ARTICLES

The following are articles that have appeared in various magazines over the years. Most of these have been provided by Lynda Marmoreo, who can be contacted here. Also thanks to Phil Ashcroft for the "Friction" review. The articles are in order as best as I can determine. The dates of some of the articles have been lost and they have been placed based on their content. Also, please note that the views expressed in these articles are not necessarily those of myself.

INDEX

CONEY HATCH

Anthem ANR-1-1037
Recorded at: Quest Recording Studio,
Oshawa, Ontario and Sound Kitchen, Toronto
Producers: Kim Mitchell and Jack Richardson
Engineers: Paul Lachapelle and Dave Green

This is Coney Hatch's debut album and throughout you can hear the strong
influences of several other bands. The most obvious is Foreigner (though,
instrumentally, Coney Hatch's sound is usually heavier). and the Foreigner
influences is clearest on the six tracks who lead vocals are handled by
Carl Dixon. This band has not only been inspired specifically, but
generally as well. For example (and this is "odd" considering Coney Hatch's
mainstream, hard rock sound), the other lead singer, Andy Curran, sings new
wave-ishly; that is, by and large, his style can most accurately be
described as a combination of semi-shouting and pouting.

Apart from the influences, the vocals are often buried in a mix of very
good powerhouse drumming and guitar work.

"Devil's Deck" and "Hey Operator" will probably bring the most national
airplay attention to this album. The other contender for this attention is
"You Ain't Got Me."

TORONTO ROCK BAND ON ITS WAY UP

TORONTO STAR NEWSPAPER
Written by Peter Goddard


Don't think local acts have been completely ignored at the Canadian
National Exhibition Grandstand this season, although organizers give every
appearance of doing their best along this time.

Tomorrow night's hard-rock extravaganza features two acts on their way down
(headlined Ted Nugent and Cheap Trick) plus a local unit on its way up.

Coney Hatch has been together two years and has spent most of its budding
career bashing around downtown where "it's possibly the loudest band
around," says a friend, quite proudly. But because it's being hustled by
Anthem, Rush's record company, promoters, club owners and radio stations
are paying the band lots of attention.

There are various reasons for this, primary among them, fear. Ignore Coney
Hatch now and pay the price by being ignored yourself should the band
become the biggest thing in rock since the invention of the electric guitar.

Another reason is Kim Mitchell's work as producer on the album. Mitchell
was with Max Webster and has a reputation as a musician's musician. He
brings some tone to the entire project.

A final reason might be that Coney Hatch is trying something new - or
claims to be. Not that tomorrow's crowd will get much of a chance to find
out exactly how different it's aiming to be. The local band will only be
given 35 minutes on its own turf and that will be just enough time to play
most of the songs from its current album, plus several new ones from the
forthcoming one.

Singer-guitarist Carl Dixon points out that "it's not getting any easier
starting hard rock bands these days. For one thing, every new one is a
doom-and-gloom outfit or into Satanism or something like that. Maybe hard
rock has degenerated into something really evil. I do know there's not must
charity out there."

And this, he says, is where his band comes in. Despite the fact that
quartet's name comes from an English lunatic asylum, "We try to be more
melodic than other hard bands. Our lead guitarist (Steve Shelski; the
others are bassist Andy Curran and drummer Dave Ketchum) has a background
in jazz and this adds another texture to what we do when he solos.

"But we know we have to expand".

MELODIC HARD ROCK GROUP

Toronto Star Newspaper, Tues. July 20th, 1982

By Kathleen Kenna

The fact that Coney Hatch is named after a lunatic asylum in England
doesn't reflect the type of music this four-man band plays.

The band describes its music as "melodic hard rock," although anyone who's
heard the group's recent single, Hey Operator, on the AM band might not agree.

Coney Hatch has just produced a self-titled debut album with cuts like
Monkey Bars - with an experimental twist of electric guitar - and other
original material that's better qualified as hard rock.

OUTA' HAND

By: Keith Sharp
Rock Express Magazine

Brisk initial sales and a pending North American tour with Iron Maiden
would seem to indicate that Coney Hatch is taking steps in the right
direction. Yet while allowing that "Outa' Hand" is a vast improvement over
their debut, I still feel they are too one-dimensional to create more than
a regional impact. It's not that Coney Hatch is particularly bad. Their
onstage demeanor is acceptable, their material is reasonably effective and
they're sensible enough to have good people work with them in the studio.
It's just that Coney Hatch fails to project any kind of vivid personality
which makes either them or their music stick in your mind. Having played
their new album a half-dozen times I can recall just one song, that being
the single, "Don't Say Make Me". Coney Hatch are pleasantly harmless
enough, but in the rock music stakes, nice isn't good enough.

