The conquest of Europe
When Brian’s military service ended in late 1985, he liked the beer so much that he stayed at his last duty station in Darmstadt, Germany, where he met his wife, started a family, went back to school, and eventually took a job at a robotics manufacturer. But that was just his daytime gig…
Harkening back to when Brian was still serving in the army, the rec center at Kelly Barracks was the place to jam out and make some noise. Brian wanted to play guitar, and the one they had on loan at the rec center was worn out and cheap, but good enough to hammer out some tunes with other soldiers or local nationals with base access. That’s where Brian first met bassist Mike Lieberberg and drummer Ernst Theobald.
Mike, an Army Veteran himself, was an expatriate building his 5-Star talent agency, which at the time catered primarily to the military club circuit in Germany. Ernst, a local national with a doctorate in theoretical mathematics, worked part-time at the base exchange (PX) while developing his robotics business on the side.
Between deployments, Brian, together with Mike and Ernst, put together a setlist of mainly Southern rock tunes they could jam to. After a while, the trio became good enough to pick up a few paying gigs at the rock clubs in Sachsenhausen near Frankfurt, as well as at the Rainbow NCO club in Darmstadt.
By the time Brian left the military, Mike had moved on to focus on his agency, and Ernst had moved on to his robotics company. That’s where Brian took a daytime job building robots. Mike had since built quite a roster of telephone bands he could book at military clubs and began regularly feeding Brian hired-gun gigs.
So here we’re going to segway a bit. It’s the Cold War era. There was very little internet, and the closest thing to a cell phone was a 15-pound brick that worked only half the time. GPS wasn’t a thing yet, so you had to stop and ask for directions or read a map. The only reliable form of communication was the good old touch-tone phone. A ‘telephone band’ is a adhoc group of musicians called together at the last minute to play a gig. Usually, this happened the day of, and those who answered the call were called ‘hired guns’. If you were lucky, the setlist was dictated over the phone, and you could create a mixtape to listen to on the way to the gig. That was about all the rehearsal time you would get. At the gig, someone was designated the bandleader, usually whoever was singing lead vocals. If there wasn’t a setlist, that person would simply call out the song and its key, and you were off. You had to have your chops together to be a hired gun in a telephone band. – BGW
Bruce showed up at my house once, stone sober, begging for work, so I hired him for a gig I had about an hour away in Giessen that night. Bruce drove himself, and by the time he got there, he was sloppily drunk, with vodka bottles falling out of his car as he got out. I had no one else to call at that point, so we tried to sober him up and went on with the gig. About halfway through, I asked Bruce to tone it down because he was swearing into the mic, and then I started the next song. That’s when he sucker-punched me in the mouth in front of everybody, stormed off stage, got in his car, and left. Were it not for a very dear friend who lived only a few minutes away and had a bass I could borrow, we probably wouldn’t have finished the gig. So I finished up the night with a swollen lip, a guitar and bass strapped over my shoulder, switching between the two when necessary. The incident was covered in the local newspaper, but it was more about my handling of the situation afterward than about Bruce’s behavior. At least we got good publicity. – BGW
It was during this time, while working as a hired gun, that Brian met bassist and fellow hired gun Bruce Borowski. Like Brian, Bruce was also ex-military and lived just a few towns over, so they could get together often to rehearse. That’s when Brian was first dragged into playing country music. The switch to country made Brian much more in demand, and he and Bruce became pretty much inseparable, often sitting in on each other’s telephone bands, most notably the Overland Stage band, which became quite the staple at military clubs.
Quite often at a gig, we would get requests from one of the troops to play some new song they heard on the radio. You could politely decline, but at some point, the drunken crowd would start chanting the request over the music. So on my break, I would hunt down a jukebox somewhere, armed with a few quarters, a pencil, and paper, and I would notate the song and jot down the lyrics so we could play it in our next set. – BGW.
But Bruce had quite the drinking problem, often getting into fights and getting banned from clubs. 5-Star ultimately dropped Bruce, and Brian would have to ‘sneak’ him in on the condition that Bruce lay off the sauce. He, of course, wouldn’t, and Brian had to give up on him, too. Then Mike called Brian one day with a very different kind of offer…
It’s the 90s, a time when the appetite for country music in Europe was at its peak. Mike and his 5-Star agency had spent the last few years cultivating his contacts in the military circuit, including the United Service Organizations (USO), and had already brought over several notable acts from the States to perform. He wanted to expand his talent pool to include local (cheaper) acts and asked Brian to compile a list of qualified bands he could pitch for gigs. He also encouraged Brian to form his own band so he could take part, too.
That’s when Brian reached out to fellow hired guns, guitarist Mickey ‘Lee’ Henke, bassist Tony Hardin, and drummer Udo Guckelsberger, and together they formed the first incarnation of the band Bakersfield. Initially, as a country cover band, Brian and Tony split lead-vocal duties, with Tony singing most of the older songs. But Brian had never stopped songwriting, and he had a whole bunch of songs he wanted to play to see how they went over. So whenever they rehearsed, Brian would spring one of his originals on the boys, and together they’d work out how to play the piece live.
