Derek Davis | Babylon A.D. | American Blues Box | Moonshine | May 2008 |

 

Derek Davis first hit the music world in 1985 when the Persuaders formed in Oakland California.  As that band evolved into Babylon AD, with Derek on vocals, Ron Freschi and Danny De La Rosa on guitar, Robb Reid on bass, and Jamey Pacheco on drums, they became the first hard rock band ever signed to Arista Records.  Clive Davis himself, impressed by their demo tape and live shows took a huge interest in the band and they were well on their way.  To hear the rest of the story and more, I caught up with Derek to find out everything that went on, what's going on now, and what we can hope to see in the future.

 

Jerry Hamm-Hammbone7:  Hey Derek, thanks for taking the time to do this interview.  How are things with you today? 

D-Fantastic Jerry.

 

JH:  First, let's start off with what your life was like up until the start of the band.  Could you tell me the short version of the details of your childhood and into high school and such?  What was a typical day in the life of Derek Davis, and what led to the formation of the band that became Babylon AD?

D - I WAS A REAL PAIN IN THE ASS TROUBLE MAKER WHEN I WAS YOUNG. I EVENTUALLY I ENDED UP IN CONTINUATION SCHOOL, WE'RE I MET ROBB REID, THE BASS PLAYER FOR B.A.D. MUSIC HELPED ME FOCUS ON SOMETHING POSITIVE.

 

JH:  The Persuaders are the band people know you from first.  As the band came together, could you take us through the early days, from finding the right members, getting the band rolling, and just every thing that it takes to get a band off the ground?

D - I was in another pretty successful Bay Area band called Audio when Jamie called. He said he wanted me to check out him and a guitar player named John Mathews, I did and they sounded great, so I called Robb we auditioned Ron Freshci and the Persuaders were born. We started practicing 4 -5 nights a week and played 100s of gigs and party's and eventually got tighter and tighter. Together wrote tons of songs and packed every club in the bay area for a couple years till we were signed by Clive Davis.

 

JH:  From the mid to late 80's, when the band was doing the clubs, it was a legendary time in terms of the west coast music scene.  How did the band fit into that, or not fit in, being that you were from Oakland and not a typical LA band?

 D -We fit right in . We got ourselves a manager from L.A and started playing gigs there also. The Roxie, The country club, the Troubadour, you name it we played it.

 

JH:  The tales of the bands and clubs from that era have gone down on history.  What are you memories from that time, in terms of the bands you got to know, the clubs you played, and the people you met?

 D - It was life in the fast lane with not much sleep. When we moved as a band to Hollywood in 1988, we stayed in a one bedroom apartment at the St James, right off Hollywood blvd. There was a party every single night at that place . There were bands and actors, celebrities, all staying at this huge apt building. It was almost out of control. Music was everywhere on the strip  and I can tell you 7 nights a week that city did not sleep. I could fill a book with the shit we did and the people we hung out with, like I said it was life in the fast lane.... Full speed ahead.

 

JH:  The demos from that time (which have since been released on CD, but will get to that), as well as your live show led to the record companies taking interest.  How did the band and its members become the Babylon AD that everyone knows, and explain all that went down in terms of the showcase you did for Clive Davis and you guys becoming the first hard rock band ever signed to Arista Records?

D - Believe it or not when we moved to L.A., Clive called our manager and wanted a private showcase that weekend. We had only been it town for 3 days.. We only were able to get one practice in before he saw us. And I guess we impressed because when we were done playing he opened up his arm and said. "Welcome to the family boys." We were fuckin blown away , it seemed all our hard work had paid off and dreams had came true.

 

JH:  What was the mind set of the band at this point?  I mean, any band in the late 80's who gets signed by Clive Davis must be on top of the world.  How did you and the rest of the band handle your first taste of the big time?

D - We went strait to the Rainbow got shit faced, started about 3 fights and got kicked out.  We partied like mad men for a month strait ... with a little practice thrown in .

 

JH:  Take us into the studio for the recording of your self titled debut.  How did you narrow it down to 10 songs, what was the recording process like, what was the budget, and just all your thoughts on making your first record for a major label?

D - To tell you the truth no song goes past Clive if he says niet, it doesn't get on the record . That's why we put out the demo CD of our first recordings . We always felt we had had some great songs before we were signed that just didn't make it on our first CD. As far as the recording process, it was very slow and methodical due to our producer, Simon Hanhart. He had a Def Leopard sort of approach to everything, where we were more like, Fuck It, that sounds good!.. But looking back the record came out just fine, After we were ordered by the record co and producer that we could not party any more at the studio, cuzz were getting to fucked up to perform.

 

JH:  Now the record is done, it is hitting the stores, the promotion begins.  The buzz was good and "Bang Go The Bells" is doing well.  Take us back to that whole time and tell me what it was like watching your album climb the charts in 1989?

D - Man it was a fuckin blast, we felt we were on top of the world. Not many bands from the Oakland bay area scene ever get a chance to see the places we did, make videos, records and just live a great hedonistic life style.

 

JH:  What were some of the best tours you did at the time, and any good road stories to tell? 

D - We did 7 tours , played every club, theater and some arenas, in almost every state and Canada. Went to the U.K, it was off the hook.. I wouldn't know where to start with road stories, every single night is a story with us on the road. Our touring T-shirts on the back said - Boozin Bruzin Ballin and Brawlin

And that was the way it was. We were famous for the back of the bus being called the Stabbin Cabin!!! If you know what I mean.

 

JH:  As the first album cycle ends, the CD did well, the tunes were big on radio, although it did not explode the way most people (including me) thought it should have.  Were you satisfied with the album itself and the success it had, and what were you thoughts going into the next one?

