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Radioactive - 2001 The Ceremony Of Innocence Interview with Tommy Denander

'INTERVIEW: Radioactive/Tommy Denander (Oct 2001)

We discuss the latest from Tommy: 'Ceremony Of Innocence'.

In The Spotlight - Radioactive
Interview with - Tommy Denander
Written by: Gdazegod (October, 2001)

Tommy Denander is a very busy man. And a multi-talented one at that too. Of late, Tommy has been involved with Swedish acts such as Talk Of The Town, Sayit, as well as two bands close to his heart.. Prisoner and Rainmaker. However, in between times, Tommy and MTM Music have finally seen fit to release a series of tracks released ten years ago, initially under the guise of his debut solo album on the Sony label. However, the petals fell off the rose, and things didn't quite eventuate. Kept under wraps for a long period of time, the year 2001 sees the unveiling of those tracks under the banner 'Radioactive'. Basically Tommy and every decent melodic rock muso you can throw a stick at in tinseltown Los Angeles participates on this one.. The album 'Ceremony Of Innocence' is out now, and Editor Gdazegod gets a few appreciative words from Tommy about it.

Tommy!! Welcome mate. Thanks for giving us some time to talk about a few things..
Totally my pleasure, I love your site and I'm grateful for your support.

From what I have seen, my own thoughts and opinions about the Radioactive album as reflected in our review, seem to be amplified everywhere else. It must be great to get that consensus of opinion from your peers?
It's been a little too unreal to be honest! I was a bit naive in the last years of making this album because my only focus was to actually just finish it and somewhere along that line I forgot that this album would most likely do big things for me all over the world, so I wasn't really mentally prepared for the bomb that hit:-)... but I couldnt be happier and I can't thank people enough for all the love and wonderful feedback I'm getting.

Just how much of a labor of love has this Radioactive project been for you?
100%!!!... It had nothing to do with trends or 'stardom' or any lame crap like that. I just had the great fortune to be placed in a situation that I knew I could make something great out of... luck has a part in anything good that happens in life otherwise it wouldn't happen of course but even though I was only 23 when I started this I knew I could make my dreams come true once the simple question was asked to Toto 'will you play on my album if I get a deal?' From day one all I wanted was to make the kind of album I loved hearing these people do, so it was a pure labor of love.

Surely though it wasn't a case of purely listening to the L.A scene and being influenced by it? What about your own personal musical upbringing locally in Sweden before moving to California?
Very true, I listened to all kinds of music since I was very young like Kiss, Steely Dan, Van Halen, Judas Priest, Santana, Whitesnake, Accept, ABBA, Clash...disco, jazz, punk, pop, fusion, hard rock all of it and I found a lot that I liked in all these styles. This was one of the reasons I wanted to be a session player because I liked and could play most styles fairly easy and at a young age. I had great help from my uncle Henry as a kid because he brought all these wonderful LP's to me everytime he came for a visit, Miles Davies, Steely Dan, Larsen/Feiten etc so he opened my eyes and ears to some very good music plus he introduced me to Santana and that made a big change in my style because I was mostly into Ace Frehley and Kiss at the time. My mom played piano and guitar and my uncle also played guitar so I learned some chords from them but the rest I picked up myself. I was scared of getting a music teacher because even though I was very young I had this feeling that I had so much music in me that I should discover myself and if I get a teacher he or she might lead me in the wrong way and I'll lose that... I'm very happy that I never got a teacher:-)

Radioactive - Ceremony Of Innocence (2001, MTM Music)

As a professional musician at such a young age, what sort of gigs were you involved with back then?
I played in some bands and on a few minor tours with swedish artists but more than anything I wanted to become a session player and when I was 12 I started playing on friends shitty demos, and when I was 14 my band ATC got signed to Polygram and quickly my reputation as 'the kid who can play like Eddie Van Halen' spread, and I got some calls to do 'flashy' solos on pop records and before I knew it I had become a session player! But I've done pretty much all kinds of gigs you can imagine from weddings, funerals, biker parties, 'Vegas' style shows, rap tours and so was a great time I can tell you.

