Paul Sabu of AOR and Corporate Control

LA Hollywood scene when anything musical was happening. After a couple of albums in the 80’s, he left journalism and started his AOR all-star project in 2000. Of course, he was always a guitar player but now he’s in charge of recording and producing his albums along with so many great players and friends he made when he was writing about them as a journalist. When AOR started in 2000, he became unstoppable, churning out album after album and creating a huge fan base.

To you, what are some of the highlights on the AOR - The Best of Paul Sabu album? Many others artists along with myself have been singing Frederic’s songs for several years now, but I honestly hadn’t realized we recorded so many great songs together. After his 20th AOR album, The Ghost Of L.A., he surprised me with this compilation. I had my first listen and couldn’t believe how much I loved it. It triggered so many great memories together as I listened to it. I always had great respect for his work but have to say some of his later songs he wrote during the time (when the world was falling apart) are among my favorites… 18 And Available, Wisdom of Eve, and Girl in the News to name a few.

What was it like working on the Kidd Glove project with Motown Records? Well let me ask you… Who would have ever imaged Motown Records adding a rock division… It was just down right strange.

I’ll give you some highlights but it happens that Rock Candy Records UK has just reissued 4 of my albums. I was blown away when I heard them because they were not remastered but mastered from the original tapes that I had in storage. But the Kidd Glove in particular has about a 1000 word essay on all the goings on. Lots of stories and pretty cool details.

In a few words that kinda sets the mood: It was the first time anyone at the studio ever saw a Marshall Amp and why was this white guy singing at Motown. No one was unfriendly… just in shock. I don’t think anyone got the memo that a rock division “Morrocco Records” had been added to the label.

Only Child is considered one of the most underrated AOR albums of all time. What do you think of that album in retrospect and why was there no second Only Child album? I think our ratings were OK… Only Child still is the highest rated album in Kerrang and a top 20 albums of all time. Not saying I believe my own press but it really boils down to the luck of the draw. Who knew we would get signed and the president of the label would leave a month later? In the late 80’s the fall of the music industry began. The teams that aided in promotion, touring, etc. were so important and your assigned representative at the label was the lifeline between you and everything involving the success of your album via the label just disappeared. And it wasn’t just us! In addition to your solo work, Kidd Glove and Only Child, you have had some amazing production credits. Tell me about the Dance project you did with the legendary David Bowie and what was it like working with him? He was a soft spoken highly educated polite class act. Not anything like you might expect. There were several discussions with him on the phone explaining the process and how we would go about it. It wasn’t common knowledge that 12 inch singles were highly influential for sales and radio play with DJ’s.

I began the project and was knee deep in it… But there was one time when the day started out normal. Began redoing some keys and guitars parts completely oblivious to my surroundings… reached over to grab my coffee and almost yelped… no idea Mr. Bowie had come in and was sitting behind me for the last hour. When I turned around, he just said “this is fascinating…I had no idea…is it OK that I’m here?”. I laughed and stopped everything so I could get some face time in especially since it was the first time actually meeting him. I introduced myself and had an amazing story telling experience. It was a double shocker since I was told that he rarely visits mixing sessions. Actually, he came down on 2 other occasions… No entourage and never any criticism. I was not use to that at all. Many artists would stop in with so many ridiculous questions and answers before I even got started. It got to the point where I actually started charging $1000 more if the artist was present… The worst part about that was, the labels started paying it… But these particular sessions with David definitely got etched in my brain!

There was never an OC II because the chaos of the music industry along with steaming truckloads of drama made it way too hard to keep the band together. Your whole mindset had to change from this point on if you loved music enough to stay in it.

One of my favorite albums of last year was Damon’s Rage

by Jesse Damon (who has also worked within the ranks of AOR). How did your collaboration with Jesse Damon come about? Oh cool! Our relationship started in the band Silent Rage. It was interesting because things could have gone either way with the band. Silent Rage contacted me several times to work with them and I always found it best to work with bands at their rehearsals. After 5 seconds of working with them, it was obvious that Jesse would make a much better front man and singer than their original multi vocal band concept they had. I simply said we need to change some things. So we had a serious sit down and I told the guys that Jesse needs to be the singer. I didn’t know how they would respond but it was the only option if I was to be involved. Amazingly, the band all agreed.