Keith rates the album as "Fair"

I'D RATHER EAT A CAR...

TORONTO STAR NEWSPAPER
WRITER: UNKNOWN


An unusual number of fans were very concerned that good words about Judas
Priest appear in today's paper.

Personally, I'd rather eat a car than consume the band's collected works at
full volume. But for the oversexed and underloved, this was a perfect kind
of rock for the getting of rocks off.

Everyone of those fans, by the way, felt the same way about Coney Hatch,
for reasons which were rather more obscure, but which may have had
something to do with hometown boys making bad, and may have even more to do
with the fact that they have three molten turns on rock radio.

HATCHING A NEW ONE

Music Express Magazine 1983


Toronto hard rockers Coney Hatch are due to release their third album
"Friction", simultaneously in Canada and the U.S. on February 7th. "We
haven't done anything in 1984 other than the album, and we feel really
confident about it" explains the band's Andy Curran.

Current plans call for a national Canadian tour when the LP is released
then a support slot for dates in the U.S.. Coney Hatch also hopes to tour
Europe this time around.

When asked to describe the record, Curran asserted that "we tried to
recapture the rawness of the first LP. The second LP tended to be a bit too
production-oriented. Our music sounds pretty compatible with what you hear
around now."

Friction
(Vertigo VERL 23)

Paul Suter , Kerrang! March 21, 1985.

KKKKK

(K-Awful through KKKKK-Awesome!)

After the glossy but shallow ' Outa Hand ' LP there seemed to be a clear prospect of Coney Hatch going ' tits up ' by their own hand, victims of style without content. But the happy news is that 'Friction ' is already assured of a place in my top twenty albums of 1985.
Right from the start it's clear that the Hatch boys are back in business - the swaggering barechested bravado of ' This Ain't Love ' lays it on the line in fine style , a mid-tempo mauler prodded along by the crashing drums of ex- Toronto man Barry Connors.
Track number two is the album's killer , however , a glorious piece called ' She's Gone ' ; it's mid-paced heavy rock warmth but there's a rocket up it's ass and the burning body-blow of the hook is true eleven out of ten material. The pace picks up for ' Wrong Side Of Town ' but then the boys ease back on the gas pedal again with ' Girl From Last Night's Dream ' , a rock ballad with the tempo never dropping too far away from the energy level established right at the start of the album and re-emphasised with Side One's signing off tune , the squirming , thumping attack of ' Coming To Get You ' .
Side Two is action all the way , right from the jagged , dangerous intro to ' Fantasy ' through to the swaggering muscle of ' He's A Champion ' , with Connors brutalizing his kit once again.
' State Line ' races excitedly and concluding cut ' Burning Love ' finds Hatch striding manfully across a stark Metallic moonscape. However , there's as much inherent melody as obvious muscle here to prove that the band have clearly come of age.

M.E.A.T. MAGAZINE
JULY 1990
WRITTEN BY: DREW MASTERS
****

Andy Curran's career has been a colourful, tattooed affair - always
getting under the skin and leaving an impression. He first accomplished this
with his alma matter Coney Hatch, and now he's a capella with his own
self-titled solo project on Alert Records. It's a charismatic debut,
containing 10 kick-in-the-teeth tracks of raw rock power, Andy has finally
overcome the past, and is ready to reach for his own success and glory.

Beginning with Coney Hatch as their bassist, sometime vocalist, and
songwriting partner, Andy appeared on all three Coney albums, Coney Hatch
(82), Outa' Hand (83) and Friction (85). Playing every club in Canada
imaginable, Coney's solid rock anthems and solid live performances earned
them some enviable gigs with Judas Priest, Iron Maiden, Accept and Krokus.
Andy says, "Probably the whole experience of being in front of large
audiences every night was the best training ground that anyone could want."

