Let’s time-warp back to 1985, when Brian was still in the army. The rec center at Kelly Barracks was the ultimate hangout where soldiers could unwind and make some music. Brian had his heart set on playing guitar, and although the one on loan at the rec center was a bit battered and cheap, it got the job done. It was there that he first crossed paths with bassist Mike Lieberberg and drummer Ernst Theobald.
Mike, also a veteran, was busy building his 5-Star talent agency, which primarily catered to the military club scene in Germany. Ernst, a local national with a Ph.D. in theoretical mathematics, was juggling his part-time gig at the base exchange (PX) while nurturing his robotics startup on the side.
During the stretches between Brian’s deployments, the three of them would come together to jam, primarily focusing on Rush songs that they all loved. As they practiced, they gradually sharpened their skills, landing paid gigs at local rock clubs in Sachsenhausen, near Frankfurt, and at the Rainbow NCO Club in Darmstadt. They decided on the band name 2112 as a playful nod to the progressive rock band they idolized.
Now, let’s jump back to 1986, Brian has wrapped up his military service and is sucking suds and munching bratwurst in Germany. The band 2112 never dissolved or faded; it merely lingered in the space where the power trio had some free time. Mike had shifted his focus almost entirely to his agency, while Ernst was deep into launching his robotics company. Ernst even brought Brian on board to head up the lab once he transitioned to civilian life. Meanwhile, Mike had built a solid lineup of bands he could book for military gigs and began sending plenty of hired gun work Brian’s way.
“It’s the Cold War era, and back then, the internet was still a pipe dream, the closest thing to a smartphone was a hefty 15-pound brick, and GPS? Learn to read a frigging map! One communicated through the fidget spinner of the time: the trusty rotary phone. A telephone band was an impromptu group of musicians who would get called together on short notice to play a gig, mostly just hours before the show. Those brave enough to say yes were known as hired guns. If you were lucky, you’d get a setlist dictated over the phone, which meant you could whip up a mixtape to jam to on your way to the venue. But rehearsals? Forget about it! When it was showtime, someone would take on the role of bandleader, most often the person belting out the lead vocals, and that person would have the job of announcing the next song, and off you’d go.” – BGW
Fun Fact: After joining Ernst at his company as a Robotics Technician, Brian took the opportunity to further his education at the University of Heidelberg, where he earned his bachelor’s degree in Computer Science and Electrical Engineering. Brian later earned an honorary master’s in Computer Engineering for his work in applied Quantum Physics while working for the DoD in 2004.
By now, Mike had Brian playing every weekend in every type of band you can think of. Whether blues, country, or jazz, Brian was quickly becoming the go-to guy for every occasion. His home port was The Rainbow NCO Club in Darmstadt, Germany, where he ran into fellow hired-gun and bassist Bruce Borowski. Like Brian, Bruce was also ex-military and lived nearby, which made it easy for them to get together and jam.
At the time, Bruce had a steady gig with the band Overland Stage, the house band at the Rainbow Club. Brian had played for them before but felt they were a little too old-school for him. Undaunted, Bruce persisted, and Brian eventually gave in. Overland Stage featured Claudia Hüber on lead vocals, Bruce on bass & vocals, Brian on guitar & vocals, Udo Guckelsberger on drums, and Tim Stintsman on pedal steel. Eventually, the band became good enough that 5-Star trusted them to open for their stateside acts, including Tom Wopat and John Schneider (both from the television series ‘The Dukes of Hazzard’) when they came to the Rainbow Club in 1990.
On occasion, Bruce, Brian, and Udo would step out as the Nighstalkers to get their fix of southern rock and blues. But Bruce struggled with a serious drinking problem that made it hard for him to hold down a job. He began couch surfing and frequently showed up to performances drunk, leading to numerous altercations. His reckless behavior escalated to the point that he was banned from the military club circuit, which ultimately forced the 5-Star agency to cut ties with him. Brian tried his best to include Bruce in various projects, but over time, Bruce’s behavior became too much for him to manage, and they eventually decided to go their separate ways.
“Bruce, he had been pestering me for work for ages, so when I snagged a civilian gig, I gave him a chance if he promised to stay sober. On the day of the gig, he showed up at my place sober, which was a good sign, but he insisted on driving his own car, saying he didn’t want to pack his stuff twice by taking the bus with the rest of us. The venue was only about an hour away, so I didn’t think anything of it until we pulled up, and he literally flopped out of the car with empty vodka bottles spilling all over the place.”