Jesse and I have become good friends over the years, and have made many of his solo albums together along with the recordings for any AOR songs for Frédéric Slama as well…

Would you like to do some live shows with Corporate Control or AOR when it is safe to do so? AOR is really Frédéric’s baby and he has taken it on the road before. He has a definite way of keeping a variety of singers in his show. As far as Corporate Control… Again this is a Marcus Boeltz project which also brings up the fact the we’re starting the next album in July. So if timing permits, I’m sure he would as that’s pretty much what we do.

What do you hope 2021 brings for you and for the world of music in general? Just from my point of view, I wish that people would stop being afraid of their own shadows, stop trying to change history and get some balls so everything didn’t offend them…all these PC laws are killing creativity. Have you any idea how hard it is to write lyrics that are politically correct. It’s impossible. I could go on for another 20 issues but that would be a good start.

What’s up next for you? Any new recordings or projects we haven’t discussed? Yes, lots actually. LOL One in particular I’m really working hard on but of course I’m not supposed to mention anything, but should be announced very soon and several others that will immediately follow.

Do you have any messages for long time Paul Sabu fans who are reading this now? I could not even begin to thank all of you for all the love and support you’ve shown me. I’m just a guy who loves music with the hope that the albums I do in the future will be as loved as the ones I’ve done in the past…God bless you all! paulsabu.com perrisrecords.com

Interview by Kim Crain Photos Courtesy of Yogi Lonich

Yogi Lonich, guitarist, performing artist, producer and songwriter. Also known as the lead guitarist and backing vocalist for Chris Cornell since 2006. Yogi has performed with many legend musicians such as The Wallflowers, Melissa Etheridge, Alanis Morissette, Buckcherry and Fuel to name a few.

At what age did you start your musical career and who were

I started playing guitar around 10 or 11. My dad had a beat up acoustic guitar in the house, but he didn’t know how to play. At first I took group guitar lessons, which I wasn’t super into. We played Tom Dooley and other folk songs. It was the early eighties and MTV came along. I started watching video’s. I was inspired by the Stray Cats and Van Halen. A seed of jazz blues began growing in me through the Stray Cats.

I got into playing guitar. Then my dad bought a $50.00 Encore electric guitar. I had a private teacher that inspired me. Of course I wanted a Kramer like Eddie Van Halen’s guitar.

Yes, it was the guitar. The shredding metal guitar. My dad said “If you can learn these two Johnny Cash songs, ‘Folsom Prison Blues’ and ‘Walk the Line’, I’ll take you this weekend to buy the guitar.” So it took me all but one day to learn those songs. I came to him and said ‘Here you go dad.’ LOL! By the weekend we were at Guitar Center buying my dream guitar. Funny, I don’t play it anymore! My mom kept the lessons going and that was great of her to be so supportive, and my dad as well!

I had a cover band with my older sister Plavka. When I was 15 we played at the Santa Clara County Fair under the name British Blues. We played the Stones, classic rock and pop. Plavka was always my driving force and influence pretty much all the time! She was always telling me what was cool and hip. We had an eight year old Philippine drummer and no bassist. It was pretty funny, Our oldest sister even sang backup on a couple songs. But, it was like, wow, we had a gig!

The next band we had band was a new wave duo called Modern Breed. Then we moved to L.A. and I got into Led Zeppelin and psychedelic music . We formed a quartet called Fear and Loathing, which was fun. We played the Sunset Strip and played Gazzarri’s, The Whisky, and that was cool! I was around 17 at this point.

Plavka went abroad to college and became a dance pop star! Jam ‘n Spoon was the project she was in. They had

gold records in Europe. I went to music college at Cal State Northridge. Then I got my first record deal with my acid jazz band Sound Assembly. It was 1995 when our album In the Pocket came out. Then all my hired gun guitar gigs started happening.

I remember many years ago being backstage at a Buckcher-

Wow, well that’s a long time ago ‘jeeze’. I remember it being exciting ‘cause Iggy Pop is such an Icon. Our show was rockin’ as usual. We had crazy, sort of punk rock alternative fans in the audience which was kind of the normal thing for us. Iggy Pop’s fan base was really high energy and he was on fire! He was doing his usual stuff where he was climbing on monitors and sub woofer cabinets and apparently fell down and cracked his head open. He had a bandage on his head for the remainder of the show.

We were hanging out with him backstage after. He was a really spontaneous, crazy kind of cat. That was super cool, that whole thing was wild. After the concert, we ended up at Kid Rock’s house with Pamela Anderson in tow.

An agent named Barry Squire was the ‘go to guy’ in the 90’s and 2000’s for putting bands and musicians together. He called me to audition for them. I and 50 or so other guitarists auditioned. They give you handful of songs to perform One Headlight, Three Marlenas, among other of the band’s hits.