Conye's sound was much lighter than that of who they were touring with, a
possible factor in their non-breaking of the metal market? "Oddly enough,"
Andy recalls, "I can only remember two gigs where it was apparent that we
weren't going over, one was in San Francisco [considering "thrash" was
emerging there at that time, it's not surprising]. The rest of the time we
did a pretty good job. We had a couple of vids on MTV so we were somewhat
known. They were a lot heavier than us, but it just didn't happen for us
cause our record was unavailable. We were on Mercury there, but I remember
going into the stores and not finding a single Coney album, and it was
because it hadn't been stocked. If we'd had the proper distribution...

"The third album came out and it was dead after only three months. We were
labeled too heavy to be played on the radio. I thought it was the most
accessible album we did. So, without anything happening, we called it quits
after the tour."

Yet a funny thing began to happen. As radio became more metallized, the old
Coney songs began receiving more radio play now than they did when they
were released, which sparked a renewed interest in the band, and they
reformed for some select club dates. Andy says that period of his career
was "Strange! I was doing two things at once. I'd be working with Coney on
the weekends and be in the studio during the week doing my own thing. All
the Coney dates were great - we were doing really well, but we couldn't
'buy' a record deal. We weren't getting offers from anybody. It wasn't
like, Coney's back together...let's do another record. It just became
substance money and kept everybody's chops tight. It also reinforced the
feeling I had to do something on my own."

But he can't help but wonder. "The general concensus," states Andy, "is
that Coney should have happened. And it's unfortunate, but you gotta move
on. I remember the last gig I did with those guys at Entex (in Mississauga)
- it was hard to realize it was over."

His solo career began originally a couple of years ago as the founder of
Soho 69. Under that moniker, Andy demoed several songs and from those demos he landed a deal with Alert Records in 1988. Andy says of his solo material that "I was writing material for Coney, so if any of the riffs bear any
resemblance that's cause I probably wrote them when I was in Coney.
Overall I think there's a bluesier edge to what I'm doing now - a lot more
street feel to this record than any of the Coney albums."

After scheduling friend and label mate Kim Mitchell for producer, he had to
back out at the last minute due to scheduling conflicts, So Andy, along
with Bill Petrie, co-produced the album. But, even though it's now labeled
a "solo" project, Andy takes pride in knowing it was a team effort. "Even
though it's called Andy Curran, there were other guys involved. I didn't
want it to sound like it wasn't a collection of different styles I could
write or play. Hopefully, it comes off sounding like the band does when
playing live."

So why drop the name Soho 69? "For a couple of reasons," Andy quibbles.
"The majority of my friends all liked the name Soho 69. And I liked it too.
I thought it was a cool name. Yet anybody related to the industry - record
company reps, agents, etc. - said they thought it was a negative, whether
it was a sexual thing or whatever. They also thought that on the strength
of Coney I should call it by my own name, then a lot more people might
recognize it. I don't know if I agree or disagree, but it's still kind of
strange to see my yap on the cover and to hear my name as the title. I
would eventually like to call the whole thing Soho 69 - I'm used to being a
team player. But I'm getting used to it. Live, we're calling the band Andy
Curran and Soho 69.

You may have seen Andy Curran by now, as he's been opening for Kim Mitchell on Kim's "Wild Party" tour, and on a smattering of solo dates happening across the country. You can also catch him on radio/video with the first single/video release from the record, "Licence To Love". Look for upcoming singles to be "Nickels And Dimes" and "No Tattoos". Overall, Andy's well on his way to success here. But will it see action in the US? "I've been pretty patient with the whole thing cause it's taken a long time. If it takes a while to get things happening in the states then that's okay too.
I'm pretty confident that I'll get an American deal. I'd be really
surprised if I didn't. I was talking to some majors before I got a real
feeling of cautiousness from them. They'd phone and say they were
interested, and they loved the tunes, but no one showed me a pen. Maybe now
that the band is together around me the music things will come together.
We're gonna have to sell this one from the stage."

For now, Andy concludes with this thought - "I think there's a void in
Canada right now for this kind of stuff, and hopefully everywhere.
And...hopefully the timing is right for this one.

FAN CLUB INTRODUCES ANDY CURRAN

FAN CLUB MAGAZINE
AUGUST 1990
WRITTEN BY: MARIA MITCHELL

They say every dog has its day. Well, Andy Curran has his dog. Her name is
Sophie, and he says she's a mixture of everything - a curly-tailed Black
lab. Four years old (that's 28 in equivalent dog years), and possessor of
one of the most electrifying barks to ever grace an answering machine,
Sophie holds an even more endearing significance to her owner. "Sophie was
right by my side when I wrote every one of these tracks on my new solo
album." said the founding former member of Coney Hatch, talking about his
first album for Alert Records entitled, oddly enough, Andy Curran.

