Joe Lynn Turner: Always shining, through Sun & Storm

In March of 2018, it was posted in Crystal Logic the article "Morality and inexplicable changes in the music industry". That article was reposted many times and there was even plagiarism from online media. It was something new, a different view, stating changes in the music industry, mainly focused in metal music.


The general idea was how a few bands continue performing and releasing new music, and keeping the "brand name". There is definitely controversy behind those acts and different views.


The "older" artist that can't perform or compose music as good as before, his retirement or replacement by another artist (most of the times younger), a change in the "rights holder", and the thrust to perpetuate the presence of the "old brand" that is more safe than risk with something new. Even if that "older" artist was the founder or the primary songwriter. It doesn't matter anymore in the music industry and at that point we reach the morality issue.


The same questions that were originally posted in that article still stand for the future of music and they look more relevant from time to time. What will happen when all these old and major acts will retire? Is the music personified or just music matters even if the "persons" are not there? Is there a morality issue? Or is it just music after all? Or simply, everything about major acts will be just business, like there is a businessman that has bought a big band (or bands) and hired managers to handle his investments, no matter who is in the band? This is what was written back in March of 2018.


Joe Lynn Turner, one of the most soulful and expressive vocalists of rock, hard rock and AOR, started his career in the '70s with Fandango. His fame reached the sky when he replaced Graham Bonnet in Rainbow, performing in the albums Difficult to Cure (1981), Straight Between the Eyes (1982) and Bent Out of Shape (1983). After Rainbow's break-up and the Deep Purple reunion, Turner released his classic solo album Rescue You (1985) and later he joined Yngwie J. Malmsteen's Rising Force performing in the album Odyssey (1988).


Turner's career never stopped since then. He briefly joined Deep Purple recording the album Slaves and Masters (1990), he kept releasing solo albums, he worked with Glenn Hughes in the Hughes Turner Project, he had many guest appearances and was part of a few more bands. At some point, Joe Lynn Turner formed Sunstorm and the debut album was released by Frontiers Records in 2006.


Forward to December of 2020:

And then, Joe Lynn Turner made an announcement:

Few weeks later, a new line-up and story was revealed by Frontiers Records:

Frontiers Records is a label that has released countless projects in the wider field of hard rock and AOR, including respectful artists and a few of the greatest ones. So, besides brand names and classic bands like Journey and Whitesnake, among Frontiers' catalogue you will see many familiar names participating in new bands-projects. Most of those projects were an idea of the label that also used a specific songwriting team and similar productions. A few of those albums were really great, others didn't really work, but mostly there was a specific standard and sound.


We already have reached the moment where a label is actually the "band". The label forms the band and the name, has the rights, sets the course and how the "band" should sound. The artists performing are actually the employees and the label is the boss who even guides the "artistic vision".


Was Sunstorm one of those projects owned by the label? Is Joe Lynn Turner another "random guy" performing in one of those projects?


Sunstorm moves on without Joe Lynn Turner and any of the members that performed in the first albums but what's more disturbing is how the music industry  treats a legendary name like Joe Lynn Turner. Actually, they're just erasing him presenting Sunstorm as a label project whose members don't really matter and the name is above everyone. And here we're reaching again the morality issue and the questions mentioned in the beginning.


There aren't easy answers. And if there are, those will change over the years, just like how the music industry is changing. Actually, there are many different answers depending on the person. Musicians, people working in the music industry, promoters, fans. Everyone might have a different perspective. Some musicians might not be able to keep performing and the "brand name" will continue without them in a mutual agreement (and a contractual agreement depending on the name). Some fans will just say that they prefer other (replacement) musicians as long as the music is "better" performed, no matter if there won't be any original member left. Record labels and managers might become the new "rights holders" and keep those "brand names" they way they want, and in the end, the music industry can change so much that at some points, music won't be personified at all. It won't matter who was previously in the band and who formed it, even if he was Joe Lynn Turner. It doesn't even matter the name. THEY say.


But what Joe Lynn Turner has to say?

Is Joe Lynn Turner another "random guy" performing in one of those projects that doesn't really matter mentioning his name? Just after Frontiers' statement, Ronnie Romero, the new singer of Sunstorm wrote:

How did Sunstorm really start in the end?

It seems that in the end, the music industry is so powerful that nothing else really matters. They can even change history and the past, they can even set the future.


The author of this blog works in this industry for many years and has seen many things, but in the end, RESPECT is not just a random word. This is something you always must keep in mind. And Joe Lynn Turner isn't also a random guy or the nameless "former singer". Always respect the true history and the past and don't let "edits" change it.


Feel the music. Respect those who offered you moments that shaped your music life, and wrote the real history.

ALIEN interview with Ken Sandin

ALIEN is a Swedish AOR / Melodic Rock band formed in Gothenburg  in 1986. Two years later they released their first self-titled album, a landmark of AOR, recently re-released from EMI/No Remorse Records. The band is active and they enjoy what they do, more than ever! At the moment, they're writing a new album and Crystal Logic speaks with bassist Ken Sandin. 

First of all, you will play in the next Firefest, on October 20th. It is the 10th Anniversary of the festival and also the 25th Anniversary since your debut album! What does it means for you?