The move to the States must have been an eye opener. How long did it take for you to settle into the groove and find your feet musically?
The best years of my life except now! I moved there for several of reasons, first because I was tired of a lot of things in Sweden and had to get away for a while, second because I always wanted to live in USA, third because I met this great musician who invited me to move with him and start a band in LA... my goal was mainly to watch and learn once I got there. I had been a pro player for 4-5 years in Sweden so I had a pretty good idea of what I could do but I was eager to learn and there's no finer place in the world to meet and see the best musicians alive on the planet. I felt at home right away, I remember on the second day there saying to myself 'I'm finally where I belong'...and it was true.

You must wonder some times where you get the balls to enable you to call on the right contacts, open the right doors etc. How did you do it for one so relatively young back then?
I never question my balls:-)))...kidding! But I often think about how many superstars I've had the enormous privilege to meet and work with... I guess I've always been fearless about walking up to people like this because I knew in my heart that I'm a nice easy going guy who handles the languange well enough and do know how to play if it comes to that. I was 16 when I spent a whole week with Van Halen in Stockholm and even at that young age I impressed some top players so I figured that I must at least have talent and from that my confidence grew over the years so when the time to ask Toto and the rest of the guests on Radioactive came I never doubted my ability to make it happen... so my balls were under control but I'm still stunned I made it happen:-)))

In hindsight, the Sony label came onboard, and by the sounds of things, it was a case of 'too good to be true'?
The Sony thing was too easy in a way because when I met Toto and asked them to play, the same day I met this nice A&R guy from Sony (the only nice one from that label!!!) and told him about the situation and of course he got interested. A few days later i'm in their office with a deal almost ready.. before I even had played any music or told them what I wanted to do and that made me wonder. They were so happy about just sending a fellow swede to USA to record with Toto that they forgot all about business and even common sense but hey I got my deal and money so I wasn't complaining...until I got home and the party had died down to say the least! The nice A&R guy wasn't in charge of my deal and the knucklehead that was is widely known here in Sweden as a 'how not to do your job on a label' example! But fate apparently had this plan for me because if the nice A&R guy would've taken care of it, this album would've been released in 1992 without 90% of the guests and it'd be forgotten about now!!!

Initially, this was going to be your solo album. Was it promoted at the time as 'Swedish whiz kid backed by Toto' or something similar?
There where several big articles in the top papers in Sweden and elsewhere around the world, and here in Sweden it was a case of young whiz kid etc and I didn't mind of course:-) Only hard part was when I parted ways with Sony and all the people who called for the next 2-3 years asking when the album was coming out, that was a tough period since I didn't know exactly what to do at the time with the album.

There is a heavy influence and input from the Toto guys, not only current members, but from the older incarnations too. Not too many people can be the catalyst to bring them all together. How hard was that, notwithstanding egos and reputations etc?
Toto has always been one of my absolutely fave bands as people should know by now.-), so their influence on this album is of course big. My only fear when I asked the guys to play on it was that they had this rule to not be more than two maybe three guys at the same time on other people's records because they used to get hired as backing band for artists all the time in the early days because of that magic sound only they had but they all agreed right away so...lucky me i thought:-) After the tragic death of Jeff in 1992 the album became even more unique for the obvious but sad reasons but it also made it more special for the people I asked to wanna be a part of it because we loved Jeff so much. It was a BIG dream for me to try and get all Toto members except JM Byron who I never really thought of as a 'true' member but I did talk to Simon at one time and Luke was scheduled to play on it in 1991 but we couldn't make it then. But to put it in to perspective, there's a new Toto compilation coming out in Sweden first week of October called 'Hold The Line/Very Best' and in the booklet there's a short story of the Toto history and they mention me and my album and the fact that I got 8 of the members to guest on Radioactive... so it is quite a special achivement I guess.

About the makeup of the album, how do you assemble a group of guys like this together over a short space of time to create such melodic mayhem? I mean, whats the secret?
I have nude pictures of all of them in situations they never wanna talk about:-))).. just kidding! Well after I had 'Toto' as my backing band anytime I asked someone to play or sing on it they understood that the simple fact that Toto plays on it must mean it's at least not a bad album! But it was no easy task in any way and remember it took ten years!!! plus it costs a lot of money to make albums like these. I guess there's no real secret to to it... I am a lucky guy who worked VERY hard for many years to become good at what I do and I've always had this belief that 'dreams are just good ideas to make real'... anything we want really bad we can get.. almost anything of course because you still have to wager reality in it:-). It looks like 'magic' these days to see an album like this but don't forget that 95% of those on my album are session players.. that can be hired by simply calling them, they cost a lot of money but it's as easy as that for the most part. My luck was that I had the fortune of getting Toto first.. an obvious door opener in many cases.