Ten tracks of relentless, rambunctious rock'n'roll that drives with dogged
determination, Curran's (29 that's 203 in equivalent dog years) first
album since he split from Toronto best'n'brew institution Coney Hatch howls
like a hound unleashed.

Kickstarted by 'Licence To Love', the album's opening track and first
single, the album is stirred with a spoonful of T.Rex sass and Rolling Stones
sleaze. The accomplished bassist/songwriter makes no bones about his
intentions behind these ten tracks of tuneful T.N.T. "I wanted to keep it
raw and guitar-oriented," explains Curran, whose credentials as a writer
helped generate a gold album for Coney Hatch and the classic tune 'Monkey
Bars'. "Rock'n'roll should be fun, and not take itself too seriously. You
should be able to have a little chuckle too".

Co-produced by Curran with newcomer Bill Petrie, and recorded at
Mississauga's Metalworks and Oshawa's Quest Studios, his self-titled debut
employs an experienced tag-team of six string specialists. "I call them my
guitarsenal", laughs Curran, "There's Tim Boyd - who's an original Coney
Hatch even before we signed out contract - and Simon Brierly - who's played
with Lee Aaron and the Partland Brothers. Then there are a couple of
Americans - Phil Brown and Alexander Kane... Although I consciously tried
to be more bluesy, I wanted the guitars in everyone's face."

Curran also credits drummer Glenn Milchem for giving musical inspiration.
"I can't say enough about Glenn," comments Curran, "He's the lifeblood of
the album" Andy also feels pretty lucky at nabbing Alex Hass for mixing
duties at New York's Power Station, and Toronto's Phase One Studios. "Alex
is pretty hot," says Curran. "He mixed Billy Squier's last album."

From the psychedelic edge of "Moonbeam" to the good time vibe of "I Got
This Feeling", Andy Curran proves to be a composer with a gift for
addiction - both in melody and in lyrics. He tackles various beasts of
social burden like alcohol abuse during "Whiskey & The Devil", and empty,
echoing wallets in "Nickels & Dimes" - and allows pause for reflection
without the evangelical overtones. Then there's the first single "Licence
To Love". which describes the ups and downs, ins and outs of love between
two people, and draws the conclusion that sometimes love is a
bitch. "Licence To Love', is almost autobiographical. It's about a
relationship that turned sour. In fact, one of the best things I got out of
that relationship was this song."

Juno Winner ANDY CURRAN....."In His Own Words"

M.E.A.T. MAGAZINE
ISSUE #21 APRIL 1991
By: Lisa Farber

"So there I was - 8:30am - driving South down the Death Valley Parkway, on a
Sunday to boot!! Musicians on stun! All I could think of was, "God, I'd
better come up with a hot second album or I'll be doing this five days a
week!!" Anyway, I was on my way to the Royal York Hotel. No, not to meet a
girl, but to speak on a panel for Canadian Musician Magazine about the do's
and don'ts of the music biz. (At 8:00 in the morning, I can't even form
sentences). Anyway, my auto-pilot kicked in as I sat myself down in the
lobby for a java. No sooner had I taken my first sip of reality, when Head
Honcho and Editor-In-Chief of my favourite Metal/Gossip Mag M.E.A.T, Drew
Masters approached and asked, "Hey Andy, haven't seen you in a while; how
about doin' an interview? Better yet, how about letting our readers know
what life's been like for you since releasing your album...but you write
the article yourself?" My auto-pilot accepted graciously and now, a day
before Drew's deadline, I'm wrestling with what could only rival watching
paint dry on a wall - talking about myself.

