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By Jeb Wright
Craig Goldy is most famous for his in and out role as the guitar player in the band Dio. He has done much more than that in his career, however.
His latest album on Frontiers Records is a collaboration with former Giuffria vocalist David Eisley. The band is simply called Eisley/Goldy. The album is called Blood, Guts And Games. The music is well written and executed and for classic melodic rock fans…it is very old school indeed!
In the interview that follows Craig opens up about making the album. It is a solid melodic offering but there were issues…and Craig tells it like it is. We also talk about playing with Giuffria and how Dave and he first got together as musicians.
In addition we talk about Goldy being part of the Dio Hologram Tour. Craig loves Ronnie and everything he talks about comes across as genuine. We take a side route and discuss Goldy overcoming child abuse and being discovered by Ronnie. Goldy was a money-fronting-dog-fur-covered-poop –picker-upper until Dio plucked him from obscurity. Ronnie gave him a chance in life…something he has never taken for granted.
This is a very in-depth interview.
Goldy tells it like it is and is not afraid to tout an album that will be released on Frontiers. He describes it as Rainbow, Deep Purple like. I can’t wait to hear that album.
Until then enjoy this one…I did!
Jeb: Congratulations on a great collaboration. How does it feel to sit back and listen to the final product?
Craig: Well, there are always going to be those certain special moments when listening back is a treat...and then there are those times where there’s knowing some things could’ve and should’ve been better! But, all in all, I think we did what was asked of us, and that is to do an album in the style of the first Giuffria album with a splash of something new and different.
Jeb: This is a long two-part question… a) How did you meet David Glen Eisley? b) I heard you literally showed up at his house and said something like, ‘time to record bud’.
Craig: As far as how did I meet DGE...that goes back a ways! I was in a band called Rough Cutt and we did a concert in Los Angeles. I didn’t know that Gregg Giuffria was in the audience with a record company guy saying to him, “Maybe you should get that guy.” He was referring to me. Gregg approached me after the concert saying “I’ve got a project that I think you might be interested in. Call me.”
I was living at Ronnie James Dio’s house at the time. Not only was he [Ronnie] my favorite singer, he was now my friend and co-worker. He was also our producer. He told me during one of our late night demo recording sessions for Rough Cutt that if Viv [Campbell] didn’t work out that I would be his first choice. This made meeting with Gregg a difficult decision for me to make.
After speaking with Gregg, we agreed that I would come over to his place and check out the music he was doing at that time. When I was watching the video of his new project with DGE I saw a vision that this was going to be big. I had to leave Rough Cutt in order for this to happen.
Rough Cutt had just gotten a record deal with Warner Bros. and Gregg, at the time, had only record company interest, as well as a bad reputation around town. This didn’t help matters. But the vision I saw was so strong that I decided to leave Rough Cutt, the record deal and the dream come true of working alongside of Mr. Ronnie James Dio in order to follow that vision. Ronnie and I were friends, so he understood, but everyone else thought that I was crazy.
A year later Rough Cutt was dropped off of the Warner Bros. label and Giuffria had a hit song well into the Top 40 and with a video in the MTV top 20 at #9. Then, Giuffria got the Deep Purple Reunion Tour and everything just exploded from that.
To back track just a bit…Gregg told DGE about me and Rough Cutt was doing another concert. This time, Dave came along with Gregg. The three of us met at a restaurant after the concert and Dave and I just hit it off so well that it became a no brainer. Dave and I became close friends and have stayed that way ever since.
As far as “showing up at his door” there is some truth to that. It started out with a local promoter in San Diego, where I grew up wanting me to do what was called a “Past, Present and Future” concert. I agreed and put together 17 different musicians from my past, present and future bands. This meant that I was going to be asking what I thought was the impossible, and that was to get Dave to agree to be a part of that concert.
It took a lot of convincing him since he had been out of the music scene for quite some time. I thought that it was time for him to be heard again. I still think that he is one of the best vocalists on the planet. He can be quite brilliant when it comes to melody lines and lyrics.
At one point, I had to drive up from San Diego to Los Angeles and meet him at his house in order to discuss what we would be doing, if in fact he was to agree to do the concert. That is when I used everything I had in me to encourage him and get him off his butt and back into the public eye.
It was supposed to be a win/win situation for the both of us for that one night. Little did we know that word had gone out across the globe, due to Facebook. A promoter from England flew in to see that concert. In turn, he booked us for a concert in Nottingham called “Rockingham.”
