Mike Peters is currently in the studio demoing tracks for his new album.
Mike Peters performed a series of new songs at The Gathering 5. Excited fans were introduced to powerful new tracks that included 'Ground Zero', 'Rise', 'White Noise (2)' and 'High On The Hill'.

Mike Peters is due to fly to Germany at the end of January to begin a 17-date European Tour. For full details click HERE

Look out for Reviews of the Gathering 5.... Coming Soon!

On Friday December 13th, Mike Peters appeared for a special acoustic performance at the Forum, Kentish Town, London. as special guest to The Coors.
On Tuesday December 17th Mike Peters performed a very special sell-out electric concert - the MPO Christmas Party at the 100 Club, Oxford St., London.

Mike Peters and the band have just returned from Paris where they performed a special launch concert for the French record company.

Mike flew back especially to Llangollen, North Wales for the Daily Post's charity concert, A Night of a Thousand Welsh Voices. The Daily Post report reads as follows:...

" Mike Peters brought a touch of magic to last night's 'A Thousand Christmas Voices' when he sang a John Lennon song with a Welsh Male Voice Choir.
His rendition of 'Happy Christmas - War is Over' was one of the highlights of a never-to -be-forgotten evening. Peters also performed two songs from his new 'Feel Free' album, 'My Calling' and 'Breathe'. Rhyl-born Mike, flew back to the UK from Paris to take part in the sell-out event. He revealed that as soon as he heard about the concert he was determined to take part. He was motivated in part by his own successful battle against cancer last year. And he said it was a dream come true to play at the Pavilion in the footsteps of such greats as Bryn Terfel and Luciano Pavarotti."

21st Century Issue 9 is now in production in preparation for The Gathering 5. All articles, adverts etc. should be posted A.S.A.P. in order to be considered for inclusion.

'The Abbey Road Sessions - a host of Mike Peters' songs never before released on CD - 'Can't Get Thru', 'Unstoppable', 'Refugees' ... and many more...on sale...at The Gathering 5... See you there.

'My Calling', the new single, is being re-mixed as we speak ready for release sometime in the early part of 1997.

Dates to whet your appetite for 1997 so far read as follows:


January 10th THE GATHERING 5 N. Wales Conference Theatre, Llandudno, N. Wales
January 11th THE GATHERING 5 N. Wales Conference Theatre, Llandudno, N. Wales

*** STOP PRESS ***
Mike Peters will be playing at the 100 Club, 100 Oxford Street, London W1 on the 17th December 1996. The telephone number for the club is (0171) 636 0933.

Book your tickets early - this promises to be a sell-out!


Mike Peters, in conjunction with his U.K. tour will be appearing on the following regional Radio Stations within the next couple of days. Details of the formats of the shows, as indeed are the precise appearance times are a little sketchy. Further information concerning additional radio broadcast's will be posted to this site as and when confirmation is received.

In the meantime, stay tuned to the following stations, and Feel Free to phone these stations and request 'Shine On';



Mike Peters' will appear as Special Guest at the opening of the new HMV store in Cardiff on 9th September. Call the MPO on (01745) 888911 for details.

Mike Peters spent early September in the U.S.A. where he attended the MTV Video Music Awards in New York. In conjunction with this, Mike took part in the MTV Radio Forum broadcast at the Radio City Music Hall. U.S. alternative stations taking part included KROQ from L.A. Z100 and KROC from New York City, 91X from San Diego, Q101 from Chicago, SSX from Atlanta, KEGE from Minneapolis, WKBQ from St Louis and WXDX from Pittsburgh.

Mike Peters' and MPO staff recently attended the recording of MTV's Oasis Unplugged at a secret London Location. During the Oasis soundcheck, Mike was invited to perform some tracks from his new album prior to the recording. Unfortunately, Liam Gallagher's throat problems scuppered the arrangement! Mike Peters Unplugged - wil it be third time lucky?

Mike Peters and the band performed a special pre-album release concert at London's Borderline on Tuesday 30th July 1996.

Mike recorded a live session and interview for Virgin 105.8 before the Borderline show.

To celebrate the forthcoming release of 'Feel Free', Mike Peters and Transatlantic staged a series of media/retail presentations in clubs around Britain during the week of 22-27th July 1996.

Mike Peters dream came true when he got to play at the European Football Championships at Old Trafford. Unfortunately for M.P. it was over the tannoy rather than on the pitch...

Mike Peters' fans on the Internet have been voting for the track that M.P. should cover for a new Bob Dylan tribute album on Sister Ruby Records. Top of the poll was 'Subterranean Homesick Blues'.

Taking time out from their recent video shoot in New York, Mike Peters and the band were spotted at The Who's Quadrophenia show at Madison Square Garden, the Ash gig at Irving Plaza, and much later in The Gutter...

Due to unprecedented demand in the U.K. all copies of 'Regeneration' have been snapped up by U.K. members.
U.S. Members will now have the exclusive chance to win a copy of a special White Label Promo CD featuring 3 songs from the forthcoming Mike Peters album 'Feel Free'.

This competition will be run exclusively in the U.S.A. Checkout the MPO U.S. phoneline and stay tuned to the Internet Web Site for further details.

Recording began on this solo album from the singer with Eighties rockers The Alarm on the day he heard his cancer had gone into remission. He is more acoustic and folkier, and conveys more passion than was ever apparent in the past...'

'After eight years as vocalist, guitarist and songwriter for chart-toppers The Alarm, Mike Peters' solo career has gone from strength to strength - as 'Feel Free' testifies.
Informed by his recent life-threatening illness and recorded through spontaneous jamming and fine tuning at Boston'' Fort Apache Studio'', this album of alternative acoustic modern rock is an acknowledgement of grief, a belief in survival and an insistence on love.
The electro-acoustic waves of the declaritive title track for instance are given an edge by lyrics which tell of strength through pain; 'Regeneration' is a scream of consciousness; Psychological Combat Zone' a Dylanesque ballad of triumph over adversity.
The Grandmaster Flash rap classic 'The Message' is granted the rocked up '90's treatment, and Peters unleashes his heartfelt joi de vivre on the melodic 'Shine On'. Without a doubt, 'Feel Free' is one of the most liberating experiences you could hope for...'