I've totally passed on the idea of summarizing the last year (as Drew asked
me to do) and instead thought that if I were to answer "The 10 questions
most frequently asked Andy Curran" (a) I could sneak in some highs and lows
and my sordid past, and (b) It might make for better reading. So, my Little
Metal Monsters, here goes nothin':

1) DO YOU MISS PLAYING WITH CONEY HATCH?
Yes and no. I miss playing with those guys because it was like putting on
my oldest and most favourite pair of jeans. I could play those Coney songs
in my sleep, but all things come to an end. We are all still very good
friends, but I think there's too much water under the bridge to start it up
again, and besides, Stumpy, Mosquito and Ronnie Birke are my life now. I
ear, sleep and drink Soho 69. I love playing with them, and, to me, there
is a feeling of a hurricane waiting to happen when I'm onstage with the new
band!!! (Case closed)

2) WHAT IS KIM MITCHELL REALLY LIKE?
Well, after spending this entire summer opening for Kim and working on two
albums with him, I just might be qualified to answer this: Believe it or
not, Mitchell really digs metal. I know he loves Van Halen, and I recently
turned him on to Kings X. He tells a pretty good joke, and has a huge
baseball cap collection (who'd have guessed it?) He's very approachable; in
fact, I've never seen him turn down any autograph seekers. My favourite
story regarding Kim this summer, was a hot night in Parry Sound - Mitchell
is doing his encore and, get this:...his crew has his car running,
air-conditioning and all, at the side of the hockey rink. He hits the last
chord; lights go off; crowd goes wild; Kim walks down the ramp (sweating
like a backstreet hog) right into his car and drives off to see the wife
and kids. All this, before the house lights go on. Suave!

3) WHAT IS THE MOST MEMORABLE GIG YOU'VE EVER DONE?
That's easy. 1982, playing with Coney Hatch, opening for Judas Priest at
The Cow Palace, San Francisco, 12,000 screaming metalheads from hell!!! We
take the stage and the house lights are down. All hell is breaking loose.
M-1 firecrackers are going off all around me - so close, I can feel the
heat from every explosion. Carl and I are getting pegged off with tennis
balls and hockey pucks. The first row of kids are all giving us the finger
and holding upside down crosses and pointing them at us. They loved us!!
Seriously, we went down great, despite the lukewarm reception.

4) THE WORST GIG YOU'VE EVER DONE?
Two words - Kirkland Lake. I wouldn't wish a gig in Kirkland Lake on my
worst enemy. A very humbling experience that almost made me quit playing
music for a living, but on the flipside, you have to have the downs to
recognize the ups.

5) CAN YOU GET ME ON THE GUEST LIST?
Ask any club owner in Southern Ontario and my name is feared when "guest
list" and "Andy Curran" are mentioned in the same breath.

6) WHO IS YOUR FAVOURITE BAND?
Definitely Aerosmith and AC/DC come to mind. Steve Tyler is God, and
Malcolm Young and company are the Kings of Riffola. I think these two bands
changed my life. My music is loaded with similar sounding stuff but, then
again, I've worn out three copies of Aerosmith's "Rocks" so it's bound to
show up somewhere, right?

7) WERE "LICENSE TO LOVE" AND "LET GO" WRITTEN ABOUT THE SAME GIRL?
Yes and no. I had one girl in mind while writing both songs, but, because
songwriting has no limits, I made both girls into larger-than-life
characters. "License To Love" was written while going out with Miss X and
blown into a model from hell, and "Let Go" was written during the break-up
with Miss X and blown up into James (Andy) dean walking into the Arizona
sunset. Yeah, right. Anyway, two top-twenty songs in Canada, about the same
girl. Who's complaining? Not me.

8) WHAT NEW BANDS KICK YOUR ASS?
Easy. Kings X, my favourite new band; Beatles meet Metallica. And I like
Company of Wolves - they are sort of an Aerosmith meets Steve Earle, and
kick the crap outa poor ol' Steve. I also heard the new Pantera on KNAC
last week, it sounds pretty cool. Oh yeah, Soho 69. (That was a paid
political announcement).

9) WHAT WAS IT LIKE WINNING A JUNO AWARD?
It was definitely the highlight of my career so far. I must admit that
after playing rock'n' roll for 10 years, it felt strange being in "The Most
Promising" category as I've never really thought of myself as a vocalist
type guy (Robert Plant, Coverdale, Freddy Curci - those guys are
vocalists), but it was a total rush, even though I had rubber knees during
the acceptance speech. And for all those guys and girls watching from
their sleazy hotel rooms in Flin Flon, Manitoba, who had to play a gig that
night to three people, it's as sweet in person as it looks on T>V> so don't
quit just yet. Okay?