“We dumped coffee down his throat to sober him up enough to slog through the night. I had a feeling he must’ve had a hidden flask somewhere because about halfway through, he started acting really stupid. I went over to ask him to tone it down, and just as I was about to start the next song, he walked over and sucker-punched me in the face in front of God and the world. He then grabbed his gear, jumped in his car, and took off. Never to be seen again. Lucky for us, a good friend of mine was in the crowd and immediately offered her son’s bass rig for me to use. So I wrapped up the night with a swollen lip, juggling a guitar and the borrowed bass, switching between them as needed.” – BGW
This incident was memorialized in the local newspaper (Gießener Allgemeine Zeitung), with the reporter highlighting how Brian not only handled the altercation well but also continued to perform professionally and excellently for the rest of the performance. Shortly after the incident, Bruce Borowski returned to his hometown of Detroit, Michigan, where he resides to this day.
It’s the 1990s, and country music is all the rage in Europe. Mike Lieberberg’s 5-Star agency has been busy forging connections in the military circuit, particularly with the United Service Organizations (USO). After successfully bringing over a slew of big American acts, he decided it was time to expand his roster to include local talent that wouldn’t break the bank. He asked Brian to put together a list of qualified bands he could pitch for gigs, and on top of that, he encouraged Brian to start his own band so he could join in on the fun.
That’s when Brian reached out to his fellow hired guns: guitarist Mickey ‘Lee’ Henke, bassist Tony Hardin, and drummer Udo Guckelsberger. Together, they formed the first version of the band, Bakersfield. At first, they mainly played country covers, with Brian and Tony sharing lead vocal responsibilities—Tony often taking the lead on the classic tracks. But Brian was still a songwriting fool and had a bunch of original songs he wanted to try out. During their rehearsals, he would surprise the guys with one of them, and they’d work together to bring those tunes to life on stage.
Bakersfield quickly made a name for itself on the military circuit. Mickey’s skilled country pickin’, Brian’s southern-rock-inspired solos, and Tony’s distinctive, raspy vocals gave them a unique sound that resonated with audiences. However, it was Brian’s original songs—like “Made in the Shade,” “Practical Man,” and “Life on the Farm”—that had fans eagerly wanting more. These tracks were battle-tested in front of live crowds long before Brian even thought about putting them on a record, becoming true fan favorites in the process.
By the time 1993 rolled around, Bakersfield was the number one country cover band on the USO circuit, receiving multiple merit awards for appearances in conflict zones and dedication to the mission, opening for stateside acts such as Johnny Paycheck, Willie Nelson, Joe Diffie, The Bellamy Brothers, The Mavericks, Alison Krauss, and Vince Gill. Bakersfield was on fire, so it was only natural for them to release an album. Right?
“At times, Mike would ask me to chaperone visiting artists because I could speak German pretty good. This one time, a country star, we’ll call him ‘Nilly,’ was booked for a gig in a little town just outside Frankfurt. I had my own show about 50 miles away that night, but I didn’t need my P.A., so I picked up Nilly at his hotel, drove him to his gig, set up my gear, and headed off to my own show.”
“By the time I was on my way home, it was three in the morning. The club Nilly was playing at was on my way home, so I figured I’d stop in to see if they were still open and grab my gear. The lights were still on, so when I walked in the door, I was greeted by a very frustrated club owner who threw his hands in the air and pointed down the bar at Nilly, sloshed out of his mind, packed between two huge German mädels, hootin’ it up like a banshee. The club owner begged me to help get Nilly out, so the two of us carried him out to my bus, buckled him into the passenger seat, and packed the girls in the back with the gear because Nilly insisted they come along.”
“When I got Nilly and his entourage back to the hotel suite, thankfully only a few minutes’ drive away, all three of them immediately dropped their clothes and headed, stark raving naked, to the jacuzzi on the balcony. Thinking the world would kill me if I let this fucker drown, I dragged him out and manhandled him to his bed, where he immediately passed out, snoring. Then I gave the girls taxi fare and made my way home to the doghouse my wife had likely prepared for me. Nilly and I are still buds, but I made it damn clear what would happen if his junk ever crossed my path again.” – BGW
Brian’s iconic album Made in the Shade, released in 1993, hit Gold status in 2002, a testament to its lasting impact. By 2013, three of its standout tracks had each topped the one-million streams mark, according to MRC Data. This just goes to show how Brian’s music still resonates with fans and how the album continues to connect with listeners over the years.