'Don't be alarmed, don't be trapped. Just feel the positive vibes of a regeneration. Velvet acoustics, big riffs, soulful harmonica. Shine On.'

'Although he is best known as the vocalist, guitarist and lead songwriter with The Alarm, this highly accomplished album from Mike Peters heralds his re-emergence as a solo artist. Reflecting the adrenaline-charged atmosphere of Fort Apache, Boston, this album is well worth a listen...'

'A powerful new album... strong, anthemic melodies, allied to some sharp lyrics that reflect Mike's songwriting maturity...'

Welsh rockers the Alarm earned the attention of American music fans for the first time when they opened U2's 1983 U.S. tour. Known for an arena rock show that rejected electronic gadgets, embraced a punk ethic, and merited a cult following, the Alarm finally garnered a Top 40 album with 1985's Strength, and a top five alternative radio hit with 1989's "Sold Me Down The River." But lust two years later, singer/guitarist MIKE PETERS announced from a London stage to a stunned audience and fellow-bandmates that he was leaving the band. After a five year hiatus that included several family tragedies, a lot of introspection and a terrifying misdiagnosis of lymphoma, Peters is picking up where the Alarm left off with his first solo outing, Feel Free. Included on Feel Free is Peters' pop-guitar version of Grand Master Flash's I 982 rap classic "The Message," the "Maggie's Farm"-inspired "Psychological Combat Zone," and several stripped-down, straight-ahead rockers like "Shine On (113th Dream)".

1. How avid of an Alarm collector are you?

If there was a Top 10 of Alarm collectors I like to think I

would be in it. I used to collect everything when I was in The

Toilets/Seventeen but when success eluded both bands I started

to view my scrapbook collection as a bit of a curse and so stopped

around the time The Alarm came into being. I started collecting

again in about 1985 and now have a fairly extensive catalogue

My most recent purchase was a copy of the IRS (U.S. only) Finyl

Vinyl "Unsafe Building" ($10.00) from Bleeker Bobs in

Los Angeles. The one record I do not have, much to my regret,

is a mustard vinyl "Deceiver" which might keep me off

the number one spot!

2. Do any tapes of The Toilets or Seventeen exist,

and will we ever get to hear them?

No Tapes of The Toilets exist to my knowledge. I had a live

tape from a support slot with the Buzzcocks at Eric's, Liverpool

in 1977, but lost it in 1980 when my car was broken into. Seventeen

made numerous demo tapes during the years 1978-1980. The most

definitive would be a 12 song 4 track demo recorded in 1979 at

WSRS in Wallasey. I personally don't have a copy of this, although

Twist still has the masters somewhere. I think this would be a

fascinating release at some point as it features all the original

members of The Alarm. Some song titles are "Talkin' About

The Weekend", "Lies Lies Lies", "Stop Thinking

About Yourself" and a cover of the Beatles "Please Please

Me" among others. It may or may not include a cover of Tom

Jones "It's Not Unusual" which was brilliant.

3. How many and which Seventeen songs went on to become

Alarm songs.

Of the many Seventeen songs, only "Sixty Eight Guns"

went on to become an Alarm song. It was the last written during

the Seventeen era and was played during the band's last tour of

Scotland and at the final Seventeen show (The Half Moon, Herne

Hill, Dulwich London, January 1981). It was at this show that

we announced our new name "Alarm Alarm".

4. Will you explain the transition from Seventeen to The

Alarm. Some stories say it was a matter of days, others a

matter of months. All I'm certain of is that sometime during the

summer of 1981 The Alarm was formed.

As you can see from the previous answer, Seventeen had run

its course by the end of 1980 and although change was implied

in early 1981, this did not manifest itself properly until the

summer, after the writing of "Unsafe Building". Another

important event was the setting up of the "The Gallery",

a night of alternative music run throughout the spring of '81

by myself, Eddie MacDonald, Redeye and Mark Lloyd. The running

of the club allowed us to feed off a different kind of energy

and gave us all a little independence from the local music scene.

I also started an alternative clothes stall in Rhyl called "Riot"

where, during a quiet moment one Saturday I wrote the lyrics to

"Unsafe". Another important event occurred when Dave

Sharp wired my acoustic guitar with electric pickups, the sound

was startling and went on to form the backbone to the early "Alarm"

sound (the same guitar can be seen in the new "Shine On"

video). The first "Alarm" rehearsals took place in the

Gallery and after two local shows in June '81 we decided to make

our own single and move to London, the rest as they say in history

5. What were some of the band names you thought of for The

Alarm before you chose the final name?

Alarm Alarm, The Uprising, The Black Sheep, Men Of Harlech,

Drums & Guns

6. Was your attitude towards music different when starting The

Alarm than it was when Seventeen was formed?

Totally.

7. Once and for all, What is the Suicide Squad?

Why do you think that name evokes question from many Americans?

The Suicide Squad was a cover for internal band production

credits in the tradition of the Jagger/Richard's "Glimmer

Twins" or Neil Young/Bolas "Volume Dealers".

8. A bootleg record containing early versions of "Marching

On", "What Kind Of Hell", and

"Across The Border" has been around for a few

years. All three songs are quite different from the ones later

recorded and released. Do you remember when and why these early

version were recorded?

These versions were recorded in early 1982 at Britannia Row

studios in London and were produced by Bram Tchaikovsky (ex-guitarist

of The Motors). This was an early attempt at defining The Alarm

sound and was funded by manager Ian Wilson. The tapes were used

to attract record company interest.