D - Well the CD was hyped to go platinum and Clive and everyone else thought it would. It settled at Gold so you do what you do and move on . There was just way to many bands of the same type at that time .

 

JH:  The next record did not come out until 1992, and 3 years is a long time between releases.  What were you and the band up to in the time between?

D - We were touring, then we started writing and then we waited for Tom Werman to be available...

 

JH:  As you hit the studio for the Nothing Sacred record, how was the whole process and vibe different than the first time around?

D - It was alot more laid back.. Tom was easy going and he let us have more freedom. Plus we could drink again in the studio.

 

JH:  Once again, as the album hits stores things start off good.  Reviews are positive, Bad Blood is doing well, and it looks like this could take off.  But the scene in 1992 is quite different from 1989.  How were things different for you and the band at this time it terms of what went into promoting the album?

D - The first thing I noticed were the crowds were a little smaller in some places. Nirvana had steered the industry in a different direction and bands were being dropped every day it seemed like. We were labeled a Hair band so we just sorta watched our ship slowly slip away with the tide and by June of 1993 the Hatchet fell..

 

JH:  We all know the big changes that music went through in the early 90's.  Was that the main factor in the band parting ways with Arista, or were there other things that played and even bigger part?

D - We were truly burnt out . I mean we had started in 86 as a band and by 93 we had done everything you do when you live every day on 10 or 11, in our case..

 

JH:  Although the band never broke up, you went on hiatus in 1994.  What led to that, and what were you and the other guys up to during the down time?

 D - We just needed a break from one another. I joined a band called Moonshine and recorded a CD at Eddie Van Halens 5150 house with the help of Michael Anthony.

Which never got released. And after a couple years I just stayed home and watched my kid grow while writing new music. The other guys went back to college and got degrees and now are all doing great. We jam every once in a while.

 

JH:  1998 saw the release of the Live In Your Face CD.  Could you tell me how this was put together, where the songs were recorded, and just what all led to you putting out a live record at that time?

D - It seemed the demand was there and we needed something to do . We toured a bit and had a blast. We always felt we were a Live band with a strong In your face attitude on stage 

 

JH:  At this same time, the band got back to work with Jamey's brother Eric taking over on bass because Robb was pretty much done with music altogether.  How did this all come about and what was it like to be back together again?

D - Robb actually hurt his arm and could not play. But nothing really changed except that Eric had some good writing abilities to add to the band.

 

JH:  This led to the release of American Blitzkrieg on your own label.  What are your thoughts on this record, and how did it differ from recording for a major label?

D - We got to experiment more and just do what we wanted instead of some one second guessing everything you do when your tide to a major label.

Al-tho I really believe this is our best record if a person gives it a chance.

A lot of people only compare us with the first CD . But American Blitzkrieg was made 10 years later so the band had grown quit a bit as players and songwriters..

 

JH:  Although it is a killer CD, by the year 2000 it was a whole different world.  Did you find it hard to find ways to support the record at that time?

D - We toured a bit, but it is hard to wear all the hats when your trying to figure out how to promote something and be a Label, and band , its very difficult.

 

JH:  Things have been pretty quiet for Babylon AD since then, but you and Jamey returned with a new band and CD American Blues Box.  How did this all come about, how does this band differ from Babylon AD, and what is the whole story of this cool new group?

D - Jamie and I started jamming with a blues bassest and a harmonica player . I had learned how to play open sting slide guitar and was looking for something to do that was a little different . The CD came out like an early Aerosmith meets Elmore James type thing . We are very happy with it.

 

JH:  Before we finish up, I would like to touch on a few other subjects.  First, is there anything you care to share about your personnel life that maybe fans don't know, but would love to hear about? 

D - Hey that's personnel...

 

JH:  The net and things like Myspace have helped bands get the word out at a time when that may be tough to do otherwise.  Things like downloading have helped you get not only your new stuff out there, but has got your older stuff out there too.  What are your thoughts on things like downloading, both Iegal and illegal, versus fans buying the physical CD's?   

D - Every little bit helps..

 

JH:  What might someone find in your ipod or CD player these days, any bands either old or new that you are enjoying? 

D - Terence Trent D'Arby, Saliva, Sade ,Johnny Cash, the Stones.

 

JH:  Any certain TV shows you are into, or websites you enjoy checking out?

D - I hate American Idol.. - Law and Order and Breaking Bad is about it.

 

JH:  Wrapping up, the last thing we heard from Babylon AD was the cool In the Beginning CD, which was was demos and such from the 80's. What led to this coming out, and how does feel to have these tunes out there, some 20 years later?

 D - It brings back alot of great memories every time I hear one of these tunes..

 

JH:  So what are you up to now and what's next?  What is the status of Babylon AD and American Blues Box?  Can we plan on seeing anything new from either band in the near future?

D - We are looking at doing some gigs later this summer. And I am about done with my first CD. Which should be out around the same time.

 

JH:  With things like Rocklahoma and such, it is looking much better these days for that style of music.  Your band is sometimes lumped into the whole glam era, even though you were much more of a straight ahead kick ass rock band.  Do you feel things are looking up, and are events like Rocklahoma something you hope to take part in?

D - We're talking with them but we don't know yet. And yes the atmosphere of music seams a little more friendly toward our brand of Hard Rock.

 

JH:  What is the best way for people to find out about you and your music?

D - They can check out our sites at -www.myspace.com/babylonadtheband  or our web site,www.babylonad.com , or check out myspace.com/ddavismusic to find out what I'm up to.

 

JH:  Anything you care to add?

D - Just thank you for being a truly kick ass magazine and letting the rock voices be heard.

 

JH:  I want to thank you Derek for taking the time, and for all the good music.  Hoping to hear lots more from you in the future.  Take Care.