top of page



9th September 2017

The music business is probably the only business in the world where being the son or daughter of a reputable person gives you no advantage and in fact can disadvantage you. Steve Rodgers has a rather famous father, that being Paul Rodgers of Free and Bad Company. Here he talks about his new album and his Dad and whilst the comparisons and references will obviously be made by people over the coming months, you should listen and make up your own mind. I for one do not feel Steve is standing in the shadow of his father.


Q: You have a new album out called Head Heart Soul on Oct 27th and a single, Head Up High out today. What can you tell us about it?


SR: I wrote Head Up High with a friend of mine – Arno Spires and we got together because we were mates and thought that as we were both musicians we should do some music together. That can always go one of two ways: really terrible or very good but we went up to The Barn where I was living (that’s where Bad Company used to rehearse) and there’s nothing in there. It’s just a shell of a stable, a concrete bunker, full of amp but it does have plug sockets. So we went there for six days and we just came up with song after song after song. Head Up High was one of them and I wrote the lyrics which is just my philosophy on life – how I live my life. I truly believe what I am singing there because I can’t write or sing songs I don’t believe in. They have to have meaning or I won’t be on stage singing them night after night.


Q: I was going to ask you something similar about I Will Grow. It sounds to me like there was a lesson you learned in the lyrics of that song.


SR: Everything’s a lesson as I’m sure you know Glenn. I was at a gig a few years ago and the promoter’s girlfriend was a life coach. She said ‘I’ve got this new website and I was wondering if you could do a song.’ All night I had been doing guitar songs and I just said ‘Yeah – piano song’ and she said ‘Whatever…I’m not bothered.’ Anyway, I went home adamant that it was going to be a piano song and I just had it in my mind it was for people who were trying to get somewhere and need a bit of encouragement. Not that I know too much about it but I have had a lot of experiences and pain and I know that through those, you grow and through the darkest times you get the most light. I’m sure you’ve been through something similar and I’ve been through something recently as well. The song isn’t about that though, it’s about life throwing things at you all the time and they are there for a reason: they are there to push your buttons, for you to step away from your ego, find out why this has happened and what you can learn from it and become a stronger individual. Those who don’t do that, suffer. You can stay there, go round in circles and the same thing will come up again.


Q: I couldn’t agree more. Now, what can we expect from the album?


SR: I recorded it with Ken Nelson a Elevator Studios in Liverpool. I always loved The Beatles and their albums where every song is different. I don’ like these albums were everything is the same – it’s great for some artists but for me, I wanted every song to be different. We have Walk On which s another uplifting song and is recorded live with a group and then we have tracks like Your Eyes which is just me on a guitar; Haunted which is me and piano so there are lots of dynamics. It’s taken me a while to get the songs together but there isn’t a clanger n this album. I’m not saying tht because it’s mine; there just isn’t a filler on this album and I wanted to make sure before I brought something out that it was like that


Q: There’s a lot of successful Pop and Rock singers these days that cannot sing without the aid of a good engineer and some auto-tuning. I don’t hear anything like that on your recordings and it feels very live. Was that how it was done?


SR: Yeah I sat down with Ken and I didn’t know he recorded like this. He did Coldplay and other bands and going back and listening to that early Coldplay stuff, it’s really organic. Ken’s a great engineer as well as a producer and he’ll spend hours getting a drum sound, guitar sound, bass, etc and before we went into the studio, we talked about it. I told him I liked that early stuff where it’s organic and live because that way it has durability. I don’ like autotune, I won’t use it and I actually wanted to put on the album ‘No autotune used to harm these songs’ (laughs) but Head Up High which I did with another producer might have stuff on it. I don’t know because it’s a Pop song and they like to fiddle around with it. I told them I didn’t want any autotune on it but I don’t know if they did or didn’t but certainly the other eleven which are all of Ken’s songs is strictly straight singing.


Q: I was very interested to hear you say on the promotional video for This Place We Call Home how much you learned from your father and his mic technique in the studio. Would I be right in saying that you used a lot of that for your vocal on I Can Grow and presumably the rest of the album?