During that session time during 1991, did you have a particular theme or pattern in which to flesh these songs out? Or were the songs mainly pre-meditated or arranged beforehand?
I had total control of my goals and all songs were written out on note paper and placed in the right order in a folder for each guy plus I had a DAT tape with all the songs as a demo in the same order so we just listened to the demo while they checked the sheet papers and made little reminders for themselves and bam, in one or two takes we nailed the songs. I thought this would be a very easy way to get a lot done in the time we had (two days for drums and bass and one day for keyboards) and it was, Jeff and Mike were really impressed with how I produced the sessions and it was without a doubt the most amazing days in my life. There's a DVD that I'm working on called 'The making of Radioactive' that will show a lot from these sessions plus so much more!!!

With the many and varied singers turning up to sing, were the songs designed with them in mind, or did they have to adjust?
The singers came in very late, only in the last two years. I had few expectations of getting all these singers involved because they're not so easy to just book as session guys for lead vocals! I tried to give them two or three songs to pick a favourite from for as long as there were tracks left, this made it easier because they all found one or two tracks that they wanted to sing. I also had the greatest security because Geir Ronning is one of my best friends and one of the best singers in the world so I knew that whatever tracks I can't get a 'top name' for I can always have him do it and it's gonna be perfect so that was a luxury for sure. But most of the vocals by the guys in USA were done by themselves over there, we just sent tapes back and forth. Fergie did 'On My Own' here in my studio and Geir and Kristoffer did their parts here as well.

'From day one all I wanted was to make the kind of album I
loved hearing these people do, so it was a pure labor of love'

I must admit that songs like 'Grace' and 'Haunt Me Tonight' are killer, though they are effectively ballads. I understand they're some of your faves too?
Very true I love them both. Bruce Gaitsch is a dear friend and he was here visiting a couple of years ago, we had just done a guitar duet CD called 'Denander-Gaitsch Counterparts' and he spent a week in Sweden. I told him how much I loved 'Haunt Me Tonight' and that I wanted to make a cover for my album and he loved the idea so much that when he came home to Nashville he made me copies of the original tapes and sent me those!!! I just replaced Richard Marx's vocals with some fantastic ones by Geir and added my electric guitars and the song was done! 'Grace' is one of my best songs I've ever written I think. I had kept this one away from all people I work with because I wanted to save it for something special and I never thought of it as a Radioactive song because it was too much pop but I couldn't let go of how much I loved the track. Ricky Delin wrote some absolutely wonderful lyrics to it and Kristoffer sings it in a way that only few can I think.

Tell us about the sonic madness of 'Liquid'. This song is so cool!! Reminds me of Jordan Rudess from his Speedway Boulevard days. Who was doing those amazing keyboard runs? Was that Greg (Phillinganes) or Vince (Dicola)?
This was meant to be a vocal song for 9 years!!!... but I just couldn't find the right melody to it. In the last year of making the album I got in touch with several of my favourite musicians like Dean Parks, Greg Phillinganes, Vince DiCola, Abe Laboriel, Neil Stubenhaus plus I knew sax player Dave Boruff from earlier, and I wanted to have them all guest but wasn't sure where to fit them all in! In the fall of 2000 it was time to get them on tape because Ricky Delin was going to LA and Nashville to work on his album with many of these people as well, so I came up with this idea to make this song into an instrumental. I wasn't sure if it would fit the album at all and Mario at MTM even asked me if it had to be on the album but I am a musican at heart and it is sonic madness as you say :-) but I like it. It's Greg doing all lead fills during the song and Vince making this enormous masterpiece in the end. The song features Mike Porcaro, Abe Laboriel and Neil Stubenhaus on bass!!! Gotta have some fun in life!

