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An Interview with Andrew Elt, vocalist and frontman of Sleeze Beez
November, 2000
Where are they now? WHO you ask? SLEEZE BEEZ, of course! Vocalist for both Sleeze Beez and The Moon, Andrew Elt, took some time from his busy schedule to talk with us about the current BUZZ on the net regarding a possible SLEEZE BEEZ reunion!
Hi Andrew! Thanks for taking the time to do this interview! I am going to try to weave my way through your career here, in an attempt to get potential new Sleeze Beez fans up to speed on you and the band.
1. You were the vocalist for the Dutch band Gin on the Rocks, helping them win the Grote Prijs van Nederland (a Dutch "Battle of the Bands") in the summer of 1985, the same year the band was formed. While with that band, you were featured on their 1987 mini LP "Hot", of which only 500 copies were ever produced. Were you involved in any other bands or solo work prior to Gin on the Rocks?
I used to be in a few high school bands. . .wanna hear some names?! The Neos, Take 5, Massacre, and my first real shot at my own material RAZOR.
The battle of the bands was a pretty big deal back then, but the industry just chewed us up and coughed us out like a hairball. The 500 LPs, I hand glued and folded with my girlfriend, would you believe? The photos were taken by friends, the sleeve work I designed, I mixed it, wrote it together with the guitarist . . .a real homemade deal.
2. The Sleeze Beez first album, "Look Like Hell", (1987, Red Bullet Records) featured a different vocalist, Tigo Fawzi. Can you tell me a little bit about how you came to join the band for their second album, "Screwed Blued & Tattooed" in 1988?
I was at a point in my career back then when GOTR wasn't going anywhere. I was putting in so much effort and time, and nothing was coming out of it except a few gigs. So I gave myself an ultimatum of 6 months to see if I could find something worth my while. Chriz called me one day and came to a show and said they needed a vocalist. Their old vocalist was strung out or something. . .
I went down to the studio on a Saturday for an 'audition' (later I heard I was their one and only hope!), where they were already recording Screwed. .
I can still remember Jan coming to the station in a beat up Chevy Malibu, in full rock dude leather gear sporting a bottle of Jack. . . I told him straight off. . ."I ain't here to party, if ya wanna impress me, let me hear some songs. . ."
I listened to three tracks, "Screwed" (which I later rewrote), "Rock in the Western World" and "ROSES". I said, let me have a go at singing that song. I listened to it for 15 minutes, scribbled down the lyrics, went in to the studio and cut the track in one go. They were doing back flips. The producer said he'd definitely keep that one and I was in the band. Just to fuck with them, I said I needed a few days to think about it!!
Needless to say, Jan K. threw a bluff hand back at me and said, "I need your answer on Monday". We both knew the answer already!
3. The Beez second album, "Screwed Blued & Tattooed", (1989 Atlantic Records) yielded the band a song in the Billboard Top 100, "Stranger Than Paradise", which was also a MTV favorite. You toured with Skid Row in a sold out club tour in 1990. It then took three years to release your third album, "Powertool" (1993 Atlantic Records). Your current website cites a continuous struggle between the Beez and Atlantic as the primary problem, especially a perceived lack of support by Atlantic. Three years is a long time to take to resolve differences with the record label. What exactly was going on?
Let me put things straight first. We had a great first year with Atlantic. We couldn't have hoped for a greater bunch of people to work with. This was in '89-'90, when Metal was still a major priority, and Atlantic's metal department sported a lot of employees. From Jason Flom to Dave Feld to Melissa Corralles all the way up to Ahmet Ertegun. . .they did great things for all their acts before Cobain threw a spanner in the Metal works!
The other reason it didn't work and that it took so fuckin' long to record the second album, "Powertool", is NO MANAGEMENT. We didn't have a trusty guiding hand to deal with all the bullshit that goes on between artist and label. We were doing it all ourselves, which took up a lot of time and energy. When we were on the road with the Skids, their manager, Scott McGhee was seriously considering managing us. That would have given us a great push, on the fact alone that he could have put us on any major tour that was going on the road at the time.
We couldn't get on a tour, 'cause we didn't have a manager to do the work and the band was too busy performing day in day out, which is what they should be doing!
We had most of what is now Powertool written by December 1990!!!! But the record company wanted us to record in L.A. and write with this guy called Ron Bloom who was supposed to be the next Bob Rock. (He turned out to be a home wrecker, out for percentage and royalties). But, we complied. Hey, what the fuck, Atlantic believed in us, why be a pain in the ass? So they stuck us in a luxury apartment complex in Hollywood for 4 months and said, "Let's see what happens".
SHIT happened. Exactly the kind of thing that goes down if you don't have a manager/mentor to keep you in touch with reality. We ended up writing and recording a 13-track demo that never saw the light of day. We had a few great parties though. . .
