Fred, NASTY SAVAGE was established in 1983, in Brandon, Florida, when you on the bass, Craig Huffman on the drums, Ben Meyer on guitars (all of you were involved in NIGHTMARE), guitarist Dave Austin (GANGSTER) and singer Ronald Galletti (CRONIC DOGS) joined forces, how did you get together?
“Ben Meyer and I were friends in high school. He told me about a guitar he acquired and that he no longer wanted to play the bass. He introduced me to bass guitar and we started jamming on some old RUSH, BLACK SABBATH, AC/DC, etc. However, the bass guitar wasn’t my first instrument, as I was classically trained on the Baritone Horn. Yeah, I could actually read music at a young age, but that was long forgotten before I got together with Ben. Ben was very serious and it inspired me to be the same. We were a very good team and great friends.”
What were your musical influences?
“BLACK SABBATH, IRON MAIDEN, ACCEPT, RUSH (early), FRANZ LISZT, ANTONIN DVORAK, FRÉDÉRIC CHOPIN, some Punk stuff, early SCORPIONS, early JUDAS PRIEST, and whether I knew it or not at the the time, THE BEATLES.”
Is it correct, that you had a female vocalist, Jeri-Lynn, when you were known as NIGHTMARE?
“Yes, Ben somehow knew Jeri-Lynn Workman, and we decided to work together. She had an operetic voice and was also well established on the piano. She was a good soul, really.”
How was the Florida Metal scene as a whole, back in those days?
“There were only a couple Metal bands in Florida that I knew at the time, and that was our friends, ARGUS, whom I saw play religiously. They were a cover band, but they greatly influenced me. Then of course there was SAVATAGE (formerly AVATAR). Honestly, I was so focused on my development, playing and my own band, that I rarely paid attention to many of the other bands.”
At which point was Craig Huffman (R.I.P.) replaced by Curtis Beeson (R.I.P.)?
“It was Craig Huffman who convinced Ben and I to try out Ron Galletti. He wanted us to be heavier and the only way at that time was to have a male singer. Ron was as serious as Ben and me. Unfortunately for Craig, Ron noticed that he wasn’t as serious as Ben and me, and after a long hard decision, we decided to go with Curtis. I can’t recall the date, some time in late 1983, I think.”
Was he the first choice, by the way, or did you audition other drummers as well? What about his musical past?
“Curtis could play ‘Fast As A Shark’ by ACCEPT, and we said, you’re in, Shark!!!”
A rehearsal tape (“Raw Mayhem”) and a demo (“Wage Of Mayhem”) were recorded in 1984, can you tell us any details regarding these materials?
“Sure, I can tell you a lot about the Demo and I’ll try to recall the “Raw Mayhem” practice tape. David Austin began writing a lot more and he collaborated with Ron to write ‘Unchained Angel’ and ‘XXX’. Ben and I cowrote ‘Savage Desire’ (Lyrics: Ron). Ron and I collaborated on ‘Witches Sabbath’. We recorded at Progressive Studios in Hyde Park, Tampa. I’ll never forget that Ron and I walked across the street to the Rainbow Mart and each devoured a Cuban Sandwich (a Tampa Food Classic). Anyway, I recorded the demo with my first bass. It was a Bitch replica (didn’t have the full sound like my 1973 Ibanez Challenger). This was a classic 8 track studio. It even had an old reverb effect made from a metal tank. That was very cool. In all honesty, I completely forgot about this “Raw Mayhem” rehearsal tape. I’m actually listening to it for the first time in 41 years. I believe this was recorded at our practice spot (Curtis Beeson’s garage) through a PA system on to a cassette tape. I was definitely playing my Ibanez at that point. All I can say is that we were obviously proud of this rehearsal. I can’t be 100% sure, but it sounds as though we were rehearsing before going into the studio to record that first classic NASTY SAVAGE LP. I can say that I wrote approximately 50% of the music on that rehearsal tape.”
Were both materials spread around to attract label’s and fans’ interest?
“This is really a Ron question and I give him full credit, because his ability to market us in such short order without the internet was fucking incredible! But yeah, our “Wage Of Mayhem” demo tape was used to promote us across underground radio stations throughout the nation. Genius!”
Did they represent what you wanted to achieve NASTY SAVAGE with?
“Absolutely!”
30/12/1984 you played a show at Ruby’s Pub, Brandon (as opening act with DEATH), do you perhaps remember this particular event?
“I never remember opening for anyone at Ruby’s Pub.” (DEATH was the opening act on that night – Frank)
You had compilation appearances: ‘Unchained Angel’ on Iron Tyrants (World Metal, 1984) and ‘XXX’ (different recording than on “Indulgence”) on Metal Massacre VI (Metal Blade Records, 1985), did they help a lot to make a name for the band?
“I would say so, yes… But you forgot one, ‘Fear Beyond The Vision’. It was the first, as I recall, to appear on a compilation.”
When did you enter the Morrisound studios to record your debut album?
“I think it was 1984 – 85.”