Fee Waybill's input on 'A Case Of Right Or Wrong' is superb. Did you hear any of his earlier stuff, like on his 1984 album 'Read My Lips' with Luke and Landau playing all over that one?
I was a HUGE Tubes fan and Fee's first solo album ranks as one of my all time top 5 albums. In 1996 I was asked by Bruce Gaitsch if I'd like to do a solo on one song on this album he was producing with Richard Marx for Fee Waybill?!!!!! I totally freaked out...he said 'It's me and Lukather on guitars but we need a flashy solo!' I played on the song 'Dying Of Delight' on that album called 'Don't Be Scared By These Hands' a totally unreal situation. Fee and the guys were really pleased with my work so last year I called Fee and asked him to return the favor by singing something on my album and he ended up co-writing the singing his ass off on it. And don't miss Mats Olausson's (Yngwie M) keyboard solo on it...that should put the fear in any kid with a ego:-)))

I won't get you to go into too much detail on this one as I know it's fairly sensitive, but you must have been pissed off severely for not being able to release this album on Sony in 1991/92?
Mostly sad at first because the album had been written about and talked about so much and now it was looking like this huge failure from me so it was hard. But I was at the same time very relieved because they told me 'ok we will release the album but with absolutely no promotion etc, you're on your own with that'.. and I told them - I haven't spent my whole life waiting for a dream like this to happen so you guys can ruin it, and that combined with ugly acts from us both made it so clear that we shouldn't do this. Trust me, I couldn't be more happy it went this way when I sit here today!

Thinking about it though, 1991 was a slow year, 'Kingdom Of Desire' didn't create too much waves for instance, despite being a strong album. What do you think would've happened with Radioactive if it had been released then?
In the shape and form the album would've been in it would have disappeared quickly I think. It would've been a decent rock album with the cool 'hip' factor that Toto backed me but the music trend was way off at the time...again I'm so happy the way it all turned out.

When the Sony deal soured, you bought back the rights to the songs, and have kept them in the can for a good while now. Did you have to do much to them re: mixing etc, ten years after the event?
The only downside to this album taking so long is that the quality of the tapes weren't 100% anymore, still good but not as good. I also had to do two transfers because the original recordings were done on two' 24 track reels and then around 98% transfered to digital ADAT machines and in the end digitally transfered to my Pro Tools. Also most of the guest spots were recorded on other formats in various quality so when I finally had it all in the Pro Tools I was a bit scared if it was gonna be possible to make it sound good at all. I asked some top names in the world to mix it but they were either too expensive or don't touch anything that isn't gonna be huge so I ended up mixing it with my studio partner Thomas Ulvebring. And considering the quality on the tracks we made it sound very good but it was scary at times. I might get someone else to do a completely new mix someday in a big studio and add some bonus stuff to it but that's years ahead if it happens!

So does that mean that all of the songs from those L.A sessions are now out in CD format?
Yes all ten tracks I did with Toto are on CD, there's an instrumental tune that I wrote with Jeff and Mike Porcaro called '5492' (in honor of Jeff 1954-92) that's on my first solo CD 'Less Is More'. It's a 10 minute fusion blues workout with some really cool playing by Jeff, Mike and David Paich.

I personally think you've chosen a great time to release it now. Especially with an open media environment and the Internet of course. What are your opinions of the new breed of media?
Thanks I think so too, this might be the perfect time for many years to come so I guess I was lucky in that as well. I'm a big fan of many new groups and the thing I like most is that it's back to people playing again, not just producers doing plastic productions with a lame singer in front even though we see a lot of that still. There's a whole new generation of great musicians coming and I was scared and sad for a long time because I felt that most young players didn't care about working hard to be good at your instrument and so on... but I was wrong and I see so much new talent all over. Plus like I said earlier, I'm a fan of all kinds of music so I'm open to most that comes along...except shitty no brain acts like Venga Boys, Alice DJ and blipp blopp techno crap like them!

The album title 'Ceremony Of Innocence'. Tell us about that. Is it symbolic of anything? And is it a more recent name given to the project or one decided years ago?
It's very symbolic and has been with me since just before I started this project and it's one of the reasons I ended up doing it. Me and my girlfriend at the time got VERY badly treated for a year by the people I really thought were my best got so far that my girlfriend tried to kill herself! What they did were things I'll never forget them for, and this album became my 'ceremony of innocence' because they were wrong and in a way it's a musical revenge. Listen to the lyrics of the song and you'll hear it.

Tommy, in recliner mode with faithful Jackson axe!