9. Dave Sharp once claimed that he was the member of The Alarm

that started dressing in "Cavalry" clothes. Is this

true?

No.

10. "For Freedom", "Reason 41",

and "Third Light" were all recorded live in January

of 1983 at the Marquee and later released. Have their been any

plans to release the entire show at the Marquee as a live album?

I seem to remember that these were the best recordings at the

time, although some of our more "popular" songs that

had been earmarked for later release as singles might have sounded

good. It would be interesting to listen to the mater tapes of

the whole show, if they still exist.

11 The original name of "Declaration" was "Dedication",

what prompted the change?

The album was always entitled "Declaration". There

may have been a magazine article at the time which misquoted the

title and gave rise to the story.

12. In 1983 you told David Jensen that "Unsafe Building"

and "Up For Murder" would be recorded for your first album. Were those two songs re-recorded, and if so, why were they left off the album?

"Unsafe" and "Murder" were not re-recorded

for "Declaration". The only song I can remember being

recorded that was not used was "Reason 41" which I recorded

at Dave Sharp's insistence as a slow blues. I also have a tape

of an experimental arrangement of "Marching On" which

we followed under producer Alan Shacklock's advice, but decide

against using.

13. Looking back, how do you feel about the orchestration on "Declaration"?

I would love to know how "Declaration" would have

sounded had we worked with Mick Glossop who had produced "The

Stand". Mick had been vetoed against our will by Miles Copeland who wanted us to sound more "American" and

so brought in Alan Shacklock. As a band we were caught in a quandary

of wanting to progress and step forward, but at the same time

needing to capture our true "live" sound. Producer Alan

Shacklock pushed us hard and often we had huge arguments in the

studio over arrangements. "Declaration" WAS over produced. The raw edge of the band was polished up

to gain a wider audience and, upon release, we lost a lot of original

fans who thought the album tame compared to the earlier releases

of "Marching On" and "The Stand". A lot of

early fans disliked "68 Guns" believing it to be devoid

but he song was such a hit that a whole new audience was drawn

to the band overnight who thought otherwise. In fact as a band

we disliked "68 Guns" and played it in its original

form until the pressure of wanting to hear it as the single forced

us to accommodate the new arrangement into the live set. On reflection

some things were lost and other gained like "Howling Wind",

which developed as a result of us working with Alan Shacklock.

It also brought us to the attention of the world and changed our

lives and did the same for many others along the way who heard

"Declaration" in a way we could have only dared hope

for.

14. What possessed The Alarm to take the original version

of "The Chant" and change it into the final version

released as a single?

Fear of failure.

15. When talking about the "Strength" album,

you have said that producer Mike Howlett rejected a whole "stack"

of songs and insisted you, write songs that were more personal

and introspective. Do you remember what any of those rejected

songs were, and if they ever appeared on later releases?

It was actually a combination of Jimmy Iovine and Bono who

suggested that I write more personally. Songs which did not make

the album were "Sons Of Divorce", "Unbreak The

Promise", and "Black Side Of Fortune". "Majority"

in its earliest lyrical form did not make the album and also and

electric version of "One Step Closer To Home" as Dave

couldn't deliver a vocal performance he was happy with.

16. What do you think "Strength" would have been

like if Jimmy Iovine had produced it?

Jimmy Iovine was booked to produce The Alarm's second album

during January/February of 1985. If he had not let us down at

the last moment then this record would have been released to coincide

with what became the "Absolute Tour." It is difficult

to speculate, but I think Jimmy Iovine may have pushed us harder

as songwriters and the album would have "sounded" better.

The album was recorded & mixed by Nigel Luby who was our live

sound engineer at the time and not quite as experienced in the

studio as he is now. Eddie MacDonald was very disappointed in

the final mix. Jimmy Iovine would probably have used Shelley Yakus

who he worked with on his Springsteen/Tom Petty records and this

may have put a different slant on some of the tracks. It still

sounded good though and was one of The Alarm's most enduring albums,

especially in the USA

17. How do you feel about the Spirit of '86 UCLA show now that

10 years have past? Was it a pivotal point for The Alarm?

UCLA should have been a huge turning point for The Alarm as

it turned a lot of new people on to the spirit of the band. It

should have been the foundation of the next phase of our development

and, if we had worked hard to build on this success, I believe

The Alarm would have reached even greater heights. Instead, it

marked the last tangible moment of a band working together towards

one common aim.

18. Will the lost Alarm songs "Black Side Of Fortune"

or "World On Fire" ever see the light of day?

I would like to think that they would form some part of a definitive

Alarm retrospective. I don't know what state "Black Side"

is in, or if it was ever finished, but I do know that "World

On Fire" was mixed during the "Hurricane" sessions

and was left off at the last moment in favour of "Shelter".

19. You have said that there was great pressure outside of the

band for The Alarm to record an album that would have essentially

been "Strength II". What do you think would have

happened to The Alarm if you had succumbed to that pressure?

Myself and Eddie MacDonald wanted to follow up "Strength"

as soon as possible after we had finished touring and had we done

this, I believe the band would have achieved a lot more than we

actually did. "Strength" was major success all around

the world and an album released in early '87 soon after the career

pinnacles of UCLA in America, and The Wembley Shows with Queen

in the UK would have established he Alarm as a major world-wide

act. As it was, Dave Sharp and Nigel Twist instigated an internal

song writing war which fatally wounded the band and started rumours

of a split echoing around the world. When we finally got back

together to work on the follow up, instead of writing from a position

of strength (excuse the pun), we were trying to recapture lost

ground and the spirit of the band was never quite the same again.

Also "Hurricane" came out after U2 "Joshua Tree"

and INXS "Kick" and we ran into all those comparisons

which we would have avoided if we had worked in the way our previous

albums had been created and got the follow up out sooner.

20. You said once that "Eye Of The Hurricane"

was your favourite Alarm album. Is this still true?

