FM – Steve Overland, Pete Jupp and Jim Kirkpatrick




FM was supporting legendary Thin Lizzy in London on late January 2010 and there we had the opportunity to sit down with founding members Overland and Jupp alongside with bands latest addition Kirkpatrick and hear all the latest news as well as some past stuff and other interesting stories about FM… Read on!  


British AOR band FM was originally formed in 1984 by vocalist Steve Overland, his brother and guitarist Chris Overland, drummer Pete Jupp, bassist Merv Goldsworthy and keyboardist Didge Digital.  The Overland brothers and Jupp initially first formed together the band Wildlife in 1980 and recorded the album BURNING later on that same year. Jupp decided to join Samson in 1983 but when Wildlife later broke up, the three decided to continue together and FM was born.

The first album, INDISCREET, came out in 1986 and at the time FM was touring with such bands as Bon Jovi, Meat Loaf, Tina Turner, and Gary Moore. The sophomore release TOUGH IT OUT was released in 1989 and it included many songs which were co-written by U.S songwriter Desmond Child. Although album singles, “Bad Luck” and “Someday (You’ll Come Running)” did well in the charts, the band still lost its contract with Sony and they were next signed to Music for Nations. The next album, TAKIN’ IT TO THE STREETS, featured new guitarist Andy Barnett who replaced Chris Overland. FM’s fourth album APHROSIDIAC got excellent reviews but unfortunately it failed to reach commercial success. Didge Digital left the group and he was replaced by former UFO member Jem Davis. DEAD MAN ‘S SHOES was released in 1995 and soon after band slowly disbanded.

It took twelve years before FM got back together in 2007 when they agreed to perform in Firefest in Nottingham. Andy Barnett decided not to continue with the band and he was replaced by Guitarist Jim Kirkpatrick who joined bands ranks in 2009. Year 2010 saw the release of new FM album METROPOLIS, their first new studio release in fifteen years. The new album has proved to be a big success for FM in many ways. The reviews have been extremely good and it seems that band is now sounding and doing better than ever.



First of all, what’s going on with FM?  You guys were away for a while but now you seem to be a really active band once again!

STEVE: Yeah, we did a British tour last year and we released METROPOLIS our first album for a long time. I don’t know how long it is but a long time.  And that album was well received.  And now 2011 we just want to do more of the same, but we want to try and go further afield, go through Europe.  We did Last Week in Rock, which is great and we’ve got some other festivals lined up, so yeah more of the same really.  And we already started working the next album.

PETE: Yeah, we’re in the studio as well at the moment, already started before the next album, so–

It does sound that this is not going to be just a temporary reunion with just one album before disbanding again!?

STEVE: No, no I mean as we said many times that when we came back it was basically going to be that.  We were going to do one gig, the Firefest headlining, have a good time, catch up with each other again and then just go off and do our own things again.  But we just couldn’t get over the response and the demand for the band.  And I think it just seems to be going from strength to strength and everybody seems to want it, so we’re having a great time doing it so we’ll just carry on until we’re in old people terms.

So at which point was it clear for you that this was going to be a permanent band again?

PETE: Well it always was after the first show, we were just trying to plan it really, what we were going to do.  And we started writing songs and we hadn’t got the usual record company saying you’ve got to have your album delivered by then, you have to do this.  We thought we could just do everything.

STEVE: At the time the plan was to be honest to release the full studio album at the second Firefest.  But we weren’t entirely happy.  So that’s why we did the WILDSIDE EP.  That came after that because it wasn’t quite finished, was it.

JIM: No, we weren’t had time to get it right.

PETE: We thought why just rush it out and also people were saying if you release it at the end of 2009 it will be dead, it will be an old album in 2010.  They said probably career wise it’s better to wait and release it early in 2010 because then you will get more longevity out of it you know. I mean its 2011 now and we’re still promoting it. It’s still rolling along which is great.

So in a way it’s still a new FM album for many people.

STEVE: You know we’re still getting reviews on it, you know.  One year later so it has lasted well.

JIM: Like you guys, you know it’s been one of your favorite albums and it’s been like top in all the polls and that’s kind of kept it going and that’s been great you know.