I auditioned for Guns n’ Roses and had to learn 17 songs! I pretty much spent a whole hour playing all of them. Auditions are all different.

I had amazing experiences. He treated his band members like brothers, not like hired guns. We learned the music he wanted us to play, but we were friends. Even though he was rock royalty, he never put himself above us. It was great. He was a super cool person.

I remember hanging out with Peter Thorn… the other guitar player that was playing with Chris at the time. I had super long hair and a beard for a few years, and I never had a shaved head. I wanted to do the short, Punk Rock hair thing. You know when you are in a band full of long haired rockers? Its like, ‘who does that’, right? I just had a bug up my ass to do that and Pete suggested; “Why don’t you have Cornell shave it on stage?”. And I thought, ‘What a brilliant idea!’

That night we were in New York playing Webster Hall. So right before the gig we meet up again backstage. I said, ‘Ok, we are going shave my head,’ and Cornell goes, ‘Lets do it at the encore of the song?’ I think it was a Temple of the Dog song called Reach Down.

Basically we play the whole show, we come back for the encore and start the song, When we get to my guitar solo, my guitar tech comes out with a barstool and an extension chord plugged into the razor and puts it in the middle, downstage center. I sit and Chris goes to work on my head while I’m in So we were at sound check, and check is usually around 4 or the middle of a guitar solo! LOL! 5 o’clock before the concert, and I said, ‘Hey Chris, what do you think about shaving my head onstage tonight?’ And he said, ‘Sure!’ And walked away. That was it. Chris was supercool and spontaneous. I didn’t expect it be like ZZZ. Zzz Zz. He took like eight minutes to cut my hair! He was just taking his time. It was hilarious! The whole thing is on Youtube! Chris Cornell - HIGHWIRE DAZE April/May 2021 51

Yogi Lonich.

It was shocking! I really miss him a lot! I just could not believe it was suicide. I think it was some accidental thing, but of course I don’t know. I didn’t see Chris as being suicidal. I understand he dealt with some depression here and there like any artist. I heard he was having some personal issues the night he died. I was not on tour with him at that point. He was doing solo acoustic shows the last years of his life, He was excited about life. He had custom instruments being built, you know, things to look forward to, so it just seems illogical that he would take all that away on purpose. Needless to say, it was shocking and very sad.

On a broad level and spiritual level, I’m involved in raising consciousness and aligning myself with higher vibrations.. I have been a Vipassana Meditator for fifteen years. I practice yoga among other thiings. My main thing is just spreading love and trying to do onto others as you would like them to do onto you, kind of vibe. Everybody needs to aspire towards higher consciousness and not dwell on fear and media. Be good and spread love.

Wow, jeeze! I really like these acoustic folk artists like Ray LaMontagne or maybe Chris Stapleton. These kind of rootsy, soulful, throwback, folk rock type artists. I’m also a huge Radiohead fan as you know, but that would be too challenging! LOL! I don’t think anyone could replace Johnny Greenwood. He is such an innovator.

What was the most memorable and exciting moment in your

There were some big shows that happened when I was in Buckcherry. We played the turning from 1999 to 2000 New Years concert at the Osaka Dome in Japan. It was Aerosmith headlining with Mr. Big and us, and that was huge and exciting! Also playing Woodstock 99 with Buckcherry. Those were big shows. drix) at the Rock & Roll Hall in Cleveland. At the end there was a jam and they were the rhythm section. It was amazing to play with them! Some of my bucket list items have been checked off!

I have a new album that just came out called Rebirth under my name Yogi. It’s Blues rock with groove and soul sprinkled in. I have two other solo albums Metta and Hesitant Poet and a band project called Run Through The Desert featuring the drummer and bassist from Chris Cornell’s touring band.

out there!

With Chris Cornell, we mostly did headlining shows. There was a very special show in in Argentina which is on Youtube. It’s a full concert. The band was in top form. We had already been touring a couple years at that point. That was pre head shave LOL!

Buckcherry won a Kerrang! Award and we got to hang with Jimmy Page of Led Zeppelin. Early in my career I was in Buenos Aires with Meredith Brooks opening for the Rolling Stones, and I had a lady friend, who was friends with Mick Jagger. We ended up hanging with Mick Jagger for a week! It was unreal for a kid in his 20’s

I got to play with Mitch Mitchell and Billy Cox (Jimi HenReach Kim Crain at kimcrain.com

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