While working at Capitol Records in 1984, Rob Stringer was Brian’s boss. He had since moved up to managing director of Sony’s Epic Records UK. The two had a solid history—Brian had helped Rob out of a tough spot at Capitol, so when Brian needed leverage to land a recording deal with Sony, Rob was more than willing to jump in and assist.
At that time, recording contracts were notoriously stacked in favor of the label. They treated the production budget like a loan, meaning artists wouldn’t see a dime in royalties until they hit at least 1 million in sales—yikes! The label also had total control over the recordings and decided which studio the artist could use. Thankfully, with Rob’s help, Brian was able to negotiate a much sweeter deal for himself. He managed to secure shared ownership of the recordings and bumped his royalty payout from the typical 7% to a solid 12%. This meant he could pay off the production costs faster, start earning money sooner, and choose the studio that fit his vision.
Of course, there were some catch-22s. Sony wanted a pool of 20 songs to pick from, insisted on control over which tracks were released and when they came out, and wanted regular updates during production. It felt a bit controlling, but considering the better long-term deal he was getting, Brian felt it was a fair trade-off. So, he signed the contract and dove right into work!
Brian quickly realized that yodeling into a mic while fiddling with studio controls was simply not going to work. So, when his bandmate from Bakersfield, Mickey Henke, stepped up to take on the production responsibilities, Brian jumped at the opportunity. Unfortunately, that decision turned out to be quite the blunder.
Another rookie move on Brian’s part was inviting his fellow Bakersfield bandmates into the studio to record instead of hiring experienced studio musicians. He figured that since they had already nailed down many tracks during their live performances, laying down the album tracks would be a breeze and save both time and money. However, things didn’t quite go as planned—his bandmates struggled with reading sheet music. This meant that the efficient idea of handing over a score sheet for a pro to interpret was off the table.
Instead, Brian found himself having to conduct improvisational rehearsal sessions, painstakingly guiding his bandmates through each song. He often ended up humming individual parts over and over until they finally got it right—a process that was not only time-consuming but also quite frustrating at times.
And Brian had his challenges, too. With his feet firmly rooted in rock and southern rock, he struggled to write songs that were more mainstream country. The lyrics were easy; country music followed a simple set of rules, but knowing when to plant a face-ripping guitar solo or flat-pick a riff was where he had problems. Thankfully, He found help by teaming up with longtime friends Christine Leon, Keith Headley, and Tony Hardin, and their influence helped Brian make that connection.
Brian’s decision to choose the studio was undoubtedly one of the best he made on the project. He was introduced to Pauley Tonstudio thanks to Mickey Henke, who had previously teamed up with Hilmar Pauley on various projects. Although Brian had some reservations…
For starters, the studio was incredibly small. The recording booth could barely accommodate a four-piece band, and the engineering area felt just as cramped. On top of that, Brian noticed that some of the gear seemed a bit outdated and maybe even a bit quirky. I mean, the main reverb setup was a massive wooden crate with steel plates hanging inside, awkwardly wedged behind the couch in the engineering room. As for the compressors, they looked like they belonged in a museum rather than a recording studio.
What Brian didn’t realize at the time was that Hilmar was a genius engineer who had actually invented many of the components used in modern professional studios. What appeared to be old-school gear was, in fact, the result of successful experimentation. But Brian’s options for professional studios were pretty limited, as they were all fully booked. So, despite his reservations, he was pretty much stuck with Hilmar’s studio.
While production was underway, Brian began to grow concerned about Mickey’s behavior; he was spending nights and weekends locked in engineering, tweaking things on his own time, and he and Hilmar were constantly arguing about something. Brian didn’t know Mickey wasn’t keeping up with the progress reports until Sony sent reps to look over Mickey’s shoulder, which infuriated him and led to more arguments. It all came to a head when Brian’s old boss, Rob Springer, called to inform him that Sony was considering canning the project for breach of contract. In a panic, Brian contacted the studio owner, Hilmar Pauley, and that’s when he spilled the beans…
Apparently, Hilmar had recognized at some point that Mickey had no clue what he was doing. He would record with too much gain, introducing noise and distortion, and then spend hours trying to fix his mistake. He would spend days rehearsing mixdown scenarios instead of simply taking notes, and since Mickey couldn’t splice tape, he would ask Hilmar to make impossible splices that defied reason. Brian was furious, but he didn’t get the chance to confront Mickey about it. Mickey, smelling trouble, stopped showing up for work, wouldn’t answer Brian’s phone calls, and ghosted everyone on the project and in the band. Brian never saw him again.