STEVE: It’s great so that’s what I mean because we’re gearing up to be quite busy this year with management and all that.  And we’re sort of promoted you know.  We just want to be prepared so that when we go out we’ve got the album done.  So that’s why we started recording it, we’re going three day stints in the studio at the moment, going in sticking back tracks down.  So it doesn’t come to the middle of the year and we’re like we’ve got to do an album because we’ve been doing other things.  So the album will be done you know, songs are coming thick and fast and we’re ready to release it when we need to release it, when the opportune time is up.

Tell something about the writing process for METROPOLIS?

STEVE: We tried to take all the best elements of all the best albums and put them onto METROPOLIS kind of thing you know.  So everyone seems to have taken to it great.  We didn’t know.

JIM: Well we didn’t really know what we were doing.  We tried to make a good record and didn’t really know….

STEVE: The thing, as we said we tried when we got back together, we said if we’re going to make another album it’s got to be as good as the best FM album.  Not just write 10 songs and that’s it.  So we just carried on writing didn’t we until we got the album.  We still didn’t know if…

JIM: We didn’t know if it as going to go on the radio at all, so it wasn’t particularly geared at all for radio play.

PETE: We first did demos and then we would send them to friends and people we knew in the business just for their opinion and they kind of chose the songs because there’s one song “Over You” which demo’s quite different actually.  The demo was more like, it was very simply stuff.  We were thinking like: “This is crap” and then everybody came back and said that’s got to go on the record. 


 Steve Overland on stage in London


Like you said, you’re already working the next album. What kind of album can fans except from you this time?

STEVE: Oh yeah, yeah.  I mean we know basically—as I say the thing with our fans, it’s always been the same we do just write tunes.  I mean when I write with Jim they’re different types of tunes to when I write with Pete or when I write with Merv, whatever.  They’re all very different because everybody’s got something different to bring to the table.  So there’s never like we’ve got to do an album like METROPOLIS, that’s not what it’s like.  We just write a batch of songs and when we’re happy that we’ve got another strong album to get finished.

JIM: So there’s a little bit of pressure in that respect.

STEVE: Yeah, yeah because you know we’re not prepared to put our, because it’s got to be at least as good as the previous one.

JIM: Because if it’s not, everyone will say well you know that’s it for them.

STEVE: So we know there’s a bit of expectations quite high for the next one.  We know that, so we have to do a good job.

Do you already have an idea when the next album will be out?

STEVE:  Don’t know yet.

How about the old FM albums, who actually owns the rights for the first albums?

PETE: Epic does

STEVE: Sony owns the first two.  The others possibly us now you know.

Many fans have been waiting for the FM re-masters. Any chance to see those get released someday?

STEVE: Well, you never know!?

PETE: As much as I’m afraid to say it would be nice to actually remix the first album but…

STEVE: We’d have to get the original masters and they’d all be on two inch tape.  Jem said we’re set finding the masters now.

PETE: Yeah, it would be a good idea. It would be nice thing to do.

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But going back to the FM reunion, tell something more about it, what finally made you to reunite after all those years?

STEVE: Well to be honest we were still doing things in the business, making various albums, doing various things, but it was a case of the guy that does the Firefest, I used to speak to him Kieran Dargan and he would keep on at me and on at me saying just get the band back together, just do one show Steve and I’m like no, no it’s never going to happy Kieran, it’s not going to happen, put the phone down.  And he just kept on and on and on and so I just, I was just running amuck of something totally different, one brand one day.  I was working with Pete anyway and I just sort of said what do you reckon?  Should we just do it for fun?

That Firefest thing happened in year 2007?

STEVE: Yeah, let’s just do one gig, have a laugh.  If 400 people come that would be great or 200 people, and just be fun to be doing it again.  And we were in rehearsals and we really enjoyed it, it was great.  So we did the one show and as I say it sold out, there were people from all over the world came to see us and it was a bit like–

PETE: It was a real great experience. To see all that these people are still into our music.

STEVE: We were shocked.  When we came off we were all a bit like just totally solid.  We went in the dressing room and we’re like what was that what just happened you know.  And then from that other people said you’ve got to do more shows, you’ve got to go do this and you’ve got to make an album. And that was that.  That’s how the reunion came together.  It was going to be one gig just for fun, and since that it’s just gone on and on.

When you once decided to do the reunion, was it clear that you wanted just this certain line up for the show or did you have some other names in mind in the beginning?

