share the news of the death of our dearest friend, Chris Harley, who died at his home in Skye on Sunday 22nd of Feb, after suffering a long period of ill-health due to a progressive and degenerative illness which he bore with characteristic determination, courage and the irrepressible humour which was so much a part of his personality, even in these most challenging of circumstances.

Chris has been such a huge part of our lives both professionally, as a hugely talented Producer and Musician, and personally, as a wonderful friend and companion.

He played a huge role over many years in the development of Runrig’s career and was responsible for producing most of the bands major albums during what would undoubtedly be considered as the most successful period in the Band’s history. He brought a huge energy and musical sensibility to the work at that time, playing a key role in creating the defining Runrig sound. Working with Chris, in the studio or on stage was always great fun and his mischievous personality sparkled wherever he went no matter how pressurised the circumstances.

Chris, in his own right as a singer/songwriter, enjoyed considerable success, performing under the name of Chris Rainbow, where he enjoyed some early chart success and was recognised as one of the most unique talents in the music industry at that time, with his beautiful cascading layered vocal harmonies becoming the hallmark of his work. Quite apart from his own solo career, he also became one of the most sought after performers working with some of the country’s leading musicians and singers. His work remains utterly unique and a testimony to an exceptional talent.

I feel deeply privileged personally to have been able to work with Chris over so many years, both in my Runrig days, on my own solo recording projects and the many memorable live performances with the full band, of which Chris was such a key part and the irreplaceable catalyst that just made everything work. Chris enjoyed the enormous respect and love of all the musicians around him and he will be desperately missed by us all. On a personal level, Chris was a wonderful gentle friend, a great inspiration and mentor to me and like the many others who were privileged to have known him, I will miss him hugely.

All our thoughts are deeply with his wife Ibby and son Lewis at this difficult time.

Donnie.


Donnie Munro albums

On The Westside (1999)
Chris: organ & producer

Donnie Munro LIVE (2000)
Chris: backing vocals, percussion, producer

Across The City And The World (2002)
Chris: backing vocals & producer

Gaelic Heart (2002)
Chris: keyboard & producer

Fields Of The Young (2005)
Chris: backing vocals, percussion and producer.

Heart Of America/Accross The Great Divide (2006)
Chris: backing vocals

Chris & Jon Anderson

Beautiful harmonies on Song of Seven - Jon Anderson 1980

More "live" Jon Anderson with Chris as backing vocalist can be find here: 

https://www.youtube.com/user/Klaatusuit

More to come