Brian was screwed. Three-quarters of the budget was gone, and he didn’t know just what he had. First things first, he had to keep Sony from canning the project, so once again he engaged his old boss, Rob, and together they worked out a deal with Sony: if Brian put a reputable producer in charge of the project, things could continue as normal…
Brian had been working on a variety of projects at Dolphin Studios in Mörfeldon, Germany, for quite some time, and while working on his debut album, he had also been lending a hand on Thomas Schmitt-Zijnen’s project, the Frankfurt Rock Orchestra’s Classic Moody Blues Hits album. Thomas was renowned for his work with Deep Purple and The Moody Blues in the 60s and was a well-known figure at Sony, so Brian begged him to take over as producer on his project. Brian didn’t have to beg; Thomas was more than happy to oblige and brought engineering genius Tommy Korge along with him to help with some of the grunt work.
Sony was ecstatic to have Thomas Schmitt-Zijnen on board, and the project was saved! In fact, Sony was so happy that they didn’t bother to enforce the contract’s progress report clause for the remainder of the project. Now Brian and the “2 Tommy’s”, as they were affectionately known around Dolphin Studios, got to work sifting through the mess of recordings to figure out what was salvageable. By now, Hilmar, intrigued by all the star power hanging around his studio, had taken renewed interest and informed the bunch that he might have a way to clean up some of those distorted tracks. Hilmar’s technique was a godsend, and they were able to salvage over 90% of the recordings. Brian only had to hit the recording booth twice to overdub the tracks they couldn’t fix; from then on, it was smooth sailing from post-production to the final release in September 1993.
Album: Made in the Shade
Year released: 1993
Recorded at: Pauley Tonstudio, Giessen, Germany
Producer(s): Thomas Schmitt-Zijnen, Brian Walton, Mickey Henke
Engineer(s): Brian Walton, Tommy Korge, Mickey Henke, Hilmar Pauly
Label: Sony Records
Composition & Lyrics: Brian Walton
The Performers:
Brian Walton appears courtesy of K&P Enterprises, Musty Dungeon Studios, and Capitol Records. Thomas Schmitt-Zijnen appears courtesy of MSI Recording and Sony Records. Special Contributors: Christine Leon, Keith Headley, Dave Bell, Tony Hardin
Sony wanted a pool of songs from Brian to choose from for the initial release. Sony didn’t provide any specifics about the selection process, and Brian wasn’t part of the final decision-making. Brian composed and recorded a whopping 22 songs for the initial Made in the Shade album; most were cut from it, but some appeared in subsequent releases. Those that were never released were recomposed into singles that Brian released on his own label.
“You’re the One” was inspired by a heartfelt poem that Brian wrote in 1986 for his then-fiancée, Inge. The song was composed and recorded live at the hr-Sendersaal in Frankfurt, Germany, by the Frankfurt Rock Orchestra, conducted by Thomas Schmitt-Zijnen. To this day, it remains one of Brian’s most beloved compositions in both Europe and the Americas.
As the production of the Made in the Shade album neared completion, producer Thomas Schmitt-Zijnen suggested finishing with a slow ballad. Brian and Thomas were concluding work on a different project with the Frankfurt Rock Orchestra when Thomas suggested using some of the remaining budget to record a ballad for Brian’s Made in the Shade album.
Brian and Thomas sat together at the piano, composing the arrangement and creating score sheets between takes with the orchestra. They often worked from the same sheet of paper and sometimes finished each other’s work in what Brian would call “one of the most efficient collaborative sessions” he ever experienced. With only one day left before the orchestra had to depart for other engagements, Brian took his place at the piano, and Thomas cued the orchestra.
Due to limited time, the song’s full orchestral and choral sections were recorded in a single continuous session, with Brian playing the piano. Although he hadn’t finalized the lyrics, Brian had memorized his poem and felt confident he could improvise the remaining lines and overdub them later in the studio.