STEVE: No, I mean at first…

PETE: It was the last line-up wasn’t it? That was the first port of call that we went to.

STEVE: Yeah, that was the lineup when we split, that was the lineup we had so we just sort of all got that back together.  So obviously Jim’s coming in the band and you know that’s been a big sort of him being younger and kick off the back side and he’s kind of given us a new lease on life and that’s what I mean, it’s like it doesn’t feel like a reunion anymore.  It’s like being in a new band again and it’s great, it really is.

I have to ask one question for Jim here, how familiar were you with FM before you joined their ranks?

JIM: I did like INDICSREET actually.  I didn’t really have all of their albums but I was aware of the songs and the music and knew about the guys and I hadn’t actually listened to it for quite a long time until we sort of met.

STEVE: Yeah we were friends before Jim joined FM.  We used to do different things together. Jim has been working with many bands doing different stuff all over the world with great musicians. We used to meet up in the village where we lived.

JIM: We lived a mile apart.

STEVE: So it was just a natural thing, we tried people there, at the time Jim was busy doing other stuff and I just said look we’re going to basically make this a permanent thing. Andy had moved back to Malta and just couldn’t commit to anything anymore.  So we’re going to basically part our company with Andy and asked Jim: “So are you interested in coming down and…

JIM: –are you serious?  I wrote it in and said well you’re in then “laughs”


 Jim Kirkpatrick, Steve and Merv Goldsworthy


Overall, how is the music scene in the UK at the moment?

STEVE: I think rock is a lot more popular than it’s been for a long time.  I was trying to work out what it was because it doesn’t get played on the radio that much.  But I wonder if it’s like from these video games.

JIM: Could be. There is lots of rock music used on the video games.

STEVE: Because I think people never heard it but now it’s in their living room, actually this is quite good, I like this.  I’m just wondering whether that was one of the reasons it’s becoming a lot more popular in this country.  It’s always been like the underground thing, you know especially up north, rock music’s a lot more popular.  But now it seems to be–

How do you see things, are times better for this kind of melodic music now compared to what it used to be some years ago?

STEVE: Yeah, it seems to be on the up again, doesn’t it?  You know I mean you’ve got all the bands like we’re doing some gigs with some other massive melodic rock bands and it seems to be they’re doing big gigs again, there’s a lot of interest in that and obviously with the METROPOLIS album we had like national radio play, radio two playing our records.  That never happened the first time around, you know it was like all of the sudden they’ve come on board, their support and it’s like what’s going on.  You know we’re not used to that kind of thing you know so it’s obviously on the up sort of thing for me.

PETE: We were around at the right time for the change.

Right and there are many older melodic bands which are now doing better than they have in ages, bands like Journey and Foreigner for example.

PETE: Yeah, exactly.  They’re now doing bigger gigs again.

JIM: Big gigs are now doing really quite well here.

STEVE: Yeah, I think that’s the thing, I think live as well.  I think it’s the throwback from all the reality music that we get thrown out a little over the X factor and stuff.  I think people want to go see a proper band playing instruments with attitude and actually playing live.  It’s going back in time.  You know what I mean.

JIM: For example Thin Lizzy, I went to see them last week in Manchester and it was sold out.

STEVE: Exactly, yeah.  I think that the live thing is that it’s the future, you know and also it’s like Foreigner and us, we’re now getting played on national radio over here which is also unheard of.  So it’s a very healthy time for us to have come back actually, so—it wasn’t planned.

PETE: We were lucky for once in our career “laughs”

How about the record sales nowadays? I know it’s not a big deal but when I was actually looking  through record stores over here in London and there was just one single shop where I found FM albums. How can you buy records when you can’t find those from anywhere? Simply, there’s not too many record stores left here in U.K?

PETE: I think most people now buy them off of the internet. Amazon and stuff, I mean we’ve got our main chain of record stores HMV and they’re in serious trouble. The fact is that retail sales on records is struggling big time. When you’ve got massive chains going under and closing down people just don’t—I mean I still love that thing of having a CD with the cover and all the notes, I still get my kicks out of actually physically holding something.  Downloading is not the same thing for me because it just doesn’t have the same appeal.