Throughout the years, Dave and I had discovered that Giuffria was quite big in Europe, but we never played as Giuffria in Europe so this was going to be a big deal. Unfortunately, the promoter made it sound like a full Giuffria reunion and the fans were expecting one thing. Since Dave had to be in charge of the set list for that night, Europe got something else entirely different. It was a big letdown for a lot of the Giuffria fans that were hoping for a Giuffria reunion!
Trouble can often become transportation.
Frontiers Records heard about the concert and wanted Dave and I to do an album together in the style of the first Giuffria album, as previously mentioned, which became what we have now. The trouble that was caused at “Rockingham” was our transportation for this album to be released worldwide.
Jeb: The album is a bit of a throwback to a time guitar solos mattered. Case in point…as melodic and bad-ass as the opening track “The Heart is a Lonely Hunter” is…that first solo where you jump in and just smash it out…that is getting to be a lost art.
Craig: It sounds like there’s a compliment in there somewhere!
I, too, believe that guitar solos that matter have become a lost art. I do the best I can.
As far as I’m concerned music is a very high form of communication. A song is either a conversation or a story that is being told within a musical environment. Because of that, the guitar solo should also communicate.
I think of a guitar solo like a paragraph. It has an opening statement, supporting facts, and/or info with a closing statement. A guitar solo should be similar. I should begin in “hello” and end with “goodbye.” It should also be the musical equivalent to the subject matter in the song itself.
I had to learn how to make “vowel” sounds out of my guitar. I learned how to “vocalize” with my guitar. That took a very long time and I’m still learning. Most guitar notes are like consonants...like the sound of the letters “D”,” K”, “T”, and so forth. You can’t communicate very well if every word you use has only consonants in them, so vowels are needed. It is the same thing with guitar solos.
Anger, sadness, gruffness, screaming, whispering and passion are always present in a talented and versatile vocalist’s performances within an album. I needed to also learn how to convey these same elements on guitar. That took a very long time to do and I’m still learning how to fully develop that.
Its utilization is most apparent in an album also on Frontiers records by Resurrection Kings, as well as my first solo album called Hidden in Plain Sight. I was able to utilize this approach in a few of the solos on this album with Dave as well.
Jeb: I don’t have a lot of info on the guts of the songs. Did you write them with David? Or are they his compositions?
Craig: This was a different kind of album and it was recorded in a very different way. I can’t get into too much detail here without unveiling some rather intimate and touchy subjects that would open up some old wounds.
Some of the songs were written by the two of us from scratch, and some were started by Dave…and I finished them. I needed to re-write a lot of his first draft portions and did not get writing credit for this for some reason, giving the illusion that most of these songs were his compositions alone.
Many of those first draft versions were extremely generic to say the least. I did my best to take them where I thought they should go, and in many cases this took a lot of convincing. Dave eventually gave in.
Jeb: You also produced the album. I gotta ask…did you invoke any of what you learned from all of the magic years you spent with Ronnie James Dio when you were in the control room?
Craig: In some songs yes, but since this was basically a Giuffria album, no. Not because I didn’t want to, because I did. I just got a lot of push back from Dave in that area. The album I’m working on now the answer is yes! But that’s a story for another time. We are mixing it now and it’s going to be making a huge statement to say the very least.
Jeb: Ron Wisko is the drummer on the project. He’s a big talent. Did you know him before this? Any stories?
Craig: Ron is simply amazing! He was also on my first solo album as was Dave…the Hidden in Plain Sight album. There are some stories and they are good ones too. Right now is not the time for that because even though the outcome was great, the situation that surrounded this was of a personal sort for him. I am just not at liberty to say right now. At some point, we can reach out to Ron and ask him if it’s ok to tell the story...then you’ll have it.
Jeb: Why do you think you gel so well with Dave?
Craig: Dave thinks in more commercial terms when it comes to songwriting. I think in more obscure terms when it comes to songwriting. This, on the surface, can seem like oil and water. If it was with any other person other than Dave, it would’ve been oil and water! But he gets me thinking in more commercial terms while I get him thinking in more obscure terms and the mixture can often be magical.
Jeb: What was the first song you did on the album? Did you know the magic was still there?
Craig: There were a few songs that he and I had started on by ourselves like “Lonely Hunter” and “Wings of a Hurricane.” The first draft of “Lonely Hunter” from Dave was very generic and my first draft of “Wings of a Hurricane” was a bit over the top, or more so than it is now.