During post-production, Brian evaluated the improvised lyrics and found them surprisingly good, a sentiment his wife shared. Only a few phrases, where he mumbled, swore, or had a cracked voice, required adjustment. Randy DeBeers, the new bassist for Brian’s band Bakerfield, made his debut on bass; Udo Guckelsberger recorded the drums; and Brian added his own guitar and solo violin work to finalize the project.
When Brian presented the final product to Sony executives, they were initially uncertain whether the song would fit the album’s ‘Country’ genre. After some persuasion, the song was released and unexpectedly resonated with audiences, gaining worldwide popularity and becoming an instant classic.
After the release of the Made in the Shade album, Brian’s old friend Mike and his 5-Star agency immediately hit Brian up to sign a deal to open for the upcoming Dwight Yoakam world tour he had brokered. But with guitarist Mickey in the wind and bassist Tony recently retiring, all that was left was Udo, and he didn’t want to go on tour, so no band. Bummed, Brian’s reached out to old friends Chrissy Leon and Keith Headley, and they, once again, came to the rescue, introducing fellow Brits Derek Smith on guitar and Rex Jones on drums.
Both Derek and Rex came to Germany in the 70s and began touring with big bands, jazz, and soul groups throughout the country. And although their style was not exactly country, neither was Brian really, so the trio gelled nicely and began working on the ‘Bakersfield’ sound. But Brian still needed a bass player, and as luck would have it, one had just moved in next door…
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, 5-Star agency now had a touring band, and the boys immediately went to work. First opening for Dwight Yoakam’s world tour, then The Mavericks, then The Bellemy Brothers, then Johnny Paycheck, etc, etc. Over the next three years, the band racked up over a million miles of travel worldwide, performing for the troops and earning the band multiple distinguished service citations and performance awards. Bakersfield 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 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 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 liter Bierstein with both hands over to a very grateful customer. Rolling my eyes, I politely excused myself to go round up my boys. – BGW.
Bakersfield was Brian’s primary touring band, featuring a solid lineup of experienced and talented musicians. The band delivered a series of acclaimed shows that not only connected with fans but also set standards that other artists still draw upon today. The band’s teamwork created a lively and impactful live concert experience, earning them numerous industry awards.
While with Bakersfield, Brian received several awards, including Male Vocalist of the Year, Country Artist of the Year multiple times, Band/Group of the Year, and Most Versatile Musician for three consecutive years (1996-1998). He also received 3 distinguished service citations for his USO performances.
Bakersfield’s early lineup consisted of fellow hired guns Mickey Henke, Tony Hardin, and Udo Guckelsberger, and they performed primarily at US bases all over Germany. They played mostly cover songs but also peppered the program with a few of Brian’s originals. This formation fell apart when guitarist Mickey Henke had a falling out with Sony during the recording of the Made in the Shade album.
Bakersfield’s most successful lineup included Brian, Randy DeBeers, Derek Smith, and Rex Jones. Their teamwork set a new standard for musical harmony, earning praise in the press as “one of the tightest vocal groups in country music”, and numerous performance awards and citations.
Derek Smith and Rex Jones played a significant role in shaping Bakersfield’s sound with their British pop-influenced style. They collaborated closely with Brian, who aimed to create an authentic sound characterized by a blend of traditional country music elements and Brian’s Southern rock influences. A key aspect of the band’s unique style was the vocal partnership. Their strong harmonies became a signature element of their music, enhancing the band’s overall sound and adding to its distinctive flair.
Bakersfield signed with the 5-Star Talent Agency in early 1994 and quickly began touring military bases worldwide. When summer arrived, they joined USO tours and sometimes performed in military conflict zones. The band had the opportunity to open for or back several notable artists, including The Bellamy Brothers, Dwight Yoakam, Vassar Clements, Willie Nelson, Joe Diffie, The Mavericks, and Johnny Paycheck.