We know of your work with other Swedish bands, but for the sake of this interview, I'll sidestep those in order to focus on Radioactive. Do you have any plans to work on a Radioactive Part II, especially with Geir, Bobby, and Fergie?
I will most likely never do another Radioactive but I will definitely work with most of the people again. Fergie has asked me to work wih him on stuff and I'm all his any day any time because he's such a great guy, Geir I work with all the time and we have several projects lined up for next year. Geir is just the greatest human you could ever meet and I love him more than most people I've know or met in my whole life. And Bobby... I don't have enough space here or letters in the alphabet to describe what a great guy he is! I've known him for five or six years and we've shared so many great moments and also some very sad ones with people passing away and so on. Together with Geir he's the most amazing singer I know and he's so talented and gifted I wanna hit him hard at times.-)))...kidding of course! I have some real plans for what I wanna do next and all I will say is that those who are fans of westcoast/AOR and my fans will not be disapointed!

Being a hack guitar player myself, I've always wanted to ask you this.. how do your rate some of your guitar playing peers listed below? and from a 'tech-head' persepctive, what makes them stand out from a technical viewpoint in your opinion?

Steve Lukather - Who is he?...kidding! I wouldn't be half the player I am if it weren't for Luke. He set the standard so high for the rest of us to follow that he was alone up there for at least ten years. But in the last few years something has been lost and I get no feeling at all from the way he plays, plus his sound that used to be so sweet and singing is now horrible... it breaks my heart because to me there hasn't been a better player.

Michael Thompson - A guy who is so creative that it freaks me out! An absolutely perfect guitarist who unfortunately so often gets mixed down because of the kind of albums he mostly play on. Any guitarist should get his solo album 'The world according to MT'. He's also one of the nicest guys I've know so there's not enough good I can say about him.

Tim Pierce - Very innovative player and I first found out about him because I was a Rick Springfield fan. The way he plays on the 'Living in OZ' album is stunning and way ahead of his time. He, Thompson and Landau rule the session scene these days.

Bruce Gaitsch - Bubba!...a dear friend and very talented allround player. Best at acoustic stuff and jazzier things but plays rock with lots of feeling...he always says to me 'stop making me look so old':-)))...I love that he..he!

Mike Landau - If God has a guitar player it's Mike! He is one of the very few where I would honestly use the word genius. I've seen him live about 30 times at the Baked Potato in Hollywood and everytime he's made me wanna quit and do something else with my life:-) He's the guy that pushes the limit further and further away for all of us. He and Eddie Van Halen are together with Hendrix the people who deserves to be called geniuses more than anyone I think.

Dann Huff - I've always been a big fan of him and there's a lot of him in my style but more by accident than choice actually. The Giant albums rank up there on my top five list as well and he keeps proving time after time what an incredible player he is and now even a killer producer.

Actually there's one guy I heard who I thought was fairly awesome, and that was Lincoln Brewster, who played on Steve Perry's 'For The Love Of Strange Medicine' album. He seems to have fallen into a black hole. Have you heard his playing, and if so, what do you think?
I have that CD and I remember talking to Mike Porcaro during the time he was working on that album and he mentioned this guy. He is a very good player but sounded a little too much like Neal Schon on that album, I wasn't sure if it was Perry who asked him to to play like Schon or if he like me with Lukather, was simply influenced by him. Nevertheless a great player that I'm sure will become a big name soon, hopefully he'll become a member of some great band that will hit.

Did you ever use any of those high-tech Bradshaw racks in your guitar rig? I know Landau and Luke did at one stage..
Oh absolutely, I've had four or five of them in various sizes, just look at my website under pictures-equipment. It was a lot of fun and they sounded great but it got to a point where it felt stupid to pay all this money for so many effects and not use them all the time and too much:-) I finally realized that a smaller rig would suit me better and it does, but I'm happy I got to play with the 'NASA racks' as we called them:-)

Bradshaw rack meets Soldano amps
Bradshaw rack meets Rivera amps

So, what gear are you playing through at the moment and what improvements do they bring to your playing style?
I'm very happy with what I use now -

AMPS - Butcher: 'Tommy Denander' Preamp, that I desgined with a great friend of mine (Mikael Strom) and this has been my main sound since 94 on most albums. We're close to releasing it on the market and people like Michael Thompson, Bruce Gaitsch, Lions Share and Sayit are on the list to get one. The Marshall JMP1, LINE6 POD Pro, Rocktron Chameleon and a Tech21 combo are my other amps right now.

GUITARS - ARES: 'Tommy Denander' model with 1 humbacker and 2 single coils plus Floyd Rose, close to a Valley Arts in look and feeling, will also be on the market soon. ARES custom tele, ZION, Gote custom, Danelectro Baritone, Yamaha acoustic are my other main guitars right now.