I do not have a particular favourite at the moment. Time continues

to change my view of the albums we made together.

21. "A New South Wales" was recorded in 1987.

How was that version different from the final one released on "Change"?

Some songs have no immediate relationship with other songs

written at the same time. This can be said of A.N.S.W. Written

in 1987, it did not seem to fit the frame work of "Hurricane"

and later became the foundation of the songs on "Change".

The recording in 1987 was a bare solo rendition and recorded the

same way in 1989, it almost did not make the "Change"

album which, as a songwriter, I found unthinkable. In desperation,

I came up with the idea of using the choir and orchestra. Tony

Visconti wrote the string arrangement overnight and in return

for an exclusive radio broadcast, my friend Gareth Morlais arranged

a BBC session in Wales. The song was recorded live in two takes,

one for broadcast by the BBC and a second for exclusive use on

the "Change" album.

22. If you had not changed management in early 1988, what direction

do you think The Alarm would have gone?

In hindsight changing management was the worst thing we ever

did as a group. Ian Wilson was like the fifth member of the band

and his contribution was vital. His departure unbalanced the creative

ebb and flow of the group. He was always encouraging us to improve

and respond to events around us. He was also brave enough to point

out our weaknesses. Ian took blame for our inability to

deal with our own internal problems. He was never replaced in

kind and from that moment on we entered a slow downward spiral.

23. In 1988 during "Rescue Me", you went through

a diatribe every night about how technology was ruining music.

These days, technology, especially computers, plays a large part

in you work. What inspired this change?

[Mike forgot to answer this question]

24. The Bob Dylan Tour in 1988. What are your impressions of it

looking back now? Did it inspire you to write songs for "Change",

or did it end up hampering the creative process?

I enjoyed the tour. It was a change not to be the headline

act and only have to perform for 45 minutes, it seemed like the

first time in ages that the pressure had been lifted from the

band. I actually wrote "Hardland" at a border crossing

in to Canada. I stood directly behind Dylan in the queue when

the melody and the lyric entered my head. I often think this was

a song from God intended for Dylan but the transmission messed

up and it ended up in my psyche instead.

25. The Alarm spent a number of months in 1989 at Kinmel Hall,

recording demos for "Change". How many demos

exist, and do you think we will ever get to hear any of them (besides

"Devolution Working Man Blues" and "Firing

Line")?

We must have cut around 30 demos at the time. I personally

think they should for some part of any future Alarm repackaging.

26. In 1989, around the time of the "Change"

album, many fans were clamouring for "The Alarm"

to reach back and play older songs. Do you think now, looking

back, that the fans were simply nostalgic, or do you think they

had seen the band lose some of the edge it started with and were

making a futile attempt inform you of it?

I think this is a subjective question. Some fans wanted to

hear familiar material and some wanted progression. Getting the

balance right can often be a difficult process. I was in favour

of moving on with "Change", it was, after all, the dawn

of the nineties, and felt that we needed to explore newer songs.

I also felt we had become safe in our choice of older material,

never veering from the "greatest hits". In hindsight

we ended up somewhere in the middle, a rock n'roll no man's land.

To paraphrase "Dawn Chorus" what should have been "the

start of the beginning" turned out to be "the point

of no return".

27. We've heard that there were about 12 unreleased tracks from

the "Change" album. Is this true? Did any of

them get released on "Standards" or "Raw"?

Were any of them Dave Sharp songs that he ended up doing solo?

Some of the songs from "Raw" were demoed at this

time including "Wonderful World" which Dave Sharp recorded

twice, once for "Raw" and curiously, once for "Hard

Travellin'".

28. Two "Unsafe Building" bootleg 7" singles

surfaced in 1989. Do you have any idea where they might have come

from?

No.

29. Why did you consider songs like "Spiritual"

and "The Cross" too blunt to be Alarm

songs? Was it the atmosphere that surrounded the band in its waning

years? Would you have considered those songs too radical if they

had been around at the time of "Declaration"?

I wrote "Spiritual" just before my father died, which

was immediately prior to recording "Raw". If I had continued to record another album

with The Alarm I would have offered the it to the group for consideration

along with any other songs I may written at the time. "The

Cross" written by Prince, was a record I played a lot at

the time. I performed it at the Greenbelt Festival in 1990. I

hadn't been able to stop thinking about my dad all day and, during

my acoustic set earlier that afternoon, I had also played "My

Sweet Lord" which maybe explains the frame of mind that I

was in.

30. When I first heard "The Road", it reminded

me of "Rockin' In The Free World" and I said

to myself "Sounds like The Alarm have been influenced

a bit by Neil Young". In 1989 and 1990, how much of an influence

was Mr. Young on The Alarm?

When we cut the "Raw" album I used Neil Young as

a prime example of someone who had reinvented himself in a stirring

and vital new musical environment. I wanted The Alarm to follow

his lead and cut a record with the same kind of simple honesty

that was written all through the "Freedom" album. The

Road was a song that should have been a rallying point of this

new record. "The Road opens up in front of my eyes, the only

limitation is in my mind.". The Alarm never made the record

I think we were capable of, we only went half way, we did not

stick the knife in deep enough.

31. The demo for "The Road" sounds incredible.

How hard is it capture the wild excitement of a demo in the recording

studio?

The demo for "The Road" was recorded by myself and

Eddie MacDonald at my home in Wales. It was the blueprint for

the new record as we envisioned it. I think it is better than

the version that ended up on "Standards" and gives a

strong hint of what might have been possible if events had turned

out different.

32. Was "The Road" designed as a song for the

"Standards" album, or was it one of the songs

from "Raw" that got picked for "Standards"?

"The Road" was written specifically for a new album.

33. Once and for all, why did you eat fish and smack Jules in

the "Unsafe Building" video? How many versions

of that video were made? Who decided to edit it?