We went home, wrote a few more tunes, added them to what we originally had and hey fuckin' presto! Atlantic approved the songs, we went to England, recorded the damn thing in 3 months in England, waited for the release in '93 and then the Grunge thing tackled us from behind and the referee called a fumble. . .
I remember going into Jason Flom's office in Atlantic's New York Building, and for the first time in 3 years, they made us wait at reception. I told Jan, "This ain't good, man". When we finally go in, the whole office is plastered with Stone Temple Pilot posters, the metal department is reduced to 3 people, everyone I used to work with had been fired, all the guys now workin' there had goatees and the women didn't care how they looked!!!!
AND Atlantic didn't want to back up our Top 5 phone hit ballad they put out as a teaser to 10 stations. The fact they'd spent a couple of 100 grand on us was not even an issue. . .hell, Phil Collins will fill up that gap in a fuckin' day!
I knew it was time to go. So I bid Jason Flom a big old "have a nice fuckin' day", and left the office, leaving a pile of torn up STP posters in my wake. We left Atlantic, disappointed and disillusioned.
But, "It's a beautiful thing, ain't it!" (Famous last words from Jason Flom.)
4. After leaving Atlantic in 1993, the band went back to Red Bullet and recorded "Insanity Beach" before the end of the year. It drew the attention of U.S., Japanese and European labels, but instead of moving forward, the band disbanded shortly after the Japanese tour in 1995. You and Don van Spall went on to form the pop rock band The Moon while Jan Koster, Chriz van Jaarsveld and Ed Jongsma formed the punk rock band Jetland. Why walk away from Sleeze Beez right when things appeared, on the surface anyway, to be going so well finally?
First of all, let me tell ya, no one walked away. We came off a major world wide record deal with probably the best label in the world (Led Zeppelin and AC/DC, for chrissakes!). If there was a time to walk away, it would have been then, believe me. Instead, we regrouped after a month of R'n R (rest that is) and wrote the best album ever. We could have gone grunge, but naaa. . .we went and produced a monster album. As Shay Baby (producer and good buddy) said, this stuff rips paint off walls. DAMN RIGHT IT DOES!
We managed to obtain two distribution deals in France and Japan ourselves, but failed elsewhere because of lack of GOOD MANAGEMENT. "There he goes again!" I hear ya say, but it is so crucial to have that. You can produce the best vacuum cleaner money can buy, if you ain't got a great door to door salesman, you won't sell SHIT! Now that 's one for the "How to be a Rock Star" manual!!!!!
We stopped because all the doors we were so desperately trying to open were bolted shut. Sleeze Beez had a tag, hair band, 80's metal. You could only get in if you had a goatee and didn't tune your guitar. We were working so hard. On our own effort, we got to tour France twice and Japan. But we couldn't get arrested elsewhere. So instead of becoming just another Monty Python episode, we decided to stop and go our separate ways.
5. Your album "Live in Tokyo" was also released on the Red Bullet label in 1995. Having been released "after the fact" essentially, how do you feel about that particular album?
It wasn't really released after the fact. We decided to stop after that album was released. We even did a small promotion tour of Holland and France to support it. The live album was part of the deal included in going to Japan. They flew us over; we gave them a live album. It was recorded live during the sound check and the show, and the best stuff is on the album. I think we had to dub a few guitar tracks cause the digital machine these guys were using in the mobile fucked up on a few tracks. Other than that WYHIWYG (what you hear is what you get). Raw fuckin' 100 mph energy. I think most of the songs are twice as fast as the originals!!!
We were so psyched up about playin' in Japan. I didn't sleep for 3 days prior to the gig. The flight over we just stayed up and partied, courtesy of a great cabin crew of Air France, who in turn came to the show and we returned the favour. When we arrived in Japan in the morning, Don and I went for a beer and I came back to the hotel with Ed the next morning just in time to go to sound check (figure that out, what happened in between is another story).
After the show, which was pure adrenaline, we partied again. I was a wreck when I got home! But it was worth it!
6. The Moon released their debut album "The Moon" in 1998 on Surgeland Records. It showed a great deal of promise as a pop oriented album with some hard rock edge. Then, in December 1999, there was an announcement that Don van Spall was leaving The Moon. In October 2000, there was the announcement that The Moon was officially disbanding, but there was a possibility that the Sleeze Beez would be doing a comeback reunion. How are things coming along and do you have any ideas for new material yet?
The Moon ended when Don left. His heart and soul were in those songs right next to mine. It was kind of us going into rehab after the Beez. We didn't want to be a carbon copy of the Beez, or a weak spin off. So we let our hearts and minds speak. I love those songs. I still don't understand that record companies fail to recognize its potential.