The band Bakersfield hit the ground running and quickly became the top band on the military circuit. Mickey’s country pickin’ and Brian’s southern-rock-inspired guitar solos, along with Tony’s raspy country vocals, made the band unique, but it was Brian’s original songs that had audiences chanting for more. Songs like Made in the Shade, Practical Man, and Life on the Farm were battle-tested in front of live audiences long before Brian considered recording them and became fan favorites.
Mike would sometimes hire me to act as an ambassador for his agency. This usually meant picking up the visiting artist(s) at the airport, getting them settled into their hotel, escorting them to the gig, back to the hotel, and finally back to the airport, with plenty of partying along the way. One time, I was asked to set up my P.A. so a very famous visiting artist could perform at a pub near Frankfurt. I had a gig that night too, but didn’t need my P.A., and it was on my way, so I agreed. On my way home from my gig, I stopped back at the pub around 4 a.m. to pack up my stuff, and I found the visiting artist sitting between two large German girls, stoned out of his mind, while the owner begged me to help get him out so he could close up. So I packed up, and the four of us manhandled the guy into my bus so I could drop him off at his hotel, but he insisted the girls come along, so they got packed in the back between the speakers. We finally got him into his hotel suite, and he b-line straight to the jacuzzi and jumped in naked with his corpulent companions. I wasn’t going to be responsible for the guy drowning, so I dragged his ass out of the pool and laid him on his bed, where he promptly began snoring. The visiting artist and I have been close friends ever since, but I also warned him what would happen if his junk ever crossed my path again. – BGW
By the time 1993 rolled around, Bakersfield had become the backing band for any stateside act the 5-Star agency booked, from John Schneider and Tom Wopat (from the 1970s sitcom The Dukes of Hazzard) to Johnny Paycheck and Willie Nelson. Sometimes, the stateside acts would contact Brian directly, and the band would go on tour with acts such as The Bellamy Brothers, The Mavericks, and Alison Krauss. Bakersfield was on fire, so it was only natural for them to release an album. Right?
In 1984, while working on the Teachers soundtrack for Capitol Records, Rob Stringer, one of the co-producers, and Brian spent countless hours in the studio together editing the production. By late 1992, Rob Stringer had become managing director at Sony’s Epic Records UK. When Brian reached out to Rob to help broker a recording deal with Sony, he was only too glad to oblige. Sony took a very controlling interest in the production, but despite the challenges, Brian’s debut album, Made in the Shade, was released in 1993 and reached number 6 on the Billboard charts in its first week.
Old friend Mike and his 5-Star agency saw dollar signs after the release of the Made in the Shade album, and he immediately began pressuring Brian to put together a touring band for the upcoming Dwight Yoakam world tour he had brokered. Thankfully, Brian’s old friends Chrissy Leon and Keith Headley came to the rescue again, introducing Brian to fellow Brits Derek Smith (guitar) and Rex Jones (drums), who immediately jumped aboard. He still needed a bass player, though, and as luck would have it, one had just moved in next door…
Christine Leon was in a girl band in the 1970s when she left her home in England to join the more lucrative and vibrant club circuit in Germany. Dave Bell did the same with his band, Break Point. Keith Headley likely came to Germany after touring with the legendary Roy Orbison. By the time Brian met the trio in the early 90s, they were well-established and respected members of the music community. Since they were all within a few miles of each other, Chissy, Dave, and Keith became close with the young Walton family.
While bassist Dave was a hired gun like Brian himself, he had spent much more time behind a mixing desk and often tutored Brian. This included work at Dolphin Studios, where Brian was introduced to many industry VIPs, including Thomas Schmitt-Zijnen. Bassist Chrissy and keyboardist Keith formed the duo Pick-Up and often performed with Dave Dudley and Drifters Caravan when they came to Germany.
Chrissy, Dave, and Keith were instrumental in helping Brian get started in the local music scene, introducing him to other players in the industry who helped mold his career and have been adored and respected mentors to him and his family throughout the years.
When the popular German magazine Country Circle wrote an article about the band, it headlined it ‘Bakersfield, Germany’s answer to Garth Brooks’. I was so pissed by the comparison that I vowed never to go to one of his concerts, so I could never be accused of ripping him off. – BGW.
Bassist Randy DeBeers’ wife was a staff sergeant at Rhein Main Air Force Base and, as such, qualified for off-base housing. When an apartment in the building next to Brian’s opened up, they immediately jumped on it. Coming home from work one day and seeing the military moving truck, Brian figured he ought to go out and welcome his new neighbors. After a few laughs and a couple of beers, it came out that Randy had played bass in a band in his hometown and that he kinda missed performing. Seizing the opportunity, Brian ran home, grabbed his acoustic, and the two of them began jamming in the backyard to the delight of their neighbors, who eventually brought more beer and food. And Viola! They had a full-on barbecue party!