SR: No. I had already recorded the album before I went and saw my Dad – unfortunately. (laughs) We were both in California at the time and were invited down to do the song. It’s for a great charity for a baby hospice called Zoe’s Place in Middlesbrough and it was really interesting with Dad because he is meticulous about everything - every aspect of the song and he was telling me stuff that was just normal to him but I didn’t know anything about. As a father/son thing it was interesting because we can sound similar and sometimes we would cough at the same time! Me and my sister have grown up watching him on these big stages as well as seeing him around the house playing guitar or piano so I think we learned through osmosis although when he’s singing around the house, he’s very different to how he is on stage obviously – he’s not the big 150% rock star then.


Q: While we’re talking about This Place We Call Home, would you mind telling us about your connection to Zoe’s Place in Middlesbrough?


SR: I was in Middlesboro doing some gigs with my sister Natalie. We were driving around Middlesboro and I was on my phone to my manager and Natalie was going ‘SteveSteveSteve… and was really persistent. I was thinking she was being rude but then she told me to look and we were right n front of the baby hospice. It had big iron gates which were probably a hundred years old and we decided to go in. It was quite harrowing because children go there towards the end of their lives and there is an apartment for the parents and a little chapel. I wasn’t sure if I wanted to go but they took us on a tour and when I saw the kids and nurses, t was a completely different environment. It was beautiful, happy, joyous and full of love.


Q: Back to music - You have some UK shows coming up. Who’s in the band and what material will you be playing? 


SR: Well I keep writing new songs and I want to play them. I’ll also play most of the album of course. The thing is Glenn, if you listen to the album, there are some songs on there that are a bit Poppy but if you come to a gig, it’s more Bluesy influenced stuff. That’s not 12-bar Blues but there is a Blues influence as there is a Soul influence and a Rock influence. People seem to really enjoy it and plus when I do it without the band it’s just me sitting on a chair stomping the floor and they can see I’m getting into it. It’s eclectic as well as I go through a range of guitars and pianos and stuff but as for the band, I’ve had them for about seven years and they are shit-hot. Technically amazing, they’ve all been in many cover bands – Alan has just done a Michael Jackson Thriller tour – and they are always working. They are the type of band that you tour with and they are so technical about things that I have no idea what they are talking about half the time. (laughs) They are talking about all different types of chords and this and that and everything s above my head. Their feel is really good though. They sit back and don’t try to overpower the song


Q: You’re obviously going to get some comparisons to your father but I think your voice will silence any critics.


SR: My ethos years ago was to just gig, gig and gig and hone my craft and get good at it. There is an expectation to look up to – people turn up on Harley-Davidson’s wearing leather jackets and I know whose fans they are but I just go on and do what I do. People will shout out ‘Do All Right Now!’ and if you want to hear a crap version of All Right Now, I’ll do one (laughs) but seriously, if you want to hear All Right Now, go and pay the money and watch my Dad do it properly.


Q: Your acoustic playing is excellent…


SR: Oh thank you.


Q: Who were your influences?


SR: I don’t have any (pauses and thinks for a moment) Wait…is that true?


Q: It could be.


SR: Well I started and I wanted to be like Slash; a Rock guitarist, Hendrix, Led Zeppelin, AC/DC, etc and when I left the band which I was in with my sister, all the venues around Surrey where I lived, you could only play an acoustic so I had to transfer from the electric which I loved to the acoustic. I used to be influenced by Jeff Buckley, al the Led Zeppelin stuff…I don’t really know…I’m just trying to be creative.


Q: Will you be doing you’re A cappella piece?


SR: Yes! Always!


Q: Steve, thanks very much for this. Hopefully we’ll see you here in the near future.


SR: We’ll be there!



スティーヴ・ロジャース インタビュー2017





Q:10月27日にニュー・アルバム『Head Heart Soul』がリリースされます。今日はタイトル・チューンがシングルとしてリリースされましたが、ここまでのいきさつをお話しいただけますか?

