It is August and my wife Les and I are enjoying being home again,
for a short while.  The US Tour was arduous (not that I can complain too
much, that would be churlish) but very satisfying in a number of ways, not
the least of which was the backstage atmosphere between the bands.

         A week or so into the tour, in Atlanta, Ronnie Dio looked around
one night and noticed the ubiquitous crew Ouniform¹ of black T-shirts set
off by black jeans, and decided that some colour was needed. The result was
³Hawaiian Night² – an informal celebration backstage during and after the
show, at which many of the bands and crew wore the appropriate shirts or, if
they hadn¹t had time to shop, whatever they could find (we managed to find
Hawaiian shirts at a truck stop, in between the tacky hood ornaments and
country and western cassettes).  Ian Gillan wore pineapples and a ballet
dancer¹s tutu (unless you see the picture you can¹t possibly imagine it!).
This in turn led The Scorpions to have a ³German Night² in Milwaukee, where
else?  An Oktoberfest-style beer tent was set up complete with beer,
sausages, and brass band music.   Our hosts looked resplendent in their
lederhosen and feathered hats.  Don Airey made a wonderful impression on our
hosts (and everyone else) but taste dictates that I can¹t tell you how.

         In Concord, California, our contribution to what had now become a
tradition was ³Mexican Night² at our backstage version of Rosa¹s Cantina –
margaritas, spicy food, big hats, ponchos, and most importantly a Mariachi
band, giving the proceedings the requisite atmosphere for a grand party, in
some ways celebrating the end of a unique tour.   I am setting up my own web
site and maybe I will put these and other photographs up for view.

         These nights, together with the surprise party that Wendy threw for
Ronnie¹s birthday, gave the entire tour a very welcome respite from the
routine that can sometimes befall tours.  Three bands, pumping out their
best on stage and reaffirming old friendships backstage.   Forty one dates,
all accomplished.  One of the best tours of the summer.  And our old friend
Joe Satriani came and jammed with us in Reno, what a bonus!

         My personal favourite memory is of the line of enormous red trucks
parked outside, engines throbbing, awaiting their loads, the drivers
contemplating what drivers can only know before trundling out in the night
for the next gig.  Industrial strength rock!  A magic sight.

         By now you may be aware that Snapshot is due to be released
September 2, 2002 on Eagle Rock Records (there will probably be different
labels in different countries).  You may even have a copy, since it appeared
on Ebay within days of promotion copies being circulated through the
offices. I¹d like to see it myself! (Incidentally, the first name that I had
for the band was The BaseCamp Insiders, which was shortened to The Insiders
before I changed it to The Guilty Party, and this why the early copies have
the name The Insiders on the the back.

         It is called Snapshot because it was done very quickly, despite the
several years I have been working in it.  Most of the musicians on it had no
idea what kind of music they were being asked to play and all rose to the
occasion magnificently, most of the performances were done in one take, some
lovely moments in the studio for which I¹m truly grateful.   I am a lucky
man.

         I¹m also very grateful to those who in some way or another have
given me the encouragement to make the album, you all know who you are.

         My father took the cover photograph in Wales when I was four years
old.  In those days some pyjamas were available with a flap at the back,
facilitating ease of bathroom duties.  I, so I¹m told, had a fascination for
tractors and when one came down the road one day, I apparently leapt up and
ran to see it pass.  My father, realising that it may one day be an album
cover, took a snapshot of the moment.

         You may also aware of the general facts surrounding the recording
but here they are again, straight from the cover notes:

Snapshot
–

Roger Glover and the Guilty Party featuring Randall Bramblett

Produced by Roger Glover and Peter Denenberg
Engineered by Peter Denenberg
Mixed by Peter Denenberg and Roger Glover at Acme Studios, Mamaroneck, New York
Second engineer/programming: Michael Messier, Rory Young
Assistant engineer: Jim Albert
Mastered by Ted Jensen at Sterling Sound, New York
Manager: Bruce Payne, Thames Talent Ltd.
Financial management: Barbara Fucigna
Travel management: Diane Murphy
Art direction and design: Roger Glover
Layout: Stuart Green
1950 photograph of RG: Norman Glover

The Guilty Party:
Randall Bramblett lead vocals, hammond organ, keyboards, saxophone
Roger Glover bass
Joe Bonadio drums, percussion
Eran Tabib guitar
Nick Moroch guitar
Larry Saltzman guitar
Warren Haynes slide guitar, steel guitar
Gerry Leonard atmospheric guitar
Joe Mennonna horns, horn arrangement
Gillian Glover vocals
Mickey Lee Soule piano
Vaneese Thomas vocals
Deena Miller vocals

Anyway, I have to go and pack my bags again soon.  I look forward to the
coming tours, especially to playing with my old friend Jon again.

Thank you for all your interest and support.   It was wonderful to see so
many of  you that I have come to know over the years.

Keep cool and good luck,

– Roger Glover, August 2002