Photo Credit: Sherry Boylen

Photo Credit: Sherry Boylen

It seems as though since their inception in the late 1980s, the members of FireHouse were presented with the ability to formulate memorable melodic hard rock and heavy metal anthems.

The band’s self-titled 1990 studio album was responsible for a number of their signature songs, including “All She Wrote,” “Love of a Lifetime” and “Overnight Sensation,” and subsequently allowed FireHouse to beat out Alice in Chains and Nirvana for the title of ‘Favorite Hard Rock/Heavy Metal Artist’ at the 1992 American Music Awards.

FireHouse’s success has always been determined by the collective sum of it’s parts, however founding member and guitarist Bill Leverty has remained the force behind the band’s distinctive chord progressions and arpeggios.

Whether it is the accelerating themes of “Helpless” or the articulate introduction to “Reach for the Sky,” Leverty has continued to compose thought-provoking arrangements both as a member of FireHouse and in his career as a solo artist.

Rather than continuing to produce like-minded compositions outside of his role in FireHouse, Bill Leverty has explored a broad landscape of blues rock territory over the course of his five solo albums and an increasing number of standalone singles.

Music Enthusiast recently had the opportunity to speak with Bill Leverty to discuss his new music video for “Strong,” his range of musical influences, his stance towards new FireHouse material and his songwriting approach.


Music Enthusiast: I’d like to start out by turning towards your most recent solo activity. You’ve just released the music video for your new single, “Strong.” What were you aiming to achieve with this venture?

You know, it’s just a way to get my art out there. Putting out side project material is something that I’ve been doing for a long time. I’ve put out four solo albums so far and I’m the middle of my fifth now. The way I do it now is rather than waiting until I have ten done and then releasing a CD, as soon as I get a song done I release the single. As soon as I have ten singles released, I’ll press them up on a CD and make that available. When there’s a song that comes down the pike that I feel strongly about, I’ll go ahead put the time and effort into making a video. That’s what I’ve been doing lately.

The video features FireHouse drummer and backup vocalist Michael Foster, who has been a frequent collaborator throughout your solo career. How did your partnership with Michael in FireHouse carry into your work outside of the band?

It’s smooth as silk. He’s been my best friend through my whole life. We fly out of Richmond every weekend when we go out to do FireHouse shows and then we fly home. We spend a lot of time talking and we spend a lot of time on the stage, as well. I’ve known him for like 35 years now and it’s one of those things where when I get a song, the first people that comes to mind to play drums on it is Michael.

There are a lot of other really good drummers around here that I’ve recorded with in the past. I probably will record with more people in the future, but Michael’s just got the magic power in his playing and a relaxed feel and a real steady tempo and a real creative ability. We’ve been able to speak the same language now for a long time, so it’s just works in the studio and outside of music.

The song has an apparent hard rock attitude with a blues edge that genuinely isn’t unlike John Sykes-era Whitesnake. This is an approach that you’ve also explored on recent songs like “Bloom is Off the Rose,” only this track has more of a boogie rock vibe to it. Where was your mindset at when you entered the studio to record this song?

Photo Credit: FireHouse

Photo Credit: FireHouse

I had an open mindset. (laughs) I really didn’t have anything in mind. I sat down with my guitar and started jamming on some… just trying to come up with a good idea. The chorus section is what came out, and then I tried to come up with a melody on top of that that I could sing well. Then I tried to figure out some lyrics that would fit that melody, so it really just started out with the guitar riff and then it worked backwards.

That’s the way I write most of my songs. I come up with a riff that interests me and then I try to figure it out from there. I didn’t really have any end result in mind. When I started it, I had a little chord progression using a hybrid picking style with my right hand and then I tried to figure out where the music was telling me to take it.

What came out was the way it sounded, and for you to say that it’s reminiscent of a Sykes/Whitesnake kind of thing is a huge compliment. I really appreciate that because I think that they put out some of the best music of my era or generation.

Do you have an admiration or passion for playing blues material? I believe this song, as well as “Ace Bandage” and “Bloom is Off the Rose” all have this common thread of 70s and 80s blues rock. “Ace Bandage” is more in line with later day ZZ Top, and the other two are heavier sounding in that regard, but there’s still a blues base to these songs.

I really do love the blues and I do have a passion for it. You know, I’ve been advised by producers over the years that, “When you write songs, try not to make them bluesy.” I always come back to those three magic chords in blues that just appeal to me. I grew up in Virginia, I was exposed to a lot of blues music at a young age. I went to a lot of concerts that weren’t necessarily Howlin’ Wolf or whatever, but all the bands that were influenced by Howlin’ Wolf.