He and I did what most people would call “compromising” in order to get these two songs into the shape that they are in now. The oil and water was there at first, only because the two first drafts were born apart from our collaboration. Eventually, those songs took shape, little by little, until they are now what they are. It is the same thing for most of the album, but that was previously explained in pretty detailed terms earlier.
Jeb: When you played with David in Giuffria what was that experience like? How did those years shape you as a musician?
Craig: Even though I was on only the first Giuffria album, and then left to join up with Rudy Sarzo after he and Tommy Aldridge left Ozzy, working with Dave during that time was really quite great.
I learned a lot about songwriting from him and Gregg and working with the producers that we did at first. These were guys who worked with John Lennon and with Led Zeppelin. I paid attention and became close friends with everyone I worked with. That afforded me one-on-one time with these amazing people and, fortunately, all that inside information got absorbed!
Jeb: David has a killer hard rock voice…but age has aged it a bit. Did you have to work around that in the studio? I know it is a tough question…but it is the truth.
Craig: Actually, I think Dave did a fantastic job vocally. Unfortunately, he lived in Los Angeles, and I lived in San Diego. Normally that is not a problem, but he would often do what a lot of singers do and get impatient while the extra special musical portions and overdubs were being done.
The guy who was first going to mix this album also lived in LA. Dave would just drop by and insert re-recorded vocals that he called “vocal fixes” on vocals that often didn’t need to be fixed. This happened to the point to where he fixed them until they were broken! It was almost like Michael Jackson’s face......he fixed that until it was broken too.
There are so many early takes that should’ve been kept that really showed off his true rock voice, but he insisted on “fixing” them! Don’t get me wrong, much of what Dave did on this album I think is fantastic and I am very proud of him and how he managed to hit those notes that most ‘80s vocalists can only dream of now, but a lot of the real raunchy stuff that I loved, he made it glossy instead. Some of the so-called “fixes” actually came out sounding like he was struggling instead of knocking the shit out of it like it was before. But that was his choice as a co-producer.
Jeb: Seeing as this is more melodic than metal did you ever find yourself having to play for the song when a part of you wanted to balls out fucking tear it up?
Craig: To finally give you a short answer...yes!
Jeb: Will this project go on the road? Will there be another album?
Craig: We will see what Frontiers has in mind. For now...I’m not really sure.
Jeb: Before I go…being a DIO fan…and I interviewed Ronnie many times…I wonder if you still look back and can’t believe he’s gone some days.
Craig: All the time. He was my friend and my family. He was the first and last of his kind. I try and keep his way alive. He had a totally different kind of work ethic, songwriting method and his way with the fans. I strive to make sure that this did not die with him as best I can.
Jeb: What about the DIO hologram stuff? I mean…from afar… this looks INSANE? Tell me about that and what you think and what it is like…
Craig: It’s very surreal…and I find it both heart wrenching and at home performing to the sound of his voice. The hologram is really more of a grand gesture on the part of Wendy Dio to the fans and the new generation that is getting to know him for the very first time. Watching those young faces see basically, in their minds and in their eyes, PlayStation 4 come alive…and to hear it with a live rock band...They are just mesmerized! And that can often be rewarding at times.
Jeb: Is this the future of Classic Rock and Classic Metal?
Craig: I’m hoping that the future of Classic Rock and Classic Metal will be what I’m trying to do with the album I’m working on now and that holograms will be for those who are missed so badly by those fans around the globe…that a hologram is the future for that particular scenario.
Jeb: Critics can’t help but call a hologram tour a cash grab. I mean…it is RIGHT there. Defend your position to the naysayer.
Craig: Quite frankly, I have done so much of that…and it’s literally all over the Internet. I am done trying to convince people where the heart of this is. If they don’t know by now, my stance, and the true heart behind this…by now...they never will. I would only be repeating myself if I fall for this again.
Jeb: I absolutely LOVE the album Magica. I will end this interview talking about this album, although I have million questions. Tell me about the creative atmosphere during Magica? This may be one of Ronnie’s proudest moments.
Craig: Magica indeed was a highlight for both Ronnie, myself and the band Dio. Ronnie had always wanted to do a concept album…clear back to right after the Dream Evil album! So, when I got the call to rejoin Dio it came shortly after another vision I had of me being back in the band. That too was very special.