STEVE: I think you just have to look at it in a different way now you know to how we used to.  I mean there’s always been piracy, I mean I used to record things on a cassette you know. But in terms of sales we’re probably doing quite well.  Twenty years ago it probably would have been five, six times what we’re doing now but it’s still okay.

PETE: You know the world changes doesn’t it?  You’ve got to embrace that change and

that’s why tonight you walk off from the show, you’ve got a memory stick with the

gig on it or whatever it is.  Also, it was funny when my little daughter comes to me

saying that… she said have you heard this band it’s brilliant, and I said what’s the

song like, and she said in front of me “The Boys are Back in Town”, great new band.

She said this is Thin Lizzy.  She said I don’t know who they are but they’re

brilliant.  I said so what other songs do you know, and she says they haven’t

released any more songs.  That’s what it’s like now because they don’t want a whole

album, they just love that song, that’s what they are.  Don’t stop believing




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We’re now going back in time a little bit to the period when you two first had a band together called Wildlife. Back in the day, Wildlife was quite a different band here in U.K, I mean, most bands in here were playing NWOBHM or punk but you definitely did choose a different path when you decided to play melodic AOR instead?

STEVE: Yeah, I mean we would at that time listen to a lot of American music and I think at that time we had really and truly the songs I’ve always been keen to being very commercial so it was just the way we write songs and I think it’s got to have the big chorus, it’s got to have the big harmonies, it’s got to be laid in a certain way and structured and that’s just how we write songs.  And we still do, you know I and he were writing the other day and basically we’re sitting there with acoustic guitars, it’s a bit like it could be a Beatles song, it could be a rock song, it could be anybody could do FM songs in their own way. They’re not necessarily keyed up to be heavy rock songs; they’re just songs with good hooks.  That’s what we’ve always written so music just comes out the way we write it.  There’s no preconceived plan or anything you know.

At that time, was it hard to be “a different” band in here?

Something like that “laughs”…  Now as I say that was it at the time, you had bands like Foreigner and Journey were massive and Bon Jovi were then coming up when we did the tour with them is when they broke and it was an up and coming kind of music from American then.  But we were the only kind of British band that were doing it.  So you know that’s how it came about really.

With Wildlife you didn’t have a keyboard player in the band?

STEVE: No, we just had two guitars, bass and drums.  Did a showcase and got the deal, went on tour with Meat Loaf before we’d ever done any recording “laughs”

Well, whatever did happen for Wildlife at the end?

STEVE: You mean why did I decide to quit Wildlife?  Well what happened we were signed to Swansong, Led Zeppelin’s line, we were managed by Peter Grant, Led Zeppelin’s manager, signed to Atlantic through Swansong which obviously was Zeppelin’s label, and the label we were in the middle of writing the second album and went down to the record company one day and there was a truck there clearing everything out of the offices and that was the end of Swansong so the record label folded.  So we talked about it at the time, Pete and you’d already got that sort of a lineup of FM going and that sort of thing, I wasn’t in it or my brother, and so we just sort of talked to Pete because we kept in touch over the years and Pete said do you and Chris want to come down and have a go of this as Merv is involved.  We made a plan, we went down, we had four songs and we said we’ll demo four songs and see how it goes.  If we get there in the rest then we’ll go back to Wildlife or whatever we’re going to do and we’ll just call it a day if we don’t get a deal.  And we did four songs and got offered a couple of deals.

At the time you also played in clubs with bands like Pretty Things.  I just happened to meet them a few months ago and they were also in Swansong at the time.

STEVE: No, I didn’t know about that and to be honest with you Swansong was a very strange record company.  It was kind of being managed by Peter, everything was always top secret.  Led Zeppelin was always like [whisper], you know you go to the offices and it was I mean there was this box of like tapes that they never listened to.  I used to sit there while I was waiting for my meetings with the management and I’d just pick tapes up.  One day I picked this tape up and I said to the secretary, I said have you ever listened to this and she said no, no, no, we don’t listen to them, we get millions of them.  I said it’s a band called the Knack and the song’s called “My Sharona” and they said well that song has been number one in America.   I said yeah.  I never listened to them.  There’s a million pounds sitting in the cassette box.


When you formed the new band after Wildlife, why didn’t you back in the day know that there was already a band called FM in Canada?

PETE: We did find out, that’s when we had to change the name to FMUK in America, in the States we had to change the name which was really crap.