Lynyrd Skynrd, who I saw right before the plane crash, they influenced me. Ted Nugent, who was influenced by B.B. King, he influenced me tremendously. They were two of my big formative influences as a young guitar player. Then listening to the radio and hearing the soul station here in Richmond with early funk music, which is all kind of based on blues, I definitely have all that ingrained in me. It’s hard to get away from that.

So will these three most recent songs end up finding their way onto the next solo album? Are you going to continue releasing one song at a time until there’s another record?

Yeah, that’s the way I want to do it. Like I’ve told some of my friends, I have anxiety issues, so when I finish a song it just kills me to hold onto it. I want to play it for everybody and I want them to have it on their little MP3 player or in their CD player and just start listening to it immediately. I want the world to hear it!

It’s kind of a great thing that we have the ability to get it up on iTunes or Amazon or Spotify or whatever right away instead of having to wait until the whole album’s done. Back in the era, you couldn’t do that. Now we have that ability instead of having to wait until the whole album’s done. It’s kind of a great way to give birth once song at a time instead of having to give birth to ten of them. (laughs)

You just reminded me of a conversation I had with George Lynch a while back. I was talking to him about the first album from T&N and I had asked him, “Were you glad to have this album out after working on it for so many months?” And he said to me, “What do you mean ‘release’? It’s not like we’re giving birth.”

Well, I don’t know. I’ve never given birth before. (laughs) Every time you put out a song and you finish the mixing and mastering of it and you’re listening to it, for me at least, I want to put it out there. I want people to have it and own it like a piece of artwork, to be able to hang it on their wall. Then it’s time to move on to the next one, which is kind of the child’s analogy. It’s time for that kid to stand up on it’s own and then start working on the next one.

So taking a look back, what do you recall about the making of your debut solo album, 2004’s ‘Wanderlust’? Were you somewhat uncomfortable with taking a step away from FireHouse and working as a standalone musician?

I guess somewhat. I mean, for the most part it was songs that I had written that really didn’t fit the FireHouse style, that did fit my voice – or I felt like they did. I wanted to go ahead and get them out there, instead of having them build up into a pile of songs that nobody would ever hear. I started with a song and I finished it and enjoyed the process so much that I decided, “You know what? I’m going to go ahead and do ten of them.”


I had a few that were old and a few I had written during the process of making the album. It was a great learning experience and it definitely got me more interested in singing than I ever did before. I had always loved singing, but recording lead vocals for something that was going to be on a recording as opposed to a demo and then just giving it to CJ Snare, our singer and is a fantastic singer. It was a new approach for me to take in terms of… I really had to be really more particular about it, as opposed to just giving it to CJ and saying, “Hey, you make it sound right.” It was a great learning experience and my voice is a never ending work-in-progress.

We’ve previously seen guitarists like Zakk Wylde who played with Ozzy Osbourne for so many years, and now goes out and does these really strong covers of “N.I.B.” and other early Black Sabbath songs. After spending so many years with FireHouse, how did you actually go about trying to develop a voice for yourself?

I’m still trying to find my unique sound, and hopefully it will come one day. It all started with me and these songs that I had written and didn’t really fit for FireHouse, maybe because they were a little too bluesy or they were just songs that people said, “Yeah, that’s a good song but it doesn’t feel right for this album.”

So I had a little pile of those that I felt I could sing and I went ahead and pursued it. Now when I write songs, I try to just come up with the music and the lyrical content and the vocal melody, and then if it works for me, great. If it works for somebody else, that would be great, too. It keeps me working in music and keeps me creative and trying to become a better songwriter. I feel like if you work hard at that, then you get a little better at it. That’s what I’m trying to do.

So after you had spent that time trying to develop your own voice, what was the motivation to then try your hand at an instrumental effort with your 2007 album, ‘Southern Exposure’?

I’d always wanted to do an instrumental record. I was influenced by so many great instrumental musicians, three or four of them being Steve Morse, Allan Holdsworth, Al Di Meola, Eric Johnson. They made me just love the way that instrumental music that was centered around the guitar could really sing without using the human voice. It would make the guitar be the singer. So that always inspired me.

Photo Credit: FireHouse

Photo Credit: FireHouse

What happened was I got the endorsement with Grem Guitars. They were out of Fort Wayne, Indiana, and they told me, “We want you to go around and do some clinics to show the guitars.” So I said, “I would love to.”