I had just finished an album where each song was connected to each other like the Pink Floyd album Dark Side of the Moon. The album began with sound effects and then each song faded out and into what I called “sound effect scenarios” that then faded into the next song. Meanwhile, Ronnie was already working on the first couple of songs for Magica and had been writing the story that went along with what was to be a trilogy.
Since Ronnie and I had remained friends ever since 1983, we were able to just pick up where we left off as a team. But this time, I had learned so much leading up to that point. Ronnie actually missed working with me. He and I had the very same work ethic and were also quite willing to use unorthodox methods to get the sounds that we wanted, regardless if it was “the right way” to do things by the book. We often challenged each other not even knowing it really, ‘cause the final outcome was the boss this time and not just one person.
He was such a hard worker. He could play guitar, keyboards, and bass, program the drum machine and run the recording software on the computer by this time. I was much quicker than he was at programing the drum machine and running the computer, so I told him “Why don’t you let me do all the grunt work. That way you can use that amazing mind of yours to its fullest extent by not being lumbered with drum machines and computers. You be more of the executive producer so while we work, your mind has a chance to flow unencumbered. When you hear something that might otherwise have gone unnoticed while you were busy programming the drum machine and running the computer you can stop me right as the inspiration hits you.”
He said “Ok Goldy, let’s give that a try.” And it worked out quite nicely.
He and I would always record the entire album at his home studio before we ever stepped foot into those expensive recording studios to record the album for real. This gave us a chance to know what we wanted long before we started in the actual recording studio. After we recorded the entire album we would sit together and make extensive notes for when we would enter the professional studio.
When I say ‘extensive’ I mean extensive! As we recorded, he and I would often trade places doing the keyboards and bass. As we did the keyboards, we would write down which sound, from which patch, from which bank, that particular sound came from so that we could just go straight to it when it came time to record for real.
We did the same thing for his vocals. We would write down if he doubled the lead vocal in certain sections, added a harmony above or below....if he doubled that harmony, and what type of harmony/harmonies they were...a third above...a third below...and so forth.
Once we got into the actual recording studio my notebook was quite full. I was the only one invited into the console room while he did his vocals. Usually no one was ever allowed to be present while he did his vocals. Ronnie would ask me, ”Ok Goldy....what did we do here?”
I would look at my notes and tell him. He would often ask, ”Are you sure about this Goldy?”
I would confirm our notations. That is when he gave me the newest nickname, ”The Great Goldini” which later became ”Goldini”! So, then it was “Goldini…what did we do here?”
He and I did all of the keyboards for that album. We did the “sound effect scenarios”, the aliens and the music beneath the story. It was quite an undertaking to have this album all run together like the Dark Side of the Moon.....but we did it!
Ronnie was very proud of this album and I don’t blame him. I saw how he labored on his lyrics and the story. Lyrically and songwritingly speaking…since the law was “melody first and lyrics second” this makes it very difficult to create lyrics that will pierce your soul like his did.
As I mentioned before, a song is either a story you are telling, or a conversation you are having with the listener within a musical environment. Since the melody dictates how many syllables you have for your lyrics this can be quite challenging.
I saw how he labored hour after hour, day by day, to get his lyrics the way he wanted them. And, let’s not forget, you still have to rhyme, which makes the task just that more challenging. He was the master of this. I got to see and hear his method and I’ve gotta tell you it’s a difficult one. I have been able to utilize what I have learned from just that alone for this upcoming album…but let me stay on topic.
The Internet has changed things drastically, but the method that is involved in writing music that reaches people’s hearts in such a way…that’s due to the impact that music has upon them…that they are unwilling to go without that music. Well, that process is still the same and it always will be until the day that we become cyborgs! Ronnie was gracious enough to show me his method.
He and Wendy would often pull back the curtain and show me what was really behind there. They often brought me along with them as they met with record company executives. No one else was invited to come along but me.
Back when I was in Rough Cutt Wendy was a paralegal so she showed me how to read contracts. Now I can negotiate my own contracts because of her. So this time, for me, being back in the band was just so amazing and another dream come true.
As Ronnie and Wendy put it, “Magica put Dio back on the map after previous failing album sales.” That, too, was a very special part of music history for me to be a part of it.
In one interview Ronnie gave about this album, the interviewer went on and on about how much he loved this album called Magica and Ronnie was, once again, so gracious as to say, ”Well, I couldn’t have done this album without Craig Goldy!” That was very special when I saw and heard that interview.