EFFECTS - Rocktron Intellifex, TC Electronics GMajor, LINE6 pedals, MXR pedals, Ernie Ball volume pedal, Crybaby wah wah plus various little strange things lying around:-) I make each sound for every new take I do on songs these days instead of having a set of pre-programmed sounds, it makes it more special for each song.

Tell us about how an artist like you positions yourself between three key markets: USA, Japan, and UK/Europe. What distinctions if any, do you need to make to accomodate each? (apart from the obvious bone of contention.. Jap bonus tracks)
These days Japan is a small market for AOR and USA is even smaller!, so I mainly focus on Europe. Like you said, for any deal in Japan there's always the bonus tracks and I like that because it makes the release more special (I'm a collector) and for USA there's not much to do except trying to get interviewed by magazines and websites so the big bulk of work is here in Europe. I mostly see my position these days as a 'behind others' kind of thing because I'd rather spend most of my time writing and playing for other people even though I do enjoy making my own albums. If and when the trends change I will change with them if I can but it's such a small market these days that I'm just happy to make a living doing music.

How do you find managing time to juggle your musical activities along with your other business activities (studio manager, website etc)?
I have no girlfriend:-))) It takes 12 hours a day 6-7 days a week all year every year... but I don't complain because I do what I love for a living and few can say that! But it is very hard work and my health has taken a beating for sure.

Sweden has always been a hotbed of melodic talent. In your opinion, what artists have you heard out of your fair land that melodic rock fans should be aware of in future? We quite like Broke[N]Blue and Alyson Avenue as more recent examples for instance..
It's strange that a country that produces so much good music and talented musicians has such a poor music scene! Gothenburg and Malmo are pretty much the only two cities where it's fun with lots of live gigs all the time but Stockholm is dead!!! My favourite's from Sweden are Lions Share, Peter Friestedt and a new unsigned band Mister Kite. My problem is that I rarely listen to AOR at all these days, mainly because I work so much with it and I need to hear other stuff to get inspired. Good thing is that I see many new bands like Broke(N)Blue, Alyson Ave, T-Bell (even though they broke up I think?), Sahara etc coming out with strong albums and there's gonna be more for sure. Bands like Europe and Treat did a lot for the swedish scene in the 80's and early 90's.

I asked Danny Chauncey this question a while back, so I'll ask the same of you this time around, as it gives one a good insight as to your own personal listening space. What are your favourite 5 albums of all time and why? (PS: you are not allowed to select 5 Toto albums (ha ha!!))
Ha ha OK...but in no specific order -

Kiss - Destroyer: I had just discovered Kiss with the great Alive album when Destroyer came out and it was all of a sudden so clear that I wanted to become a musician/rockstar... and I was 8! It's still a true classic that holds up well today.

Van Halen - first: I was ten years old when I heard this and the first Toto album in the same day... it scared me so much that I quit playing guitar for three weeks thinking that tennis is not such a bad choice after all:-))) Eddie wrote the book that at the same time told us all we need to know about playing guitar in plain text but like the genius he is he wrote it in a language we all understand but only he speaks!

Toto - 4 + Isolation: I can't decide which one is better than the other so... '4' won them all the Grammys for a very simple's that good! 'Isolation' is not as complex but still ranks as a masterpiece among all AOR albums.

Fee Waybill - Read My Lips: Killer AOR album with strong westcoast influences as well and this fits my taste perfectly. Luke and Landau are both so incredible on this but mainly for their rhythm work and sounds, the cast of stars is perfect and I wish David Foster would've done more albums like this.

Giant - Time To Burn: Even though I'm not crazy about all tracks it's the best production of any AOR album I've heard and Dann Huff plays so good.

There's so many other albums by Toto, Foster, Champlin, Steely Dan etc that can be on it as well...

Would you like to leave a parting comment to our readers regarding 'Ceremony Of Innocence'?
Please look at this album as a trip back in time to the years most of us cheerish with such joy because music was for the most part better then. See Radioactive as the result of a young man growing with the task of fullfilling a dream that was too big to dream! Hope you enjoy it for what it is.

Cheers Tommy, and a big thanks for your time and efforts in helping put this together. George and the GLORY-DAZE team.
Right back to you.. big thanks for a great interview. Tommy Get on over to for more reading..

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