Then I started to panic because I didn’t have any material to play, and I didn’t want to just go out there and play a bunch of FireHouse riffs. So I thought, “I’m going ahead and write six instrumental songs and I can go out and play these songs in music stores and show these guitars.”

I had a wonderful time and just a great experience learning how to play instrumental music that I decided to do four more and I would have an album’s worth. It was really out of desperation that I went to try and make an instrumental album, and that’s because I was scared that if I showed up to one of these clinics I wouldn’t have anything to play! (laughs) It was a lot of fun. I learned that I’ve got a lot to learn, for sure.

While you were trying to find a way to make the guitar speak for itself, were there any particular albums or artists that you turned to for inspiration while you were going through that process?

I mean, my number one inspiration for that is Steve Morse of the Dixie Dregs and his solo work. All of the Dixie Dregs albums, and I saw them three or four times back in the day. That’s just genius level stuff. I never came anywhere near being that good, but listening to him kind of got it started for me. When I was kid I listened to a lot of Jeff Beck, as well, especially the ‘Wired’ album. That and ‘Blow By Blow’ were two albums that I played over and over again. I just couldn’t get enough of that. They were the two big ones.

Al Di Meola was another one that inspired me for Latin-sounding stuff, although I never could get the right hand, and then the fusion-sounding stuff was Allan Holdsworth. I could never figure out how he was playing any of it, but just listening to him through osmosis I think helped me. In a more recent time when I got a few more hours of guitar playing under my belt, Eric Johnson was the guy that really had a unique sound and my ear gravitated toward. I really just loved the way he played and the way he wrote his songs, particularly ‘Ah Via Musicom.’

Would you say by the completion of your most recent album ‘Drive’ that putting out new material as a solo artist was no longer a stressful ordeal? You had experience by then at formulating instrumental music if you wanted to go that route, and you had some time to work as a standalone artist?

Well, I think it’s still a stressful situation for me because I kind of agonize over every little thing because I want it to sound right. I’m a perfectionist but I’m not perfect, so that’s where the struggle is for me. I want it to be near perfect so I have to decide, “If I get it to a point where if I try to get one percent better, is it going to take me another year?” (laughs) That’s what I struggle with.

I’ve been trying to become a better singer. I’m trying to learn how to sing, where it works and where it doesn’t. The other thing that I struggle with is getting the next song started. That’s always the biggest hurdle for me as a writer because you have to have some sort of musical idea or a riff that’s worth pursuing. You’ve got to have all of that first before you can really have anything to write about.

I still struggle with it and I found that the more time I spend working and trying to play with different tempos, different things will pop out. I’ll record all of them and then I’ll come a day or two later and I’ll listen and see if anything still grabs me. If it does, then I’ll see if I can come up with anything. If not, then I just pick up the guitar or the piano and try to come up with something else.

I sing in the shower, and that’s how “Ace Bandage” came along. That’s one of the few where the riff didn’t come first. The idea of the chorus came to me in the shower. I came down and sang it to my wife and my daughter, and we all started laughing so hard. I said, “I’ve got to pursue this one!” It got a chuckle out of everybody, you know? That’s kind of how that worked.


Was ‘Drive’ the first album where you used Goldie?

Yeah, it sure was! That album is a collection of cover tunes that inspired me before I started playing guitar when I was 15. All of those songs are songs that I still love today, and the third criteria was that they couldn’t be songs that haven’t been covered to death. Some of them obviously have been covered or were cover tunes when I first heard them, “I Shot the Sheriff” being the first one. I heard Eric Clapton‘s version and didn’t know it was a Bob Marley song until years later. I still remember hearing “I Shot the Sheriff” on the radio when I was going to hockey camp. It was just fond memories as a kid listening to the radio and these songs made me love music more and more. That’s what ultimately made me want to make the cover tunes album.

I think that’s one of the things that makes a good cover song, when you don’t realize that they’re covering someone else’s work. When you have Van Halen giving their version of a Linda Ronstadt song or Rainbow covering a Head East track, they do such a good job at interjecting their own approach into the mix that you can hardly notice. Was that something you were trying to achieve with the ‘Drive’ album?

Not so much. I took the song of what I learned from it over the years and what I remember of it as a kid and didn’t really study it. I went in and just kind of laid out a blueprint of the song, and then I tried to just develop the song as best I could with my own interpretation of it while still trying to pay respect to the original artist’s vision and the production that was originally there.