The others went the opposite way and said fuck Betty Ford, we're gonna be more obnoxious and do more vices . . .and they turned PUNK!
Right now, I'm writing new songs for a new project I'm doing called Continental Drift. We're gonna cut a demo in January, we'll see if there's any interest. If not, I'll just MP3 it and burn some CD's myself. I'm also gonna start work on a website.
Hell, I'll start my own label and call it RIPOFF RECORDS. That way I can get ripped off and make money at the same time, hahahaha!
As far as reunion goes. . .we nearly made it to the states last year. I had everyone at the airport except Don, who has permanently quit the biz. But the festival fell through at the last minute. We were ready then. I convinced everyone to do it. Could have and would have been FUN!
The thing is, everyone's still doing their thing. I'm writing new stuff, playing every weekend in my cover band, I'm out in the road now and then as Tour Manager (most recently with Walter Trout), you know, makin' ends meet, puttin' food on the table, payin' mortgage kinda every day stuff like anyone else. But I try to keep doin' it in the music.
Chriz is a painter, as in Van Gogh, that is. That's his thing. All he does nowadays is art.
Ed is takin' care of whatever business it is he takes care of.
Jan is a pretty successful songwriter/producer/manager for a South African singer called Dilana Smith. He's written some top 20 hits for her and is currently workin' on other stuff.
When on tour with Trout in Amsterdam last month, I got together with Chriz and Jan and we discussed getting together. The answer was when and if the time was right. If it was worth doing and if everyone was available. That discussion lasted about 30 minutes and ended when Chriz started ordering Cuervo Gold. After that, we just had some old fashioned rip-roaring fun. So the flame's still there!!!
As far as new songs/albums go, there's nothing in the pipeline yet. We'd love to get back on a stage and rip it up like in the old days as the fuckin' Beez, but as I said, the time's gotta be right. As soon as Jan and Chriz are ready to do something, I told them, I'll be there. We'll have to wait and see how things evolve. . .
7. As far as songwriting goes, are you primarily a music composer, lyricist, or a little of both?
A lot of both. I write all the material I have now. I have no choice really, which is also why I picked up playin' the guitar again. 'Cause if there's one thing I've learned over the last 20 years, it's that at the end of the day if I don't get off my ass and do something, no one will do it for me. So I just go DIY (do it yourself) and build the fucker myself!
8. Do you play any instruments as well?
Guitar, harmonica and mouth harp, yeeeehaa!
9. How much influence do you have on the style of music the band produces, that is, do you feel you are the primary songwriter or is it more a team effort?
I come up with 85% of the song, but I always leave drums and bass and solos to the guys. If they're not competent enough to figure that part out they shouldn't be in a band. Besides, I like it when guys who know their instruments fill in the blanks. . .it 's the salt 'n pepper on the steak. Without it, it would taste bland.
10. Do you have a specific method you use when writing your music?
I wake up, make coffee, have a sip and pick up my acoustic. The first lick I play is the best. If I can hum a tune to it, I'll start writing the song and let the coffee go cold, and usually I'll have it in 15 minutes. Finishing it is harder, cause that's when you fine tune, add stuff take a bridge out, make the lyrics half-decent. That takes time, and I can do that whenever. I have bits of lyrics written down on everything from beer mats to tax returns (more so on the mats, for obvious reasons). If nothing decent comes out after the first few strums, I'll put the guitar down and enjoy a fresh pot of hot java!
11. Have the record labels you have worked for had a big influence on what type of songs you wrote?
No, except for the one in L.A., but that was the producer, Atlantic hated the stuff. . .
12. Do you have any preferences in music equipment? Here is your chance to let everybody know how you showcase that awesome voice of yours!
Vocals. . .in the studio, an old Neuman fat membrane mike will make my voice sound as warm as a log fire on a crisp winter's night. If I'm gonna do some rippin' vocals, B&K's or Neumans will do fine too. Actually, I sang through my old SM 58Beta on the Moon album's heavier songs. It sounded great, so we left 'em on!!!
Live, I use a Sennheisser e865. A really good, not too pricey, 48Vmike. Nice and crisp and I can really scream at it without it foldin' up and goin' off to sulk in the corner!!
I love Martin wedges. . .then again, so does my bank manager. If I do a gig and I see 'em on stage, I won't even bother sound checking my vocal!!!!
Guitar. . .Les Paul. . .always. Now there's a man's guitar. Heavier than shit and hard to play. You gotta really work 'em. I can dig a Telecaster now and then. I can't deal with supersonic Artsy supersonic whammy guitars. They give me the creeps.
Amps...Marshall Silver Jubilee 100W head. It fuckin rips. That and the 4x12 vintage cab. . .what a sound! Mind you Walter Trout's Mark IV Mesa Boogie is a pretty damn mean machine too!