At the time a was afraid for the life of The Alarm and, as

with "The Road", reworking "Unsafe" was another

examination of the foundations upon which we were formed. I was

trying to send a signal with the video that all was not well in

the camp. "Each man kills a thing he loves for better or

for worse.". Two versions of the video exist, the edits were

made by IRS who wanted a "safe" version for TV

34. At exactly what point did IRS give up on The Alarm?

The "Change" album was promoted in dramatic fashion:

With full colour press kits, and tons of singles. "Raw"

on the other hand seemed more like an irritation to IRS than an

album. There was no single released in the USA, a crappy 1 page

press kit and after the album didn't sell well, IRS never released

anything else. What was going on?

The idea for the "Standards" album was mooted by

Miles Copeland/IRS during the recording of the "Raw"

album. He wanted two new recordings for the album which were originally

"Unsafe/Happy Xmas". When he heard "The Road"

he thought that gave us the best chance of a hit single and had

it remixed by Mick Glossop. Miles was never happy with the finished

version, preferring the demo, but IRS U.S. radio staff still wanted

it as the single. At this point we still considered "The

Road" to be part of "Raw" and the decision to leave

it off the "Raw" album was taken at a later date. We

even went as far as having a video treatment drawn up by Julian

Temple who was the hottest video director in the world at the

time. IRS also wanted The Alarm to tour "Standards"

and support "The Road" in the U.S. in order to create

a big build up for the "Raw" album. Dave Sharp couldn't

tour because he wanted to work on his solo L.P. and without a

winter Alarm tour IRS then chose not to commit to the video for

"The Road". It was at this point that IRS gradually

stopped believing in the band or the future of the band.

35. To some people, "Raw" sounds like it is a

collection of disassociated b-sides and rare tracks. Can you explain

why this might be?

"Raw" is a very revealing album in many ways. It

is also the most "honest" Alarm album, reflecting an

equality in the creation that was different to the previous albums.

At the end of the "Change" tour I had moved that the

band take a break to reflect upon out future musical direction.

I had no specific length of time in mind, only that we reconvene

when someone came up with a viable musical directive. I didn't

realise that it would only be a matter of weeks before I was on

the phone with the idea for "Raw". I wanted to record

an album full of "Rockin' In The Free World" style songs

and when I approached the band, Twist and Sharp agreed to work

in the way I described but at the same time, wanted more control

over the song writing and stated that they had already written

a lot of new songs, and would like to record an Alarm album made

up entirely of their songs with Dave taking the role of lead vocals.

It was eventually decided that we would produce the album ourselves

and every member would have equal say in the choice of material

that was performed. The writing of the album was divided equally

amongst the band: three songs by Peters/MacDonald, three songs

by Sharp/Twist, three songs by The Alarm, and a cover to round

it off to ten. I would sing the songs I was involved in writing

and Dave would sing those that he wrote. It was in this way that

we set off to record the "Raw" album, not exactly what

I had in mind, but I was willing to give it a shot for the sake

of the band. Without an acknowledged leader the album sessions

quickly deteriorated into a series of stand-offs and compromises.

As a band I believe we failed to achieve what we set out to do

with "Raw". We created a different album than was originally

intended. No one was to blame. The river had run its course.

36. It seems like some of the songs on "TAN"

contain different backing tracks as well the vocal tracks. "Raw",

"Rockin' In The Freeworld", and "Let

The River Run Its Course" all seem very different. Are

our ears deceiving us, or is this true, and if so, why was it

done?

After the "Strength" album, Dave Sharp pretty much

refused to do guitar overdubs and so, to achieve the complete

sonic picture, Eddie MacDonald and myself had to record a lot

of additional guitar parts for our songs (Double tracking, etc.).

During the recording of the "Raw" album, as well as

having more say over the song writing content, Dave Sharp also

wanted freedom to express his own trade guitar style which meant,

keeping his playing down to the bare minimum and so, when I came

to record the Welsh vocals for "Tan", I have to admit,

I couldn't help but record a few more guitar parts to toughen

up the sound.

37. Have you thought about what you might want on a "Best

Of The Alarm"

album?

No.

38. If you could replace 1 song on each Alarm album with

another Alarm song, what would they be?

It is too difficult to speculate on this question. However,

in the event of a major Alarm re-issue, I will speculate about

the songs that could be added to each record as bonus tracks*

or as part of a reorganised track sequence +:

Declaration: The Stand+, Pavilion Steps*, What Kind Of Hell*,

Second Generation*, Reason 41*, Thoughts Of A Young Man*

Strength: Majority*, Absolute Reality(UK single)+, The Chant*,

Room At The Top*, Reason 36*, Strength (12" mix)*, Unbreak

The Promise*.

Hurricane: Elders And Folklore+, Bells Of Rhymney+, My Land Your

Land+,Pastures Of Plenty+, World On Fire+

Change: Change One*, Breaking Point+, Corridor's Of Power+, Working

Class Hero*

Raw: The soundtrack to "Blaze Of Glory", The Alarm's

last show*.

39. Will The Alarm's BBC sessions ever be released on CD?

I hope so, if they still exist.

40. If there could be a "Standards II" video,

what do suppose would be on it? What would you like to be on it?

Anything not included on "Standards".

41. If you could put together an album of "The Alarm's

Greatest Misses", what songs would you include, and where

would you bury it once it was completed?

The official versions of "Pavilion Steps", "What

Kind Of Hell", "Reason 41", "Second Generation",

"68 Guns", "The Rock", "One Step Closer

To Home", "The Chant", "Shelter", "Hell

Or High Water" and I would throw them in the sea along with

the record collection I drowned after seeing the Sex Pistols in

1976.

42. Do you think "MacDonald/Peters" will ever collaborate

again?

Only Time will tell.

43. Who had the final decision about the singles from your albums

with The Alarm, the band or the record company? How about

with your new album?