With “Fire” by the Ohio Players, I tried to keep a retro-sounding drum kit and instruments and so forth, as opposed to trying to rewire the whole thing. I tried to just do what the song told me to do and I didn’t try to push too many boundaries. I tried to take some of the parts of some of these songs that were horn parts and transcribe them to the guitar. Sometimes I would layer in horns with those guitar parts just to get the feeling of, “Isn’t there some horns going on there, too?” I guess the majority of the envelope pushing I did was with production ideas like that. It wasn’t so much me trying to make the songs my own, as much as it was trying to pay respect to the original while putting my own herbs and spices on there.

I remember seeing FireHouse perform in Melbourne back in 2012 with Trixter and Warrant, and I believe that was one of your first shows you played with your Lucky 13 guitar. I have to admit, as I watching during soundcheck it was tempting not to jump onstage and try a few licks. Is there something you particularly enjoy about C.R. Alsip guitars?

Photo Credit: Sherry Boylen

Photo Credit: Sherry Boylen

There really is. I love the design that the guy came up with. The body style has a classic feel and look to it, but there’s a lot of unique features on there.

It’s a 24 fret neck, for starters, with FU tone upgrades. It’s got a big brass block in the bridge and it’s got some titanium inserts and some stainless steel parts so it won’t rust and sounds a little more crisp.

It’s got an ebony fingerboard which I love. It’s a solid body guitar, so it’s a big piece of hard rock maple. It’s got mahogany on each side of that maple, and the pickups aren’t really high output pickups like I used to play back in the 90s. They’re a little lower output so that it’s got more clarity to it. The way the wood sounds, it has a real unique and really pleasing resonance to the guitar acoustically. The way it feels, the way it plays and the way it sounds, it’s just got all the magic.

Were you able to bring that guitar out during the making of ‘Full Circle’ album with FireHouse? I remember that tour was in support of the album.

With the ‘Full Circle’ album, I wasn’t hooked up with C.R. Alsip. I was playing those Glem guitars, which are also masterpieces of workmanship. Unfortunately, Glem went out of business but they made just remarkably phenomenal instruments.

While fans have been somewhat strapped for new FireHouse material aside from the ‘Full Circle’ album, you have regularly focused on your career as a solo artist. What do you feel are the benefits of crafting music on your own, as opposed to working with a full band?

Well, there are benefits to both. I mean, working stuff out yourself may take a little longer. The benefits are that you can do it yourself in your own time at 3 A.M. where you wake up and go, “I’ve got this idea. I was dreaming about this melody.” And I can come down and lay out an idea. I can work pretty much whenever I want to because I’ve got a little studio in my house. I guess there’s no committee involved. It’s just me and I can kind of find out how I want it to go without discussion.

Of course, I have a lot of that internally, but you don’t figure out a way you want it to sound and then maybe somebody doesn’t agree it should be that way. Not that in FireHouse or other projects that I’ve worked in that it really matters if you get your way all the time, but at least when you do something on your own you can get it all kind of roughed up yourself and figure out how you want everything. When you still give it to other artists to play on, Michael Foster being the drummer or I’ve done some other fabulous stuff with another drummer named Andre LaBelle, they bring in their ideas and thought process, which is always helpful I find.

If Michael Foster – he’s been playing drums now for 40 years, so he’s been focusing on drums. Here’s a guy who can come in and go, “I kind of feel this beat right here or accenting this eighth note here,” and I never would’ve thought about that because I’m a guitar player who’s got a vocal melody going on and wasn’t really thinking about that a lot. So you still get the benefit of having other musicians come in and give their ideas. I think it’s great to do both, to be completely honest with you.

It’s been twelve years since the release of the last FireHouse record, yet the band has in no way been inactive during that time. You’ve done many runs here in the United States, as well as several tours in the Middle East and overseas. Where do you feel the emphasis in FireHouse musically has been during the past decade?

Well it’s definitely not boring. Going out and playing our songs live in the last ten years has been what we’ve been working on the most. We were talking about maybe putting our heads together to write a new song, and I really think that’s going to happen. Hopefully soon. We really want to do that. The last ten years have really flown by. We put out ‘Full Circle’ and we tour. We’re always on call. We’re always ready to play a gig.