| Artist/Act | Year | USO-Tour-Region |
|---|---|---|
| Dwight Yoakum | 1991 | Desert Shield/Desert Storm |
| Dwight Yoakum | 1997 | Bosnia (Bosnia & Herzegovina) |
| The Bellemy Brothers | 1991 | Desert Shield/Desert Storm |
| The Bellemy Brothers | 1997 | Bosnia (Bosnia & Herzegovina) |
| Joe Diffie | 1991 | Desert Shield/Desert Storm |
| Joe Diffie | 1997 | Bosnia (Bosnia & Herzegovina) |
| Vassar Clements | 1991 | Desert Shield/Desert Storm |
| Willie Nelson | 1991 | Desert Shield/Desert Storm |
| The Highwaymen | 1991 | Desert Shield/Desert Storm |
| Johnny Paycheck | 1991 | Desert Shield/Desert Storm |
In preparation for the 2001 Made in the Shade Live Tour, Brian sought to recapture the band’s iconic ’90s-era success. To that end, he enlisted skilled session musicians Rusty Simms and Marvin Huntsman, known for their work on numerous Gold- and Platinum-selling projects. Through them, he was introduced to talented performers Nadundo Abasi, Torrey Gerardo, and Tiffany Janis. Their unique styles and fresh perspectives perfectly embodied the iconic Bakersfield sound. The tour spanned 16 shows, drawing nearly half a million fans. From this tour, the 2002 album Made in the Shade Live! was born. It sold out in its first week and served as a perfect conclusion to the Bakersfield band’s era.
Brian Walton: Vocals, Keys, Fiddle, and Guitars
Mickey Henke: Bass, Guitars, and Vocals
Tony Hardin: Bass and Vocals
Udo Guckelsberger: Drums and Vocals
Brian Walton: Vocals, Keys, Fiddle, and Guitars
Randy DeBeers: Bass and Vocals
Derek Smith: Guitars and Vocals
Rex Jones: Drums and Vocals
Brian Walton: Vocals, Fiddle, and Guitars
Rusty Simms: Keyboards, Pedal Steel, and Guitars
Marvin Huntsmann: Bass and Vocals
Nadundo Abasi: Drums and Percussion
Torrey Gerardo and Tiffany Janis: Backing Vocals
It was 1997. Rex and Derek, now in their sixties and tired from years on the road, told Brian they wouldn’t be touring anymore. The much younger Brian and Randy tried to keep Bakersfield alive with other musicians, but they just couldn’t recreate the magic and finally gave up in late 1997.
Brian had met singer Rob Hawkins while playing with the Nightstalkers at the Rainbow NCO Club in Darmstadt. Rob had a solo act that was doing pretty well, and when he heard Brian was available, he asked if he wanted to team up and form a duo like Brooks and Dunn. Yeah, No. Brian, still under contract with the 5-Star agency, thought a band would work better, so he brought Udo Guckelsberger back on drums and asked his old friend, bassist Bob Barnett, if he wanted to join.
Brian had met Bob Barnett through Chrissy Leon and Dave Bell many years earlier. Bob, a civil service employee of the Army based in Mainz, Germany, was building a home studio, and he and Brian often got together to work out technical details and record, especially when Brian received projects from Capitol Records. Some of that work ended up in the soundtracks for Roman Polanski’s The Ninth Gate and Steven Spielberg’s Schindler’s List. Bob also performed frequently with fellow American and fiddler Helt Oncale, who had his own gig and often sat in with the top local country bands of the time.
Brian now had a band of top players who couldn’t or wouldn’t fully commit to the project due to other obligations, and he wasn’t about to risk the Bakersfield brand. So, he came up with a new band name, Weekend Moon, after the hit song he had released just a few months earlier.
Initially, things went well; the group was tight and professional, quickly earning the 5-Star agency’s favor. But eventually, Rob felt overshadowed as he tried to keep up with more experienced performers, and he left after only a few months. After that, Bob’s previous commitments began interfering, and Brian spent more time working with hired guns than being creative. Then came Westend…
Between performances and recording his debut album, Brian also spent time at Dolphin Studios in Mörfelden, Germany, producing or co-producing for other artists. There, he also had the opportunity to work with legendary producer Thomas Schmitt-Zijnen, known for his work with Deep Purple and The Moody Blues, and sound engineer Thomas Korge, known for his work with 10CC and The Fixx. Hanging around the studio also afforded Brian the opportunity to collaborate with artists outside his wheelhouse, such as Michael Sadler of the Canadian band Saga and Rodgau Monotone’s drummer and film director, Jürgen Böttcher. He also remained very active at Capitol Records, composing scores for Roman Polanski’s The Ninth Gate and Steven Spielberg’s Schindler’s List, and co-writing iconic jingles for Nike, Taco Bell, and Nestlé.