With Randy properly initiated, Mike had his touring band, and Bakersfield got to work. First opening for Dwight Yoakum, then The Mavericks, The Bellemy Brothers, Johnny Paycheck, and many more. Over the next three years, the band racked up over a million miles of travel worldwide, performing for the troops and earning the boys multiple distinguished service citations and performance awards. The band was so popular that it became a household name in both military and civilian circles, being invited to perform at numerous Trucker festivals and television events across Europe, even into formerly communist nations.
Brian’s young family traveled along whenever they could, becoming just as much a delight to fans and fellow performers as the members themselves. His young boys served as roadies for the band, manned the merchandise booth, or, at times, caused mischief, as all boys do. It was a veritable family affair.
I was booked for a huge week-long music festival at Bergsee Ratscher in former East Germany, and we decided to make a family vacation out of it. I had barely stopped the car when my two boys excitedly jumped out and ran toward the VIP area behind the main stage. This was the third time we had played at this festival, and we knew everybody on the team, so we didn’t think anything of it. Later, when my wife and I arrived in the VIP area to mingle with the visiting artists, I introduced myself to a famous, very inebriated female singer who delightedly pointed out the ‘cute’ boys serving beer to all the musicians. Sure enough, there went my youngest, heaving a one-liter bierstein over to a very grateful customer. Rolling my eyes, I politely excused myself to go round up my boys. – BGW.
Since the Cold War ended in 1991, the US and NATO allies had been drawing down in Europe, and the military gigs were slowly drying up. So the bookings started getting farther and farther from home. All that extra travel took a huge toll on Rex and Derek, who were now in their sixties. Eventually, they’d had enough and retired from touring altogether in the fall of 1997. Brian and Randy tried to keep the band going with other musicians, but they just couldn’t replicate the magic and finally conceded defeat in late 1997. After Bakersfield, Brian took a short break, but it wasn’t long before he got a call from his old friend, Andy Schingnitz…
Before joining Westend, Andy and I would cameo in each other’s gigs and, at times, improvise mock scenes that would have the audience literally rolling on the ground laughing. Just to show what a good sport my wife is, sitting in the VIP area after a gig, Andy pretended to be her new boyfriend, and I, of course, her husband, and the two of us put on this mock screaming match that was so funny that the reporter with us published it in his newspaper. We spent quite a bit of time explaining away that joke. – BGW.
The fall of the Berlin Wall marked a significant turning point in both Germany’s political landscape and its cultural scene. From the remnants of the failed German communist state in the eastern province of Thüringen, the band Westend emerged and made a strong entry into the country music scene. Brian ran into Westend at one of the many Trucker Festivals they both played. It turned out that Brian’s wife had family from Erfurt, the same city as Westend, so it was no surprise they hit it off. They quickly became friends, making cameos at each other’s gigs and goofing around with the fans.
Brian stepped in as lead guitarist, bringing in lap steel guitar, fiddle, and keyboards as needed. This gave the band a fresh vibe, with tight five-part harmonies and a broader setlist. As a result, Westend shot to the top of the European country music scene and was busier than ever. Despite their initial success, the pressures of touring began to take a toll on the band, leading to heightened tensions and, eventually, disbandment in 1999. Following the split, Andy Schingnitz reformed the band with a new lineup.
As for Brian, with opportunities calling in the US and the recent economic downturn in Europe, he decided to pursue new ventures Stateside. So in early 2000, Brian and his family bade Germany a tearful goodbye and hopped a plane to the Golden State…
Courtesy of https://www.discogs.com
Arthur’s Theme, Be All That You Can Be, immediately topped the Billboard charts and won an Academy Award for Best Original Song at the 54th Academy Awards. The song was also named the year’s Best Original Song at the 39th Golden Globe Awards. Although Brian didn’t receive much official credit, he was listed as one of the composers on the film’s soundtrack and received associate producer credit for the theme song. More importantly, some really important folks in the industry took notice. Especially his boss…
In late 1983, Phil asked Brian to serve as associate producer for Billy Joel’s Innocent Man. Joel was Phil’s pet project, and earning Phil’s trust to represent him in the studio was huge for Brian. He was already down to half-days at school, so every day after class, he b-lined it straight to the studio, watched, and reported. That became standard practice for the remainder of Brian’s time at A&R Recording.
After Arthur, Bacherach began asking Brian to help on more and more projects, including the notable Pan American Airlines jingle, You Can’t Beat The Experience. It was Burt who approached Phil and told him that Brian’s skills were exceptional and that he should be given more work composing. But Phil needed a grunt, not an artist, so as a graduation present, he helped Brian broker a deal at Capitol Records. Brian hated the idea of leaving A&R Recording. He was a fixture at both studios and was treated with almost as much respect as the man himself. But the move to Capitol Records was an opportunity he simply could not pass up…
Phil was a trial-by-fire kind of mentor, and once you earned his trust, there was no end to the doors he would open for you. And that’s how he treated me for the rest of his life. As an equal. – BGW.