We play more in the summer than we do in the winter, just because the way the touring business is these days prefers us to play these festivals and stuff like that. We don’t play many clubs anymore, so we’re playing more in the summer. That just means in the winter we spend more time with our families. When my daughter comes home from school, I can help her with math homework and spend time with the family. I usually go down and I’m practicing, and sometimes that comes up with an idea for a song and then I’m recording a song and I’m mixing it and putting out another song! (laughs) So that’s pretty much how my life has been in the last ten years.

The last real word on a new FireHouse record was in an update you gave back in 2007, where you said the band was planning on entering the studio that winter but nothing ever materialized. Has there been a solid group effort to make a new album since then, or wasn’t it until most recently that the idea of writing new FireHouse material was brought back up?

I think it’s just we’ve been talking about it forever. It’s just getting everybody together to do it has been tough. I think it’s just a lack of focus. We’re focusing on other stuff in our lives. That’s what has been happening, mostly.

Both you and CJ Snare have been working on material outside of FireHouse, what with your solo career and his recent work with Rubicon Cross. Have you listened to the Rubicon Cross album?

Yeah, I think it’s a great album.

I also talked to CJ about the Rubicon Cross album, and he said that’s where he is currently at musically and where he feels FireHouse should be at in regard to new material. Where do you feel FireHouse’s sound should be at in 2015? Are you interested in a bluesy evolution from the past albums, or do you think it should be more reminiscent of the earlier efforts?

My philosophy about making new music is not to try too hard about what you want it to sound like. Just try to come up something good and follow your instincts as the ideas come out and the songs come out. The music will tell you how to dress it up. It’s like a girl; you try to put her in a pair of jeans and T-shirt or you put her in an after-five evening gown, it will tell you and let you know if you’re putting your music in the right style and the right sound production wise.

Photo Credit: FireHouse

Photo Credit: FireHouse

I just feel that we want to stay true to our roots of melodic hard rock, and the melodic part being the most important. I want to sing about things that we care about, topics that are interesting to us now and weren’t when we were in our 20s and singing about rock and roll, party every day. That was all fun and what we felt was important to us at the time, but now that we’re a little older we have other things and we’ve kind of grown up a little bit. Not that we don’t like to party every night!

We would like to show some growth musically, lyrically. I think that really it comes down to making music that makes you feel good. I want music that makes people have a good time and walk away going, “Man, that’s a fun song.” That’s what I would personally want. We were all influenced differently. We all have our own influences and own input in it, and what will come out will be anybody’s guess.

Back in the early 2000s, Boston released an album titled ‘Corporate America’ that was pretty much the band’s way of addressing the changes within the government and industry. Is that something you have in mind?

I don’t think so. Although I love politics and I love discussing them and everything, I don’t think the entertainment side – for FireHouse, I don’t think that it’s going to be much in the way of those topics. I think it’s going to be more… probably not politics. (laughs) It probably works for Boston and it works for U2. I’ll tell you what, they’re the best at that.

FireHouse did get together in the studio to put together 2011’s ‘Full Circle,’ which features new versions of songs from the first four albums. What was the intention behind that release?

Well these songs have evolved so much since we’ve put them out. We just thought it would be cool to re-record them so people could hear how they’ve changed in 20 years or whatever it was since the time it was released. They were our favorites, our fan favorites. We wanted to put out a modern or updated version of these songs so people could check them out. It was kind of a cool idea. We thought it would be fun to do, and it turned out that it was fun and the fans seemed to really like it.

I think so as well, but why was the cap set at just the first four albums? That makes three solid FireHouse records that were left off the table.

Well thank you. We picked our fan favorites mainly, and most of our fans know us for the first four. Most of the songs that you were talking about are on the first two albums. I think out of the eleven songs that are on there, around seven were off of the first two albums and they’re also the ones we play live the most anyway. The reason why we play them live the most is because when we’re opening up for whomever, we usually have only an hour to play. Sometimes we only have 45 minutes or so, which means most of our set is already written with those songs.

We thought it would be kind of cool to show how most of those songs kind of changed over the years and how they’ve kind of stayed the same, too. It’s the same song but I would listen back to the original while we were recording and I was going, “Wow, I forgot I played the G chord in that position. I’ve been playing it up here for this long, and I wonder why that change? Maybe it was just in some soundcheck.”

I also noticed how I would play the solos differently. Maybe I’ve filled up more holes over the years. When I went in to record the second record, let’s say, we had limited time to expand that with guitars. I found that kind of guitar sound, and had I known fifteen years ago I would have added little licks in there. But that’s what this album is for. It shows you what it would have sounded like had we had a little more time to live with these songs and put in a few extra ingredients.