Brian met Jürgen Meier, the regional director of CBS Records, and his wife, Annalisa, while working on the Nena project at Dolphin Studios. Jürgen, who loved singing country music, had a hobby band he would stand up at parties for his rich and famous friends, and he asked Brian if he would like to sit in on a big show he had coming up. Little did Jürgen know that Annalisa had already engaged Brian to join in on Jürgen’s birthday party, which featured a very special guest, so of course Brian said yes.
Annalisa went all out for Jürgen’s birthday party, renting a huge ballroom with a stage and inviting over 500 guests, but she was tight-lipped about who the special guest would be, even to Brian, who was in on the surprise. The guest list was a veritable who’s who, with everyone from producers Frank Farian (of Milli Vanilli fame) and Michael Cretu (Enigma project) to international superstars Jürgen Procnow and Max von Sydow seated at tables, waiting for Jürgen to arrive. Jürgen at least feigned surprise when he showed up, his wife and a few choice guests delivered a speech in his honor, and then he took the stage with his new band to raucous applause.
By the first break, there was no special guest, and Brian began to think the invite might have fallen through, which would explain Annalisa’s hush-hush attitude. Then she grabbed Brian by the arm as he was leaving the stage and steered him into the attached restaurant, to a private booth where sat an unassuming older man in travel clothes, with curly gray shoulder-length hair, pulling a bottle of wine out of his backpack. Upon seeing the traveler, Brian didn’t need an introduction. He reached out to introduce himself to none other than country-picking legend Albert Lee.
The rest of the break was spent conspiring on the best way to spring Albert on the unsuspecting Jürgen. When it was time, Jürgen was standing at his microphone, tuning his guitar, and was just about to count the band in to the next song when Brian walked over, took over his microphone, and began talking about his most recent work with Jürgen. When Brian said, “And then there’s Albert…” that queued Albert, who was standing offstage, guitar at the ready, to begin playing his hit “Country Boy” and walk onstage. Jürgen, who by then was a bit red in the face over Brian’s audacity, upon recognizing the song and Albert, immediately began jumping up and down with glee, shook Albert’s hand, and then ushered him to his microphone so he could complete his song.
The rest of the night, Brian and Albert, who is also an accomplished pianist, spent time trading off between the piano and guitar and, of course, singing duties. The chemistry between the two was so awe-inspiring that they received multiple standing ovations and encore calls. After the show, Brian and Albert, who had obviously had a great time, sat together and drank a couple of glasses of Albert’s favorite wine. The conversation eventually turned to Albert’s current European tour, and Albert didn’t hesitate. He asked Brian to tag along and cameo on the final leg of the tour, and of course, Brian said yes.
And so started a friendship that has lasted over 30 years. During that time, Brian and Albert have collaborated on loads of projects, cameoed at each other’s shows, and Albert even brought Brian onstage at the Crossroads Music Festival to jam with none other than Eric Clapton himself. And Albert was instrumental in helping Brian reinvent himself as a blues-rock artist, having himself made the transition from country to blues years before.
The fall of the Berlin Wall in 1991 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 started making a name for itself in the country music scene.
Brian ran into Andy Schingnitz, lead singer of Westend, at one of the many Trucker Festivals they both played when Bakersfield was still tearing it up. 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. Quickly becoming friends, Brian and Andy would cameo at each other’s gigs, goofing around and acting out improv skits to the delight of fans. When Bakersfield hit the skids, the national press began suggesting that Brian would join Westend, so one day, as if ordained, Andy asked Brian if he’d like to join, and Brian, not one to disappoint, accepted.
Brian stepped in as the second lead guitarist alongside guitarist Dieter Knoblauch, 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 rose to the top of the European country music scene and was busier than ever.
What Brian didn’t know when he joined Westend was that he was diving headfirst into a messy power struggle between Andy and Dieter. Westend mainly played cover songs, and there was a clash of visions. Andy was a fan of sticking to traditional country, while Dieter was eager to embrace a more contemporary sound. It wasn’t uncommon for their debates to escalate into alcohol-fueled shouting matches at gigs, often dragging Brian and the rest of the band into their feuds.
The power struggle and the stresses of touring took a toll on the band members, leading to increased tensions and, ultimately, to their disbandment in 1999. After the split, Andy Schingnitz reformed the band with a new lineup.
As for Brian, with opportunities coming 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 said a tearful goodbye to Germany and hopped a plane to the Golden State…