STEVE: The album cover, can you imagine what it looked like, FMUK from a distance.

PETE: Yeah, fuck.  Yeah but now like we’re even suffering now with the name because you can’t for the internet for the first name because you put FM in you get a billion—so but then we didn’t have it bad then, I mean we only got FM because it was the best of the band names.  Merv had three names, one being Stiletto, well I didn’t like that, then I’ve got this other one, what about Inspector Clouseau.  Uncle Ernie was my brother’s name.  Merv said I’ve got one more, he said you won’t like it, and he said what about FM.  So it could have been Stiletto, Uncle Ernie or Inspector Clouseau.

Compared with the other candidates name FM does sound pretty good “laughs”


 Merv, Didge Digital, Steve, Pete Jupp and  Chris Overland in 1986


Back in the days, when INDISCREET was out, you got to tour with such big names like Tina Turner, Gary Moore, Magnum – any funny memories from those tours and which one was your favorite tour?

STEVE: My favorite one was with definitely Bon Jovi.  They’d just come over from the States doing as an opening act in arenas and stuff you know and they’d been treated really, really badly and we said we understand guys, we’re going to try and do everything we possibly can for you, you know.  And during that tour SLIPPERY WHEN WET went to number one on both sides of the Atlantic and it was just nice to be caught up kind of.

PETE: They were in shock. The band was in shock, you know you could see it, they were totally bowled over, they weren’t expecting it.  It was just all of the sudden they became the biggest rock band in the world when we were touring with them.

STEVE: And I think they were in New Castle when they found out they were number one on both sides and it was a big celebration.  It was great. They were great guys, really nice guys to tour with, nice friendly chaps, you know brilliant. Helpful, just great you know.

PETE: I remember going to you know you go into, the drummer I’d have coffee with him and I’d tell him you don’t have any money.  Number one album all over the world and you’ve got no money.

That tour was really good for you, right?

STEVE: Yeah, that tour took us up to the levels, yeah.



I was actually going to ask about your cooperation with Desmond because if I’m right you were the only European band who did work with Desmond at that time?

PETE: Right.

How did is come about in the first place?

STEVE: That was a publishing company… I mean he’d written all the Bon Jovi stuff like “You Give Love a Bad Name”, “Living on a Prayer” with Jon and Ritchie, and our publisher said we’re playing some stuff with you on it, would you like to go over to U.S and we’re like yeah.  So we went over to Woodstock, yeah Woodstock Studios, we was doing Bonnie Tyler at the time he’d worked with Joan Jett and Bonnie Tyler and me and my brother spent about four or five days there just working.  He just sees it very, very out there guy to work with you know.  The way he writes is something like I’ve never seen.  It’s like he sits down, he used to sit down, you go in the studio, he’d just sit on a piano and he’d start going [sounds] and then he just sings the hook line.  He was just going [sounds], really just out there attitude.  And he said what about this and everything he writes you can more or less hear an audience singing it, it’s all so blatantly commercial and it’s very clever.  But he doesn’t write in any kind of way I’ve ever written with anyone before.  He’s got his own way of doing things.

How was it to work with him?

STEVE: It was brilliant.  What you do is I mean Desmond gives you the idea and then basically you take it away and finish the song, that’s how it is you know.  And I think that’s how Jon and Ritchie Sambora wrote with him as well.  He probably came up with the theme of the song or he did with the stuff we did.  But he won’t finish the song because Desmond is like, it’s like he’ll write for three hours with you then he’ll go write with Dionne Warwick.  And then he’ll do three hours with each person.  It’s like you know he’ll write with you, then he’s off and he’ll write with somebody else, you know, so he’s a busy man.  He’s made a few quid “laughs”

You had no problems or artistic disagreements when you were working with him?

PETE: Oh no, he’s great, no really he’s great because that way—I think what it is you get to put your stamp on the songs so you basically can make it sound like your band.  It’s not a Desmond Child, they will have their own stamp but if you listen to thinks like “Bad Luck” and “Burn My Heart Down” and listen to Bon Jovi and all that stuff Desmond writes there’s a certain structure to them.

Yeah, yeah, when you listen to SLIPPERY WHEN WET or Alice Cooper’s TRASH you can hear Desmond’s touch in there.