You’ve recently acknowledged that you would like to start digging back and playing some of the deep tracks from the FireHouse catalog during the live shows. I think you specifically mentioned throwing “Holding On” from ‘Prime Time’ into the set. Is it somewhat uncomfortable as the artist to not recognize the last three FireHouse records in the band’s performances?

It’s a struggle we deal with all the time. If we could get out and play two-and-a-half hours every night we could play a lot more songs, but most of our gigs we’re opening up for somebody and the promoter has a time slot that you fill. It’s very rude to go over time and play longer than your time slot, so if you’ve got forty-five minutes you don’t play for an hour. You play forty-five minutes, you know? (laughs)

That said, we’ve got a lot of music to choose from and we want the fans that come there to hear “Love of a Lifetime” to walk away hearing “Love of a Lifetime.” We could always not play “Love a Lifetime” and put in “Hold the Dream” instead, but the fans who got married to “Love of a Lifetime” would walk away disappointed. The same thing is true with “When I Look Into Your Eyes.” A lot of people got married to that song. If we didn’t play that and put something else in, people would be bummed. When we get to headline a show, we get a little more time to pull from different albums.

It’s definitely a challenge to fit something in off of every album, but we’re trying to change it up as time goes on. We’re adding different songs here and there, and the main thing is to keep it sounding good for the listener. We’ve recorded songs where we play them live and we go, “Yeah, I don’t know if it’s as good as ‘Overnight Sensation.’” We’re able to replicate that one and keep it sounding strong, in my opinion. A lot of that goes into our selection for the set.

When it does come down to releasing new music, some bands from your era have proposed only putting out singles or EPs as opposed to full-length studio albums. Do you feel it’s important that albums as an art form are still encouraged, or would you say that you’re also more in favor of the way the tides have shifted?

I think that it depends on the artist. For me personally, I like putting out a single when I get it done. Having said that, I don’t tour off of my solo material because we were always on call for FireHouse. If Firehouse gets a gig tomorrow, I’m ready to go. If I had a solo gig booked for tomorrow, I would have to cancel that to do FireHouse and I probably would disappoint anybody who had bought a ticket for my solo show.

I think that if you’re Pink Floyd, you definitely want to put out an album because the stories and the journeys that are told in a Pink Floyd album just aren’t picked up in a single song. With Queensryche and ‘Operation: Mindcrime,’ all of those songs were so good but as an album it’s just a phenomenal experience. Just put that on and listen front-to-back to that. I see where that would be a plus for some bands to do an album, and I see where doing a single song could be a plus as well. I think that the single song approach makes each song count a lot and helps them stand up on their own.

It may be an art form that will eventually lead to less concept album creation, which is kind of a bummer because I always liked that but I don’t think that FireHouse has ever been like that and I don’t think we’ll ever be on track to be making concept albums. Although, you never know. One song and one idea could lead to this whole story that you come up with, and maybe that will be when my anxiety goes out of control and you’ll have to keep the whole album away from me until it’s time to put it out. (laughs)

I’m not sure too many fans would be quick to say, “Go do an album like ‘Operation: Mindcrime’!” But do you think that’s something you would be open to doing with FireHouse?

I will say this. If somebody comes in with an idea on a whole concept album where it’s just like, “Here’s the story” and we can get it to fit in just one song, I would be so open to doing that. I don’t see that happening, but I would be pleasantly surprised if it did happen.

Whenever FireHouse does get around to releasing new material, would you personally like to have a whole new record released, or at this point is it more like any port in a storm as long as something gets out there?

I like both. I like having the idea of an album coming out. It’s a great thing to have a CD in your hand. I love that physical thing but I think to get FireHouse started in creating music again, the baby step of doing one song – which is really, one song sounds like it’s not much but to write a great song is very hard. To write a good song is easy, but to write a great one is really hard and I’ve never written a great one.

I should say writing a song is easy, but writing a good one is very difficult. Then you’ve got to record it and that takes a lot of time and man hours to do. Then you’ve got to mix it, which takes even more time and man hours. So at the end of it, you probably anywhere between 50 hours to 70 hours because it isn’t just four guys that go sit in a room with a couple of mics and you’re done. It’s a very lengthy process for us to get it to sound the way it does in our heads. I think that taking the baby step being one song would be the best approach for us at this point.

Next: FireHouse’s CJ Snare Talks About Rubicon Cross