Jeb: “Lord of the Last Day” is simply metal heaven…or hell…or Valhalla. Tell me about what you remember of that song.
Craig: The “Magica Theme,” “Fever Dreams” and “Lord of the Last Day” were song sections that Ronnie had already started on before he and I got together to write for this album. I love that song....”Lord of the Last Day.” There are some very cool elements in that song that, to this day, I still get chills when I hear it.
I just don’t listen to that stuff as much as I did before because it’s just too damn emotional and sad for me to, even after nearly seven years, listen to. I still listen to Rainbow and his days with Sabbath, but often the albums he and I did together are the most difficult to listen to right now…still.
Jeb: You replaced a guitar god in Viv. You were young and from what I have heard were living in a car when DIO gave you a break. Is that true?
Craig: Well that too has been talked about quite extensively and is plastered all over the internet. I think it would be a bit repetitive to go into this again at this stage of the game. However, yes, I was living in a car on the streets of San Diego to avoid the physical and verbal abuse that often landed me in the hospital requiring stiches, surgery and metal tubes stuck down parts of my body that ought not have anything stuck down inside.
I was just a little guy when all this was happening, so in order to avoid the extreme abuse I bought a car that I was legally too young to own. A father of a good friend gave me a job which I was legally too young to have.
This went on for months. While in bands with so-called friends I would be hanging with a bandmate looking at his couch like a starving child would look at a pizza. He would say, “Well, I gotta go to bed. I hope you find a safe street tonight.” Eventually with my last twenty dollars I made a demo that got into the hands of Ronnie. He said “We gotta get this kid up here.” How do you find a kid who lives in his car?
Jake E. Lee had just left Rough Cutt to join Ozzy and there was a spot open to fill his shoes. Ronnie wanted me to audition. Luckily for me, I had done a favor for a good friend, who in turn asked his friend if I could sleep on his couch for a while.
That couch was the dog’s bed. It had no cushions and lots of dog hair. I had to clean up the backyard dog poop just to get fed that day and they had let the yard go, so that yard was filled with dog poop! So, I did it, then it was free guitar lessons and being the gofer.
Whenever they wanted something from the store, I would go get it. Whenever they needed front money to purchase pot to sell, I would front them the money. That house was full of people who did not know the difference between wants and needs! But that house had a phone…and I got the call to join the Rough Cutt auditions!
The night before the friend that I was staying with got a phone call. He looked like the President of the United States had just called him. He said to me, ”Ronnie wants to be there tomorrow for your audition cause he wants to meet you.” It was more the other way around, I was hoping to meet him, but there he was. Ronnie and Wendy were sitting on the couch in the control booth at the recording studio where the auditions were taking place. As I approached them, I just couldn’t believe it. I was meeting my favorite singer in the entire world…Ronnie James Dio!!
Since I only had a guitar, Ronnie and Wendy rented equipment for me to play through for that audition. Ronnie got inspired during my audition and wanted to sit in, so we played “Man on the Silver Mountain’ and “Heaven and Hell’ together.
Just prior to all this I said something to Ronnie that I didn’t know would forever change my life. It was before the audition took place. I told him how much his music meant to me and what a huge fan I was. This was no surprise as everyone suddenly was a huge fan that wanted to be in that band with him as the producer and Wendy as the manager.
I said how much I loved his lyrics and that often it seems like he’s saying one thing, but meaning another.
He asked me, “What do you mean by that?”
I told him that it often seems like he picks a subject matter for the song with two opposing sides, but is able to sing about both sides in such a way that unifies them. Whoever is listening, whichever side they are on, that song is about them. The unifying part is that even though the two opposite sides disagree, they agree how amazing he sings that song and they think that song is for them. And he does it in such a way that there is a dark theme with a powerful positive hidden message.
He grabbed my arm so tightly and said, ”That’s right, that’s right!” He said it with such enthusiasm as if I broke his personal code.
Little did I know that this comment was the beginning of a lifetime friendship and a close working relationship that would forever change my life. I was just happy to meet him!!
While we were doing those songs of his he came over to me and asked, ”What’s the lyrics to the second verse?
I said, ”I’m the day, I’m the day” and then it happened again and I said ”The lover of life.”
He was like “Ohhh right, right” and then off he went to sing that second verse!