STEVE: Yeah, so it does work that way.  He just, they do sound like Desmond Child songs but you get to put your own stamp on them you know, which is a good thing.



One of many songs that people remember about FM is your brilliant version of old soul classic “I Heard It Through the Grapevine”. How you ended up picking that song and record it for TAKIN’ IT TO THE STREETS? 

STEVE: It was very well known over here, actually one of the songs that did get radio play and did a bit of TV work, stuff over here.  But it came about, Andy came up with this riff for it, you know the main riff in the song.  I mean me being a massive like you endless soul fan I’m like we can’t cover that, I’m not singing a Marvin Gay song, I’ll be crucified for it you know.  And we just did it and it was a bit of a laugh and the record company heard it and said you got to release that as a single, it’s absolutely brilliant.  And so it was an accident really, we just sort of messed around with it a bit and they came down to the studio and heard us playing and that was it you know. I was dead against it at the time and I didn’t want to do it.  It’s like doing a Stevie Wonder song, isn’t it?

Yeah, it’s a great version.

STEVE: Because it’s totally different, I think it works you know what I mean. If you try and copy the original where we’re so totally removed from the original that it works…

In would have been great to hear some more that type of material from you, like single B-sides or something?

PETE: We did “Get Ready” on DEAD MANS SHOES.

STEVE: Yeah, yeah.  But now we don’t really thought about it, we’re writing songs in our fashion so we’re just kind of doing our own stuff for the moment you know. 

Who has been your biggest influences for singing?

STEVE: There are many influences… Paul Rodgers was a massive influence on me.  And Stevie Wonder, they’re my two favorite singers.  To me they’re the two greatest singers you know, just fantastic.  You know you got to respect them.  I mean I’m really into soul singing and he’s just a brilliant vocalist from that time era but they would be the two that are some of the biggest influences.

I think there are not too many singers there who have bring the soul influences to rock.There are some of them but not too many.

STEVE: Yeah, that’s true.  I think it’s just what you grew up with now.  I think so many singers who sing hard rock just have listened to hard rock.  So they sing it in the same style as all the other people, whereas I just sing like that anyway.  I was in a soul band when I was 13 you know but I can sing that stuff.  That’s what I did for four or five years so I grew up singing that stuff from a very young age you know.  So you never get rid of it do you.  That’s what you start doing, you know, so it doesn’t come naturally for some singers you know.  Same as I can’t sing like Ronnie James Dio, that wouldn’t come naturally to me, I couldn’t do it, or Bruce Dickinson.  That’s their style of singing and this is my style of singing you know.

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In late 80’s early 90’s, there were many changes in the band. Your brother Chris left the band, you changed record labels and so on… Was that all too much in such short period?

STEVE: You could be right, probably. I mean the whole thing was my brother decided because the TOUGH IT OUT tour was really intense, lots of gigs, never at home.  And I think he’d just had enough and he just came to me one day and just said I don’t want to jack with you, I can’t be doing this anymore.  And I was a bit shocked.  I said well think about it and see what you think so Chris went and obviously he’d only ever worked the guitar part of the work so it was through me I threw it around a bit and tried to find somebody to replace him because he has quite a melodic unique style of playing.  And as you said the record company said we could have stayed with Epic but we chose to leave Epic.  That doesn’t happen very often.  Why we did that I couldn’t tell you but what it was basically we didn’t think we were going anywhere with them.  We made two albums and we kept touring the same territories and we just, they were having a battle on both sides of the Atlantic, we were going to take over the band, we wanted to bring them to America so the Americans saw the British side, and we were making no headway.  I remember going to a meeting, we went in and they said right we’re doing another album and we already owed them a fortune.  So we stood to make no money ever in our lives if we’d have stayed with them so we just said why are we doing another album, you know.  And after a lot of stuff we managed to get out.  And so that was our choice actually.  We sort of had a pairing with TAKIN’ IT TO THE STREETS, we were finding our way really, we just didn’t know what we wanted to do and then we got it back together with APHRODISIAC, I think which I really love that album you know.

The early 90’s was really a difficult time for hard rock and melodic music. How much it did affect you?

STEVE: I think definitely the whole music scene started to change and we soon became really unfashionable.  It just got harder and harder and harder.