Singles choose themselves. Everyone has a say. The song that

gets the most immediate positive response usually gets to become

the first single.

44. There were rumours in 1992 that you had started a band with

"Steve Stevens" the famous lead guitarist from Billy

Idol's band. Where on Earth did that come from?

I haven't got a clue.

45. Will we ever get to hear some your early solo stuff like "I'm

Unstoppable" and "I Just Can't Get Through To

You" in recorded form. What about "The Abbey

Road Sessions?"

"The Abbey Road Sessions" will be released by 21st

Century Records some time in the future.

46. When and why did you decide to drop "And The Poets Of

Justice" from your official name?

The name was always shortened to "The Poets" by the

fans and so I decided to follow suit around the time of the "Gathering

II".

47. Your "Gatherings" have been an amazing success.

How did the idea get started? Do you think that the scope of the

"Gathering" will have to be altered when your music

reaches the commercial mainstream?

The idea was role reversal. I got to stay home and the fans

got to go on tour. The Gathering" will naturally grow and

develop along with the size and scope of my musical career and

at the same time continue to reflect the "family" spirit

of the MPO.

48. Much of your early solo material sounds very experimental.

Out of the 5 different songs you released on 2 singles, only "It

Just Don't Get Any Better" sounded like a straight-ahead

rock song. Did you consider these early releases a musical testing ground for your new ideas?

The transition from The Alarm to "solo" artist was

always going to be a difficult process. I knew this because I

had just been through the painful experience with The Alarm, having

failed to evolve from "Change" to "Raw". From

earlier times, I also had the more successful experience of disbanding

"Seventeen" to reform "The Alarm" with this

in mind, in 1991, I felt I needed time to evolve my new music

gradually and without pressure. My early solo work gave me the

space I needed to experiment and at the same time work towards

laying the solid foundations of my musical future.

49. You made 2 videos for "Back Into The System".

What happened to them? Did you ever make a video for "It

Just Don't Get Any Better" ?.

All of the video were made by S4C (Welsh Language TV Channel).

The videos were shot in Welsh and English. The "System"

video was seen on various local channels in the UK and the "No

Better Than This" was shot in Spain and shown in Britain

and Europe via terrestrial and satellite channels.

50. I've always thought that "21st Century(demo)"

sounded a bit like old Peter Gabrial. What kind of effect were

YOU going for with the song? What were the original lyrics about

(before new ones were inspired by Kurt Cobain)?

I always liked "This Is England" by post Mick Jones

"Clash" and it was an early influence in the direction

of "21st Century". The lyrical content was updated during

the "Breathe" recording sessions when Kurt Cobain shot

himself.

51. It seems, with "White Noise" you broke all

the rules, and possibly many barriers. Do you consider that song

a turning point in your solo career?

"White Noise" was written and recorded in under 1

hour. Tim Speed who later co-produced "Feel Free" was

at the session and suggested that I put it out exactly as it was.

As an observer, he loved the honesty of the performance and thought

that the fans would appreciate a look at the naked Mike Peters.

I was initially just recording the idea to be followed up at a

later date. As with "21st Century", "White Noise"

is a song I will come back to.

52. A bit of profanity has been creeping into your work these

days. Does this signify your own personal transformation into

a tougher individual and songwriter?

I'm just telling it like it is, and writing as honestly and

as immediately as possible I don't want to sanitise or censor

my feelings because of what is supposedly right or wrong.

53. Has the band "Jess" broken up?

I think that is a question for "Jess".

54. What is this about the "lost" Mike Peters album

named "PAX" by "Brith Gof"?

"Brith Gof" (pronounced Breathe Gorv) is a very respected,

experimental drama company from Wales. In 1990, the approached

me to sing the lead vocal part in a production of "Pax".

"Pax" is an eco opera about the destiny of Earth. Related

through the intergalactic transmissions of a deep space astronaut

(unable to return to Earth because of large scale pollution to

the planet surface), the space pilot communicates with his mother

first in English then, gradually, in long forgotten Welsh. I was

unable to appear in the stage production because of the "Raw"

tour, but agreed to record the soundtrack album which is available

on CRAI records in Wales. The soundtrack is very ambient and free

form, it was very challenging to record and allowed me the experience

of working with a vibrant new musical form.

55. Describe how close you were to getting The Alarm back

together in 1995, and just how far you are from getting back together

now.

1995: Close

1996: F----------------------------------A------------------------------------R.

56. How many different instruments did you play on your new album

"Feel Free?" Will you be taking up the drums

any time soon?

I happened to play most things at one time or another. There

is a cliché in the music biz that "bass players want

to be guitarists" and "guitarists want to be lead singers".

To continue this even further I would definitely love to be a

drummer.

57. Will there be a 21st Century "outtakes" release

for "Feel Free" like "Breathe: The Acoustic

Sessions" for "Breathe"?

No. "Feel Free" was recorded differently than "Breathe".

in that, the tracks were built around the acoustic versions. I

would enter the studio put down an acoustic guide and build all

the instrumentation around it. I played a lot of instruments myself

because I did not have time to rehearse a band or show someone

else how to play what was in my head. I wanted a much more immediate

effect.

58. The MPO has grown to enormous proportions. How can you manage

to keep such lively and personal communication with your fans

as their numbers keep growing larger?

We now live in an age of communication and the MPO provide

a unique two-way link between artist and audience. As we have

already experienced, there has to be an endeavour and understanding

on both sides to make it work. Together we have all been able

to move on from The Alarm with a greater respect and understanding.

I'm sure the future will be equally challenging and no-less enjoyable.

59. You must be aware that a lot of fans will think that "All

Is Forgiven" is written about the other members of The

Alarm. In general, do you think it is more important for people

to make a connection with a song because of the emotions/thoughts/feelings

it brings to them personally, or for listeners to connect with

a song because they know exactly what the artist was thinking

when the lyrics were written?