Effects. . .Jimi Hendrix Wah, Small Stone Phase Shifter, Boss Chorus, Rocktron Mouth Tube, and an Ibanez Vintage Tube Screamer and Boss EQ for the 2 or 3 solos the band lets me play. . .!!
13. If the Beez do a reunion, can the fans expect to hear something along the lines of your older Beez material or do you also plan to throw in some more mellow sounding music, closer to what you recorded with The Moon?
As I said, nothing in the pipes yet as far as the Beez go. But I can assure you that if and when we do write something, it will be classic Beez. . .and believe me, there won't be a mellow song in sight. "Insanity Beach" meets the biker in "When the Brains Go to the Balls" while getting' "Screwed Blued and Tattooed", more like it!
14. It was also mentioned that the Beez would really like to open for Sebastian Bach. It would certainly be a perfect match, style wise. Have here been any plans made in this direction?
We'd open for Pavarotti if need be. Sebastian Bach? I'm not too fussy. . .
15. Spitfire Records was also on the Beez "wish list". Have you had any luck connecting with them so far?
EMI are on my wish list too. . .and it's nearly Christmas. And you know you never get what you wish for. First things first.
16. Have the Beez considered some of the European labels that are promoting AOR music heavily, like Now and Then/Frontiers Records?
No.
17. You have taken an interesting approach to promote this Sleeze Beez reunion, posting boards. One can find posts all over the net talking about a Sleeze Beez reunion. Are you finding this strategy to be a successful one?
This whole Beez reunion thing was started by Sandy Serge, The Moon's record label. All strategies and effort to get the BEEZ back are her doing. Credit where credit is due. . .
18. Don van Spall left The Moon only last year. Is he actually willing to regroup with the Beez for this reunion, or will he be replaced?
He'll probably be replaced. The boys have all expressed that if the reunion happens, they want it to be 100%. Don said no the last time I tried, I doubt he'll go back on his decision. So we'll probably get someone in.
19. Are Jan Koster, Chriz van Jaarsveld and Ed Jongsma of Jetland all willing to regroup, or are there going to be replacements there?
See above. No Beez without the four of us. One replacement, OK, but only just. I hate it when bands do a reunion and only the keyboard player who joined on the 3rd album is the only "original" member. . .don't you? They should have a law, that if less than half the band isn't original they can't call it a reunion!!
20. Two major artists, Mike Tramp (former vocalist for White Lion and Freaks of Nature) and Sebastian Bach (former vocalist for SKID ROW), have both likened the break up of their bands to a divorce and have decided to go solo because they weren't up to any more "divorces". Have you been tempted to go solo yourself?
Ever since I left the Beez. The Moon was a lot of me, the new project is ALL me. Consider it solo. Those boys have a bigger name than I have, so it's easier for them to market themselves. So I just come up with another name and call it a band!!
21. Are you engaging in any side projects while you are technically "between bands"?
See above. . .I'm always between bands. If someone offers me a good gig, I'm up for anything right now, let's rock!
22. If the Sleeze Beez reunion falls through, do you have any other plans at this time?
Keep on pursuing that light at the end of the tunnel, God knows what it is, where it leads to and how long it'll take, as long as it ain't a fuckin' train!!
23. Your recently created "Official Sleeze Beez Website" (http://www.serge.org/SleezeBeez.htm) is shaping up nicely. Do you direct any of the content?
Nothing. All Sandy's work. She's a determined lady. I'd like to though, when and IF things start to move.
23. The internet is a powerful tool to link artists with their fans. Are there any plans to have an e-mail contact for you and/or the Beez or possibly scheduled online chats where the fans can interact with you?
Like I said, if it starts to come together, hell yeah. We'll have the first ever online PARTY, drinks and all!! Fans can contact the Beez via BeezStinger1@aol.com.
25. At this time, the Sleeze Beez reunion looks like it will probably take place. So far, festivals have been mentioned, although they do not seem to cover the entire United States. Do you have any ideas about where the band would like to play, other than the festivals that have currently been mentioned?
It seems the concentration will be in the Midwest and the Southeast, although we may throw in a concert or two in the Northeast and one in the West. It's all pending right now.
26. Is there anything you would like to add (in general) or say to your fans?
To both of them....??!! Thanx for still being alive and well and still likin' the shit we did so long ago. Do those leather pants still fit, or is that body paint!? And what about that T-Shirt!?
Courtesy of Andrew Elt
Interview by Antoinette Avalon
Used with permission
-2000-
Antoinette Avalon is an author who became heavily involved in support for melodic hard rock bands, starting with Amazon.com reviews. Hearing about a Sleeze Beez reunion, Antoinette immediately volunteered to do some writing to support the cause! The result was this interview with Andrew Elt.
Copyright 2004, Serge Entertainment Group