Firefest is asking us back for the 10th Anniversary and of course, this is a great compliment! The reunion was all about nostalgia, we're having so much fun performing the (debut album) songs again. What could be a better place to celebrate than at FF, together with fans from all over the globe!
I’m also performing with Fergie Frederiksen (TOTO), Joe Lynn Turner (Rainbow) and Eric Martin (Mr. Big), in “LEGENDS - Voices of Rock”, headlining the festival. So, the 20^th will be something else!

Your debut album was recently re-released in its original form and it seems that there are people that didn’t forget you! How important do you think is “Alien” album for AOR fans and the band?

I've come to understand it's considered an absolute AOR classic around the world. It's a cool thing to be part of the legacy of 80's melodic rock, especially since there's a new wave of bands now - some of them list us as major influence. 

For us it's THE most important record, as far as experience and success. An unforgettable insight in the process of writing, arranging, performing, producing, dealing with producers, major label A&Rs, managers, agents, media etc. Those memories will always have a special place in our hearts!

Back in 1988. What do you remember from the recordings of “Alien” and how did you sign a deal with a world wide major label like Virgin Records?

I remember it well... First session was at (ABBA's) Polar Studio, Stockholm with producer Mark Dearnley. We cut three songs, one being “Only One Woman” released as single. Relocated to Sound City Studios, L.A. with producer Chris Minto and cut a whole albums worth of songs. The U.S. recordings, plus “Only One Woman” (just had to be in there, being a #1 hit!), made up the debut album (Scandinavian version).
For the international version Virgin America had some remixes done, new album cover. Should've been Simon Fowler pics, shot in London. Scraped, of course, when Jim quit. Made new pics and the “Tears Don't Put Out The Fire” video in L.A. and the first single (2 songs) with Pete were added to the album, to introduce him.
Virgin Scandinavia had their eyes on us, so we recorded two songs (Dec ‘86) which became the first two singles (they’re both on the “Best & Rare” compilation). Our CEO presented coming releases on a Virgin head quarter briefing in London, they believed that Alien would appeal to further territories and hence rewrote our contract into a worldwide deal!

The cover for “Only One Woman” was a major hit back then, but I always preferred your original material! How did you come up with this cover and what’s the story behind “The Blob” film and “Brave New Love” in its soundtrack?

It had been 20 years since the Marbles had a hit with it (with Graham Bonnet singing his heart out!). Virgin saw the potential in an 80’s take on it, and asked us to. Turned out great!
Hollywood made the remake of “The Blob” while we were working in L.A. and our music was recommended. “Feel My Love” is in the film and “Brave New Love” in the end credits.

What do you remember from your live shows back then?

Amazing! Coming back from L.A. to find “Only One Woman” sky-rocketing the charts. Bringing the album on tour, beating box office records, being all over media. The time of our lives. 

Later there was a re-worked version of your debut album for US market with different track list and a new singer for two songs. That seems complicated, so, what Ken Sandin’s diary writes for that time?

We had to release the Scandinavian album asap, expectations were high after our chart topping single and successful tour. Preparations for the international one were more thorough. Guess it’s confusing with the change of singers. For instance, in the “Tears…” video you see Pete but hear Jim!

“Shiftin’ Gear” followed, but it seemed that something was missing from the success link. What can you recall from that time and why did you left the band?

First of all, I never left the band! We split up in the end of ‘89, disbanded. Mutual agreement, no one to use the band name without the others. What happened later is another story, out of my control.
We had the follow up album written and made a first session at Townhouse Studios, London with Mark Dearnley. “Easy Livin’”/”How Long” released as (our last) single and “Wild, Young & Free” and “21^st Century Man (demo)” later on the “Best & Rare” collection. Four other songs are on “Shifting Gear”, but EMI actually plan to add our original versions as bonus for digital download.

There was quiet a difficult era for Alien during the 90s and 00s, but first at 2005 original singer Jim Jidhed rejoined the band - and also recorded a new album with the rest (“Dark Eyes”) - and finally, during 2010 the original line-up came up together. What made you guys work together again and how were these two last years for Alien?

From what I heard, “Dark Eyes” was a solo album project of Tony, with different singers (Jim being one of them), to start with. I was sure that calling it a reunion of Alien meant the original lineup would never get together... can’t make a reunion twice. But, here we are.
As I’ve said, the one album we did together has so much sentimental value to all of us. To consider playing those songs once more was a no-brainer! We’ve done few but very cool shows, like Sweden Rock Festival, Firefest, Live4AOR (Madrid) etc. …sounding as good as ever. It’s been a blast!
A new single, “Ready To Fly” (released 10.10.10), to mark the reunion. Hope you all liked it!? 

Do you think you had a missed chance for a huge break-through?

Possibly, back then. We had everything set for the international launch - major label/publisher and management backup. Supposed to open for a major act, had Jim only stayed. Who knows…

So, what the future holds for Alien?

There will be more shows. As for new music, we’re writing a new album right now, taking our time. We decided early on that if we make a new record, it shall be a natural follow up to the 1988 debut  in terms of style, melodies etc. …with an up to date production, of course.

Best regards // Ken Sandin (ALIEN)