Especially in Cape Cod, with only one semi-hit. We were still on our first album, we only had two barely recognizable songs, “Turn Me Loose,” and the decidedly not fit for a ZZ crowd, “The Kid is Hot Tonight.” Warning: Pop bands should not open for blues-boogie bands.
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My favorite ZZ Top story… We opened for them in Cape Cod, after a series of less than successful shows. Got any wild stories from the road you want to share? Everything fell into place, and we’re still riding the wave after 40 years - still partners, and wonder of wonders, good friends.Īround that time you also toured relentlessly with groups like ZZ Top, Cheap Trick and Def Leppard. Loverboy was my 14th band, and it was everything I had imagined, through all those decades of “almost there.” I had finally found the magic combination of musical styles, and business advisors. The follow-up, Get Lucky, was an even bigger success thanks to the hits “Working for the Weekend,” “When It’s Over,” and “Lucky Ones.” What was it like being one of the biggest bands of the burgeoning MTV generation? We also had a committed record label, great management, and decent songs, as well. It wasn’t just the recording that made that album a success. After a couple of albums with us, he was on his way to becoming a world-class producer himself. As for Bob Rock, he’s easily the best engineer I’ve had the honor of working with. He was the consummate diplomat, and somehow managed to keep everyone on the same page for three albums. Bruce Fairbairn’s contribution was mainly getting Matt, our drummer, into attack mode, and keeping everything organized and on budget.
I thought it sounded really good, I’m guessing Mike did too, so we teamed up. Bruce Allen suggested we listen to the recently released Prism album Armageddon, produced by that team. One of our managers, Bruce Allen, who Lou had just brought on board, was also managing Bruce Fairbairn at the time. Why was that collaboration so successful for both the band and them as producers? Short story, from the back of a Cosmo magazine, featuring a Covergirl ad, to “Coverboy” - not bad - then immediately up pops “Loverboy.” It stuck.įor the band’s self-titled debut, Columbia Records paired you with Bruce Fairbairn and Bob Rock. Kind of catchy, right? Yeah, nobody else thought so, either. We thought about calling the band, although hardly a complete band at the time, Dean Reno. This question comes up a lot, I’m not sure where the “dream” concept originated, but no, I was fully conscious. Is it true that it came to you in a dream, like Paul McCartney and “Yesterday”? You’re credited with coming up with the name Loverboy. That was probably from all the Motown and Stax artists I was covering in the ’60s, in the dance bands I was in, around Vancouver. We have a lot more R&B in our stuff, though. Of all those, in retrospect, I would say Foreigner was the closest. We were both Beatles fans, and were really into Van Halen and Foreigner as well. All I remember is, mine were Cheap Trick and the Cars, and Mike’s was, no lie, the great and recently late, Eddy Money. Mike Reno and I were sitting in the bar our manager at the time, Lou Blair, owned, when that very subject came up. Who were your biggest musical influences? Loverboy founding guitarist Paul Dean recently talked about their early years in Calgary, and their glory days as stars of the burgeoning MTV generation.
There are bands that are timeless, and others that are forever associated with a specific era and aesthetic.
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