This started a “drop everything” sort of friendship between him and I. Whenever he and Wendy were going out to see a band play…and either my date, or girlfriend and I were going out to see a band play…it happened to be the same band.
Afterwards, on the way to the after party, Wendy was driving with my date and Ronnie and I were driving together so we could stop at the office so he could play me the new album.
Once again I was telling him what I thought the lyrics meant. He was doing his grabbing my arm thing and saying “That’s right, that’s right!”
Even when he was in the band Heaven and Hell, the Mob Rules line up of Black Sabbath, he would often call me at home to read me his lyrics that he had just wrote to see if I knew what he meant.
I would hear the phone ring, pick it up and hear “Goldy, Goldy you gotta hear this…When I was writing this I was thinking of you. I wanted you to hear these lyrics to see what you thought and if you knew what they meant.”
I miss those phone calls.
Jeb: “One More for the Road” is in my Top 10 DIO songs. That album was good. Why were you always coming in and out of the band? Were you difficult?
Craig: Yes and no! Yes because I was still a fan and I used to drive him crazy when I would get into that moment where I couldn’t believe I was working with Ronnie James Dio. That is when he wanted me to move quickly!
When you are sitting right smack in the middle of a dream come true, for me anyways, I can’t help but be overwhelmed at times. He had to get me into “re-entry” of the earth’s atmosphere if he was going to get me to do what he wanted me to do at that exact moment.
No, because we really had so much in common with our work ethics…and how we treated the fans, and the music industry professionals on our guest list that he often said to me, ”It’s soooo good to have you back in the band!”
Sometimes there were family issues that I just couldn’t leave them stranded while I was doing band stuff. Another time my hand started to make a “crunching” sound whenever I would try and make a fist; that was the scariest time in my life!
The doctors did everything....X-Rays…and nothing showed up as a possible reason for this problem. Then one day Rudy Sarzo looked at me and said, ”You should take better care of yourself. You might be experiencing a potassium deficiency. Eat more bananas, drink Gatorade and take potassium supplements.”
I thought it couldn’t be that simple…could it?
Wendy would often call me and say “We’re not giving up on you kid, hang in there. Something will happen and make things better.”
It turned out that Rudy was right! And I was back in the band.
Jeb: Let’s end this with the new stuff. You seem excited about this other project you told me about. I will let you end by telling me what this album, and with working with Frontiers means to you right now in 2018.
Craig: The album that I am working on now is with Rudy Sarzo on bass, Simon Wright on drums, Wayne Findlay on keyboards and a surprise vocalist from Argentina that is simply chilling to say the least.
I wanted to bring back the days of the Rainbow Rising album, Deep Purple with elements of early Van Halen, some Genesis and a touch of Whitesnake-ish types of songs. I couldn’t help but notice how many people make the very same comment about music in the ‘80s…especially when referring to these bands. The famous comment is, ”They don’t make music like that anymore!”
In a phone conversation I was having with Serafino, the President of Frontiers Records, I had mentioned that comment in passing. He asked, ”Can you?” I said “Yes!”
This album is loaded with everything that I have learned over the years with a lot of unexpected twists and turns. The focus is on bringing back the magical days of the Rainbow Rising album and Deep Purple that even Deep Purple doesn’t do anymore! Nothing against them at all, they are my favorite band and always will be. Ritchie was, and is, my favorite guitarist and always will be. Ronnie was my favorite singer and always will be. And I’ll just leave it at that for now.
As far as working with Frontiers, they are the best bunch of guys and have become close friends and are like family to me. They have basically given me a new lease on life, musically, and for that I will be forever grateful.
Jeb: LAST ONE… Give me your favorite DIO story you’ve never told anyone in the media!
Craig: Well Jeb…I’m sorry, but after seven years after Ronnie’s passing, and 30 years of interviews, there really aren’t any stories that I haven’t shared with the media that would be appropriate to share.
I love you my friend, and I love what you do and how you do it, but the only thing left is why I left Dio after the Dream Evil album. That story has to be told just right so that means that I’ll have to be in charge of that one. So that’ll be in a book or something cause interviews often aren’t the proper arena for personal things of this magnitude.
I wish there was a story that I could share with you that I haven’t shared with the media. I could have, but with Facebook comments now showing up on Blabbermouth for the world to see as music news…God bless Blabbermouth. They, so far, have been quite kind to me but these media outlets have gobbled most everything up.
If I think of something…you will be the first to know!