Were you prepared to cut the material?
“100%. I can’t remember a time when I wasn’t prepared.”
It was the first material, that had been done at Morrisound, hadn’t it?
“We were the first heavy band to record at Morrisound. They were great to work with.”
Is this something different, not something one would be able to categorize right off the bat?
“Not really, we knew what we wanted, and the Morris brothers helped us achieve it. I thoroughly enjoyed working with them.”
As soon as we hear the first two songs (‘No Sympathy’, ‘Gladiator’), it’s difficult to make up what the band plays exactly…
“Back in the day, we tuned to 432 Hz, so bands who tried to cover us had a problem to understand our key, but for us, no problem!”
Are the elements of Heavy, Power and Thrash Metal heavily present in the pieces?
“It’s present everywhere. Steve Harris was a huge influence on me, because he was the primary writer in IRON MAIDEN as was I in NASTY SAVAGE, so you could hear Steve’s influence early on. Slowly, I developed my own writing style, heard in songs like ‘Savage Desire’, ‘Fear Beyond The Vision’ and ‘Witches Sabbath’.”
Do you think, that a highly polished hybrid of Thrash and classic Heavy Metal aesthetics with one of the more charismatic vocalists on the job at the time can be listened to on the record?
“I think Ron fit perfectly in NASTY SAVAGE and no one could have done what he did.”
Do you agree with, that the music is colorful and energetic enough to stay interesting without the need for speed here?
“Yes, but at the time, we weren’t the only ones mixing things up. Ben and I were both into music theory. Ben liked Hungarian Minor, chromatics and straight pentatonics. I was more into Harmornic Minor and fusing it with Diminished progressions. They made our music energetically colorful.”
Would you say, what made NASTY SAVAGE unique from other like bands is how you orchestrated your music?
“I would say our tuning. We tuned to 432Hz, not 440 or drop D. That gave us a unique sound. We were also unafraid to be experimental. David Austin was very cool in that way.”
There are hard edged Heavy / Thrash Metal riffs, blistering solos and a heavy pounding rhythm section, all practically a class of its own…
“Curtis and I had a serious and unique connection. We always somehow knew each other on a very deep musical level. Even when were listening to other genres, we could point out cool details. I can’t speak for the blistering solos, but I’m grateful for those who dig our stuff – really, thank you!”
Perfect from the beginning to the end, not a filler song in sight here, pure delight to hear, do you mind, that the complex yet very fluid arrangements make this record a pure musical diamond?
“Thank you! Of course the first album is my favorite (call me a narcissist), but we were new musicians. When I listen to this first LP, I am still shocked at how good it was, but had I not gotten injured and continued playing with NASTY SAVAGE, I honestly feel as though we would have stayed together and advanced as musicians to a much higher level.”
Is the sound production raw, organic and pretty well sounding for the time? One can hear every detail and instrument in the mix…
“This is the greatness of Morrisound Studios!”
Were you aware of, that it was released on the same day as S.O.D.’s “Speak English Or Die”?
“No, I wasn’t aware, but I remember receiving that album as a gift. I still have it.”
In support of the album, you participated at the legendary WW III festival, at the Paladium Theater, Montreal, QC, Canada, together with VOIVOD, POSSESSED, CELTIC FROST and DESTRUCTION, what kind of memories do you have considering this gig?
“Well, it was a great festival, but I had to play a Gibson Explorer bass because someone popped my pickup just before the show at CBGB’s (You know who you are – you Punk!) There were 2000+ fans. I befriended the guys from DESTRUCTION, and I can guarantee you that they still consider me a friend as well.”
You had to leave NASTY SAVAGE because of a hand injury, what happened exactly?
“We were on our last three shows of a long 1985. On our way home, I convinced the guys to stop off at New Orleans, because after hearing so much Metal, a little Jazz would have been nice. Unfortunately, I went into a public restroom where the only way in or out was through a fancy hotel (The Royal Senesta Hotel – rot in hell you piece of shit!). Anyway, I was skinny, with a tight black t-shirt, tight Levi jeans and had long hair. They didn’t like that, and as I was exiting the hotel lobby through the front door, the pathetic muscle head doorman, put me in a choke hold and spun me around in to the glass plate windows. Almost Bled to Death – End of Story!”
Unfortunately both Craig Huffman, Curtis Beeson, Chris Moorhouse and Richard Bateman passed away during the years, how do you want them to be remembered?
“They were all part of the family. I want them remembered as such.”
Fred, thanks a lot for the interview, what are your closing words?
“You’re welcome, brother! Closing words… Hmmm, okay. This basis of this genre started in the early 1980s and I was fortunate enough to be a part of it. We have seen it fork into many sub-genres. I don’t have a problem with any of them. Any way one looks at it, it’s art. I appreciate the art, the creativity and I hope to be around to witness / hear whatever it morphs into, even if it morphs back into itself ; ) Please check out the new long awaited NASTY SAVAGE LP, “Jeopardy Room”.”
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Intro: Frank Stöver
Interview: Dávid László