The best songs mean all things to all people.

60. Are you considering recording the album "Feel Free"

in Welsh?

Yes.

61. Can you tell us what Eddie, Nigel and Dave are up to these

days?

Yes, but I think you better ask them instead.

62. Besides "Change I", have you considered any

other tracks for "Second Generation Volume II?"

"One Step Closer To Home (Electric Version)", "For

Freedom", "68 Guns (original live version)", "Only

The Thunder (acoustic version)". These are just a few I have

been considering at present. I don't know when time will allow

me to record, but I hope I get it soon.

63. Have you considered re-doing any lesser-known Alarm

album tracks such as: "We are The Light", "Shout

To The Devil", "Only The Thunder", "Shelter",

"One Step Closer To Home" , "Hard Land",

"Prison Without Prison Bars", and "The

Wind Blows Away My Words" as a "Second Generation"

volume?

Is this your attempt at a subtle hint...?

64. What surprises you the most about breaking into the American

music scene again?

I was surprised by the gap between U.S. and Euro music tastes.

Artists that I love in America mean nothing in the UK and vice

versa. Different production values exist on both sides of the

pond. It was interesting to record in both the U.S. and UK and

try to make both criteria work on the same record. I was travelling

to and fro between the UK and America during the recording of

"Feel Free" and I wanted the album to reflect this.

65. "Beautiful Thing" was the clear stand-out

song during your 1992 tour, but on "Breathe"

it seems a bit "shoved aside" in favour of other tracks.

Can you explain this?

An album is a collection of songs, the first being as important

as the last. No song is ever "shoved aside". If it is

not deemed good enough it gets "shoved off".

66 . You often say that "Wonderwall" saved your

life during your cancer scare, how exactly did it help you?

This was the song that I heard most on American radio during

my U.A. acoustic tour. It became something of an anthem for me

mentally, something to cling to. If ever I was feeling low, this

song would come on the radio and lift me. Straight away Jules,

Danny and myself would start singing along with the lyrics and

forget, for a moment, about what was really happening.

67. Did you record any of your shows from your solo acoustic tour

earlier this year?

I never specifically recorded any of the shows except on video

which will be seen at the Gathering V. I did, however, record

a lot of the acoustic material (37 songs) during the mixing sessions

at Fort Apache and Dreamland. There is a great bootleg of the

show at Maxwell's in New Jersey from the same tour (acoustic "White

Riot" and all).

68. Since the USA National Soccer Team has beaten both Scotland

and Ireland in the last few weeks, what do you think their chances are of beating

England and Wales for a clean sweep of the British Isles? Do you think

this success will affect the Americans performance at the Gathering

V?

You've already beaten England but you'll never beat Wales,

not even at The Gathering.

69. There is a rumour going around that you are planning to sneak

some Manchester United ringers on your squad for the Gathering V. You wouldn't

be that sneaky, would you ?

There's more chance of Eddie MacDonald's 70's cover band appearing

at the Gathering V after show party...

70. What is going to happen to the song "Down The Road"?

I was going to use this song as a musical starting point for

the proposed Alarm re-formation last year, but as it never came

down to it, I felt it should be left alone for awhile.

71. What is the truth about your collaborations with Billy Duffy,

Brian Setzer and Steve Earle?

I have met and spoken with all three about writing songs. I

went to Nashville to work with Steve Earle and something may come

of that in the future.

72. Which usually comes first when you write songs, the lyrics

or the music ?

Mostly the music although sometimes the song is triggered by

a phrase I may overhear, and then the lyrics follow from there.

73. How was recording "Feel Free" different from

recording "Breathe"?

The songs for "Feel Free" were written and recorded

at the same time, whereas the songs for "Breathe" were

conceived and demoed prior to entering the recording studio. "Feel

Free" was written in response to my personal situation, and

in reaction to the set of circumstances surrounding my mental

and physical health at the time. I wanted the listener to hear

the moment of discovery and to feel the same excitement I would

feel on hearing a song back for the first time. "Regeneration"

for instance was only played once in the studio at Fort Apache,

Boston. I wrote the song in-between recording "Feel Free"

and the message. and laid down an acoustic guide with a stream-of-conciseness

lyric. I listened back to it and liked what I heard, immediately

I had Ooge play drums. Just like engineer Dan McLoughlin and myself,

this was Ooge's first time hearing the song. He got the track in

one take. I then recorded bass and acoustic guitars adding the

discordant electric guitar harmonics. I overdubbed harmonica and

at that point, thought the track was finished. Weeks later, I

played the song live at The Gathering and Chris Lewis came up

with a brilliant electric guitar figure which was added to the

master take at The Elevator in Liverpool. Most of the songs were

worked on in this manner giving "Feel Free" its spontaneity

and immediacy.

74. Explain the importance of the song "Regeneration".

Is it true that it will not be a single from "Feel Free"

?

"Regeneration" expresses the joy, anger, disgust,

confusion, clarity and liberation from a life threatening situation.

The song began its life on the sleeve of a "Second Generation"

Vol. I CD I signed for Peter and Gillian Midgeley, who had crossed

the Atlantic to attend the U.S. acoustic tour last winter. They

asked me to autograph the sleeve and I started putting down some

thoughts, basic observations from the tour, which became the first

verse of the song. I copied down what I had written and later

put some music to it at Fort Apache. There is another verse that

I edited out to keep the song as focused as possible. The track

has been released as a "free" single in the UK The song

was "given" to me so I wanted to give it back.

75. Now that "Feel Free" is finished, when will

your NEXT album be recorded?

When I have finished answering all of these questions.

76. Can a hero be a hero in his hometown?

Ask Alan Shearer.

Mike Peters, 1996

Mike Peters new album 'Feel Free' will be released in the U.K. by Transatlantic on August 27th 1996 followed a month later by Select Records U.S.A., with a provisional street date of September 26th 1996.