PETE: We were just doing this, we’d tour and we could fill or do gigs at the same venues but we weren’t going anywhere.

STEVE: We came to a decision that it’s probably best thing to do now, we were all good friends, was just to stop.  It was impossible to continue. We were just not making any headway, so—we could have just carried on putting out the records and to be honest with you the records were getting harder to write because you are fairly uninspired because your music wasn’t happening at that time.  So you’re a bit like why are we doing this now, why don’t we just call it a day and we went off and did, write some songs for this side project which was completely different to FM.  And so they were easier writing than the FM stuff at that time and we just needed to stop you know so that’s why we quit.

So what if we go now back to the recording session of the very last FM album back then, DEAD MAN’S SHOES. What kind of memoirs you have from those sessions?

STEVE: That was—you tell me.  No, DEAD MAN’S SHOES to be honest was the beginning of us probably winding it down.  We kind of, it was a very bitter album, nobody was really satisfied.  I was already thinking the only thing I was going to do after which I found is never very helpful so the album, it was basically we had to make another record, a contractual obligation.

PETE: We had to make it so the way we recorded it was a real struggle kind of thing and it was just hard work really.

STEVE: It was all leading to the time we called it a day really at that time and not just keep churning out substandard stuff, that’s what we were.  We just said look we’re not writing our best stuff anymore so it’s time to stop you know, and so that’s what we did.

At that time, most of the bands of your style had quit or attempted to change their style into acurrent style but you didn’t do that.

STEVE: I think you’ve got to be honest and not cheat your fans because you know the thing with people that follow bands is they will keep buying your product.  But if you know in your heart that it’s not really your best work then it’s just cheating really, isn’t it.  It’s time to stop.  And now we’re like we’re 20 again, now we’re back—not quite you know, but—so we sort of as I say the songs are coming fast.  Jim, Jem and the band have been brilliant, I mean it’s given us a real boost you know and it’s great.  The band now to me is as good as it’s ever been.

PETE: It was a good thing because during the break we were doing different things and when we all got back together we were all totally focused.

STEVE: Like we’re just taking each day as it comes.  We’re just having a great time.  There’s no pressure now really you know, or there’s not as much as there was you know back in the ’80s and ’90s.

PETE: The band now sounds more like the band of INDISCREET in top hour kind of thing.  And there’s been there’s a kind of alliance of long term fans saying it’s more powerful than ever and new album, that’s the best stuff they’ve heard from the band since 1986 or something like that.

STEVE: Well it’s all the reviews as well which is great considering we’re all about 30 years old, right.  Brilliant, you know, it’s great.

Steve, by the way, what is your brother Chris doing these days?

STEVE: My brother, he’s a teacher, a guitar teacher so he has a place on the back of his house.  He’s just inundated with people wanting to buy lessons. He works four days a week, makes a fortune and never leaves his house.  He has one door in the other one, then he goes to bed at night and that’s it, you know.  But he’s a brilliant player now because he sits and plays guitar all day, that’s all he does.  He has all these guitars around, there’s six there, and teaches you know.




Pete, back in the day you decided to quit with Wildlife and join band Samson.

PETE: Yeah.

Was it a big shock for Wildlife when Pete decided to quit with the band?

STEVE: Well I think it was all… there were a lot of changes going on.  Pete sort of got the Samson thing and they got the Simon Kirk connections with Swansong and so it was the record company’s problem people were different people at that time and you just took a break and he went and joined Samson.

PETE: The Samson time, that was good time, I mean Paul was fantastic.  He’s probably the funniest person. I did two tours with them, then Merv briefly joined Samson and then we both left Samson and formed FM.  But that Samson time was good, it was good fun.  We had some good tours, we did Whitesnake, we did Gary Moore, Journey, we did Accept tours with Samson.  We travelled around in an old Ford Cortina called Roger.  It was great, really good times and I’d say that Paul was a hilarious guy, you know.

Did you stay in touch with Paul after you left from the band?

PETE: Yeah, and then he well, then he became ill, and well then ultimately he died and also Chris, the bass player, he’s also dead.  And the one person you thought would be dead, Nicky Moore, because of his big size, but he’s still going strong. 

I actually saw him at Swedenrock a couple of years ago. He was there announcing bands on stage with his …

PETE: Cane, yeah.  Because he turned up when he was in Mammoth, remember that band Mammoth?