スティーヴ・ロジャース(以下SR):僕は「Head Up High」を親友のアーノ・スパイアーズと共に書き上げたんだ。僕たち二人はずっと仲間で、一緒に音楽をやって来たからね。二人でやっていると、酷いものになるか、素晴らしいものになるか、結果は二通りなんだけどね。でも僕たちの地元にあるザ・バーン・スタジオ(かつてバッド・カンパニーがリハーサルをした)に行ってみたんだ。何もない所でね。ただがっちりしたコンクリートの壁と山積みのアンプとプラグソケットがあるだけだった。6日間そこに居て、曲を書きまくったんだ。「Head Up High」はそのうちの1曲で、僕が自分の人生哲学のことを詞にしたんだ。どんな風に生きているかってことをね。僕が歌えることというのは、自分が信じられるものだけなんだ。それ以外の曲はステージで毎晩歌うなんてことはできないよ。


Q:「I Will Grow」についてもお訊きしたいのですが、この曲も「Head Up High」で取り組んだものに近い気がするんです。




SR:リバプールのエレベーター・スタジオでケン・ネルソンとレコーディングしたんだ。僕はビートルズのファンでね。彼らの曲はすべて違っているだろう?だから似たような曲が入っているアルバムなんて嫌だったんだ。そういうのを好むアーティストもいるだろうけどね。僕はそれぞれの曲に個性があるのがいいんだ。「Walk On」も元気が出る曲だよ。バンドとライブ録音したんだ。「Your Eyes」では僕はギターだけプレイして、「Haunted」ではピアノを弾いた。とてもダイナミックだったよ。時間はかかったけど、ヘマはしなかった。僕のアルバムだから、言い訳はしたくないんだ。捨て曲はないよ。リリースする前にそれを確信できるものにしたかったんだ。



SR:うん、ケンと腰を据えて話したんだよ。彼のレコーディング法なんて知らなかったからね。彼はコールドプレイも手掛けたていたから、初期のコールドプレイを聴き返してみたよ。とてもオーガニックな感じだった。ケンはプロデューサーとしてもエンジニアとしても有能なんだ。彼はドラム、ギター、ベースのサウンドを望みどおりにするために凄く時間をかけるんだ。スタジオ入りする前に彼とはそこのところをじっくり話し合ったんだ。オーガニックでライブぽい好みのサウンドを彼に伝えたよ。忍耐のいる過程だった。僕はオートチューンは嫌いだし、アルバムには「すべての曲にはオートチューンは一切使用していません」とクレジットしたかったんだ(笑)。でも「Head Up High」には別のプロデューサーを起用したんだ。理由は何かな・・・・ポップな曲だったからだろうね。遊んで弾けている感じを出したかったんだ。でも彼にもオートチューンは使わないでと頼んだよ。結果はどうしたかは分からないけど、他の11曲はすべてケンが手掛けたから、僕はストレートに歌ったよ。


Q:あなた自身、「This Place We Call Home」についてどう思っているかがすごく興味があります。スタジオでのマイク・テクニックとか、お父さんから教えてもらった部分はあったのですか?「 I Can Grow」や他の曲でもあんな感じでやったのではないかと思うのですが、どうでしょう?



Q:「This Place We Call Home」の話で出てきたミドルズブローの「ゾーズ・プレイス」との関係を聞きたいのですが。







SR:少し前までは、とにかくコンサート、コンサート、ライブ、ライブ、って感じだった。とにかく技能を磨いたんだ。みんなは僕にハーレー・ダヴィッドソンにまたがる革ジャン野郎を期待したんだろうけど、僕は自分がやりたいことだけをやっていたんだ。「All Right Nowをやれよ!」って野次られたよ。手拍子を入れる「All Right Now」ならやってもよかったかも、だけど(笑)。でも本当に「All Right Now」が聴きたいなら、お金払って父のコンサートを観ればいいことだからね。
















Anchor 1
bottom of page