10) I'M THINKING OF PUTTING A BAND TOGETHER. WHAT ADVICE CAN YOU GIVE ME?
Do it and you too can write your own article in M.E.A.T. Magazine. No,
seriously, I've met so many friends playing music and it was worth every
last note of it. Chase your dream because one day you might be too old to
catch it!!!

M.E.A.T. Magazine - Canada's #1 Metal Mag!
Issue 45 - September 1993
Story by: METAL TIM HENDERSON

Whether or not it was the frustrating nature of the Canadian music biz, or internal artistic pressures, Carl Dixon's first taste of fame - the successful late - '70s/early-80's act Coney Hatch - blew apart, becoming forever a part of this country's rock archives.

Following Hatch's demise, this frontman jumped abroad to open arms, and now has a potentially lucrative record deal and career to boot at handbuilding new bridges and reinstating old ones for his solo debut, One.

Without a domestic deal or proper distribution, his debut solo affair is symbolic of Dixon's forced "one man against the world" mentality. Canadian radio warmed to it immediately, however label response has been virtually frigid.

At a brisk downtown Toronto eatery, Dixon's thoughts are disillusioning to say the least.

"I think the difference is I went to radio with the album", the curly-maned vocalist/guitarist commences, "because every label in the country rejected it. I even had a publishing deal in the States, but nobody would have a second look. I was very surprised when I brought the finished album to them, and they all still rejected it. The response was uniform - they all said it's really good, but it's not what they're singing at their label these days because it's not alternative or super heavy".

That didn't stop a German importer who eventually caught wind of Dixon's predicament, flew to Canada and inked a deal immediately.

"We released in Germany at the end of March," says Dixon, "but I decided come hell or high water, I'm coming out in Canada this summer. I didn't care if I had to do it myself - funny how things end up.

"I was beating my head against a wall," he continues "Ever since I left Coney Hatch I really hoped for more support from the Canadian record business. But you get what you deserve, which ultimately, was that I ended up with this new album, with heavy radio play, and great band (including guitarist Mike Hall (ex-Killer Dwarfs), drummer Mark Santer (ex-Santers), bassist Tim Harrington and keyboardist Howie Bertolo). I think the biggest change with me was I stopped expecting anything from the Canadian music business, and finally realized there's no good reason for me to sit on the shelf. The trick was to find a way to do it outside the conventional route".

Although Dixon's on the edge with the Canadian market, he stressed that he's not entirely full of bitter feelings. As an artist, he was forced to look elsewhere, journeying south to learn the finer aspects of songwriting. Heading to Nashville, his first break came when he hooked up with Taylor Rhodes on the track "Good Time To Be Bad".

Trips to New York, San Francisco and Los Angeles followed, as Dixon continued these trips and never looked back. At one stage, Atlantic Records actually showed some early interest in Dixon's songwriting skills, and sent him down to Los Angeles, where he hooked up with Brett Walker (penned the Alias hit "Waiting For Love"), who co-wrote four inclusions on One. Dixon embraces all his experiences into One, which is full of the riff-heavy character that made Coney Hatch so special in the hearts of Canuck AOR enthusiasts. Throughout its 65 minute and 15 tracks, Dixon's debut is the result of artistic frenzy, and an insane love for his art.

Commenting on One, Dixon says, "I put together my favorite songs I've written over the past couple of years, to establish a reputation for myself that I can rock on my own without Coney Hatch. Yet there's a certain aspect to this album that is what I feel my (old Coney) audience would want to see when they come and see me play. The signature guitar riffs were one of my contributions to the musical end of Coney Hatch. I'm good in short burst. And now my singing and playing has improved since the days of Coney Hatch.

"This new album is completely geared towards getting me back in business to the point that I'm making albums on a regular basis, building an audience for myself. If a major label ever gets involved, I don't care. If anything, I'm just looking for distribution from a major."

Following One, Dixon will be issuing an EP for the track "Run Reckless", complete with an alternative version of "Taste Of Love", and three exclusive acoustic tracks. The EP's focus is on Germany, where Dixon heads in early September. Expect the release to hit our indie racks sometime this month. After the European jaunt, he'll continue to assault Canada with scattered club dates. At the end of the day, Dixon's primary education was "realizing how bloody hard you have to work to get anywhere. Especially for a person like me who's already done one thing, so there's already a preconceived notion who I am, what I do, and what I sound like. It's a whole new ball game going solo. Now I'm the guy who wears the mistakes of the success. It's really like starting over."