Yeah, I do remember the big guys with eight bass drums on stage “laughs”

PETE: Yeah, yeah.  That was massive setup they had…“laughs” He was massive and I just went… because when I was in Samson he lost eight stone. Yeah, he lost a whole of me and he put it back on obviously with Mammoth, you know it was a perfect time for him really but he was big.

That must have been an image thing for him “laughs”

PETE: Exactly, he’s a great singer, he’s a great person and he has a great voice.  He’s another lovely guy.  So that was good, I had a great time in Samson. 




Steve and Pete, during the off FM years you both played on loads of different tribute albums, right?

STEVE:  Yeah, yeah, I did about 10 of those. I did the Police, UFO, ZZ Top, T-Rex, Whitesnake, Nazareth, Rod Stewart, Slade, Rolling Stones, everything “laughs”. I used to turn up at the studio with this guy called Lee Hart, he was–

PETE: Oh I know the guy, yeah.  We never got any money from him “laughs”

STEVE: The situation was if you haven’t got the money when they get there go down to cash point and get it.  So I used to get there and Lee would finally say would say Steve can you come down to the studio and do a few tracks for me, I’d  go yeah Lee, what am I doing, I’m not telling you.  I’d be like no, no, tell me, tell me so I’m prepared, no I’m not telling you and I’ve get there and it would be like don’t run out the studio door, we’re doing an Iron Maiden album.  I’m like Iron Maiden, he said it will be great, “Run to the Hills” with you singing will be great, and I’m like money please.  It used to be good fun doing them because he’s a funny guy, Lee.

Steve, tell something about your other band Shadowman?

STEVE: Yeah I mean I’ve got a band Shadowman with two guys who used to be in Thunder, Harry James and Chris Childs. Steve Morris, the guitar player, he’s playing with Ian Gillan and Heartland, the band Heartland.  And we have just done a new album, this is our fourth album.  I’ve been working in various projects and albums with millions of people, other students of song all sorts of records really, yeah.  Tommy Denander’s albums, a couple of them and things like that and just sessions and all kind of stuff.

The Shadowman, is more like a project or a real band?

STEVE: Well it was going to be a real band, I mean we keep getting asked are we going to tour by people, you know.  But it’s a job to fit it in with the other things we’re doing.  Obviously with a band like that you’ve got Harry plays with about every rock band in the world so he’s never off the road.  Chris is out of the union, he also plays with one of the Eagles things.  Everybody is busy, Steve is a session player, and he does all sorts of things.  He just came back from Canada, and although we’d love to do it, to get the whole band in one place would be virtually impossible for all of us.  And as I say, with the schedule FM has this year it’s going to be tough you know to do some shows, although the record company wants to and would support us to do.  We’ll see.

Like you said the fourth Shadowman album is going to be out soon…

STEVE: Yeah, it’s just being mixed.  We just sent a couple of the mixes back to Sweden to be sorted out.  Not happy with them, just a few tweaks and then it will be out later in the year. This new album, we’re really, really happy.  Jim’s been engineering and doing stuff on it and things with me and working on this, really good.  It’s nice to do different things isn’t it because it keeps you fresh and makes sure that everything has its place and it’s not the same, then it’s good fun to do you know.  Keeps you busy.

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It’s time for the last question…Which countries have been the best for FM outside the UK?

STEVE: Scandinavia was great for us when we did the tour with Europe there. I think we handled ourselves very good in there.

Did you also play in Finland on that tour?

PETE: You should ask Merv. He’ll know Merv will know if we’ve been in Finland.

STEVE: I don’t know, I mean we did Sweden and it was a good place for us because of the Europe tour and stuff when we did that, they were a big band then.

So on next summer you’re returning in Scandinavia to play in Swedenrock. I think it will be perfect festival for you.

PETE: Yeah, it’s going to be great.

STEVE: We’re looking forward to it. We really are for the time that we’re going to be there.

PETE: Yeah, we’ll actually fly in and fly out again, yeah, literally we’re probably in the country for probably three hours or four hours and then we fly back to England for another gig.  Then we fly somewhere else at the end of that day.

Okay,I think this is enough this time. Thanks for your time and see you in Sweden!

FM: Thank you guys and see you later!






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