Mike Peters and the band will perform a special pre-album release concert at London's Borderline on Tuesday 30th July 1996. The complete electric experience starts here.

Mike Peters will be recording a live radio session and interview for Virgin 1215 on Tuesday 30th July.

'Feel Free' has been produced by Mike Peters, Tim Speed and Dan Mcloughlin. The album features 10 brand new Mike Peters songs and new 1996 versions of 'The Message' and 'Breathe'.


Track Listing is as follows:
Shine On (113th Dream)
The Message
Feel Free
All Is Forgiven
My Calling
Regeneration
R.I.P.
What Is It For?
Psychological Combat Zone
The Love We Made
Breathe
Broken Silence



The music was recorded between December 1995 and June 1996 at Fort Apache, Boston, U.S.A., Elevator, Liverpool, U.K., and mixed at Dreamland, Woodstock, New York, U.S.A., with some mixing and mastering taking place at The Hit Factory, New York City, U.S.A.

Mike Peters and Transatlantic will celebrate the forthcoming U.K. release of 'Feel Free' with a series of Media/Retail presentations in clubs around Britain during the week of 22-27th July 1996. Watch Out! Mike Peters could be performing at a venue near you.....

'Feel Free' will feature different sleeve artwork on both sides of the Atlantic and the Select U.S. pressing will also feature an extra bonus track or two!!

As a taste of things to come, Transatlantic will be releasing a limited edition FREE PROMO CD of the track 'Regeneration' in the U.K. only. Available from Monday July 29th 1996, a newsletter will hit the M.P.O. members with relevant details. (U.S.A. fans should be able to get hold of a copy via M.P.O. U.S.A., although only a limited supply will be available as 'Regeneration' should prove to be a ....much sought after.... Valuable.... Collectors item.... Etc. etc. etc.)

SHINE ON SHINE ON SHINE ON SHINE ON SHINE ON SHINE ON


After much speculation, the lead single from 'Feel Free' will be 'Shine On'. Select Records plan to issue two advance promo CD's of 'Shine On' to Radio Stations throughout August. The first pressing will include a red poppy. Select Records are also putting together an Electronic Press Kit to promote the album and forthcoming single/video.

Mike Peters and the band are currently in New York City shooting a video for 'Shine On'. The shoot is being directed by Darius Anthony and co-produced by Alex Coletti of M.T.V. fame. Rumours that Mike Peters was seen wandering around Times Square in a N.A.S.A. space suit are completely true!!!

Transatlantic have serviced a special 12" white label of 'Shine On' to club D.J.'s in the U.K. only. The vinyl features a long instrumental mix not available on the album. You may have already danced to 'Shine On' and not been aware of it.... Watch out for a similar release in the U.S.A.

'H.M.V.' and 'Our Price' are all carrying the new 'Feel Free' album and will be racking and advertising it as their recommended album of the month.

W.L.I.R. a Long Island/New York radio station recently debuted three tracks from the new album: 'The Message', 'Feel Free' and 'Regeneration'. D.J. Ted Taylor has been raving about all three tracks and is dying to add 'The Message' to the station playlist just as soon as he can.

Influential British D.J. Jonathan King has been raving about 'The Message' in his radio magazine 'The Tip Sheet' and is predicting a huge hit. 'The Message' is to be included on the magazine's own CD which is attached to this month's issue.

The 'Feel Free Electric U.K. Tour has been confirmed to begin on 12th September 1996 followed by the U.S.A. during October/November. The tour will also coincide with the release of the first U.K. single. Details will be announced shortly.

The free Mike Peters show at C.P.I. in Long Island on July 3rd for WLIRradio was a resounding success. From the crowd's over-whelming response,to WLIR's enthusiastic pledge to support Mike Peters, the night couldn'thave turned out better.


Mike was interviewed on WLIR earlier in the day on July 3rd, and playedthe OFFICIAL ALBUM versions of 'The Message', 'Feel Free', and 'Regeneration' for the listening audience.

Note: It was incorrectly reported earlier this week that WLIR haddeclared the free show an "Alarm Reunion". While there was some confusion at the venue as to who exactly would be playing July 3rd, WLIRwas not the source of said confusion.

The official release date for 'Feel Free' in the UK is August 27th.The USA version will follow about 1 month later.

For Collectors:


A white label re-mix of 'Shine On' was released this week to DJs in the UK. The single has no mention of Mike Peters on it, but it is a Mike Peters promotional release. Now go find it!

The USA and UK versions of 'Feel Free' will have different artwork. The USA version might possibly have bonus tracks on it.

Mike Peters To Play A Concert For WLIR On July 3rd

After taking a well-deserved holiday, Mike Peters is back in theUSA to work on the first video from his upcoming album Feel Free.While he is here, Mike will be playing a concert for the radio station WLIR inLong Island, New York on July 3rd. The show had been mistakingly touted as anAlarm reunion, but that will not be the case.

The show is at C.P.I. Admission is free before 11:00 p.m.


'The Gathering' Index - Past, Present And Future...

The Gathering, the MPO's official bash in Rhyl, North Wales, which is already gaining legendary status. An audio visual celebration of Mike Peters and The Alarm's music, past, present, and future, featuring solo acoustic and electric band performance, rare film footage, and the strong chance that you will be able to meet M.P. in person at some point during the weekend.

Recording Of New Solo Album Wraps Up In New York
Mike Peters finished recording his forthcoming second solo album entitledFeel Free late at night on the 6th of June. The final trackrecorded was a new version of "The Message", tentatively slated asthe first single in the USA. The first UK single will be a different,as yet undisclosed track.

At MTV Radio Network Round-Table

Mike Peters joined the likes of Keanu Reeves, Bill Mahr, Adam Sandler,and Rob Zombie at Disney Studios in Burbank California for the MTVRadio Network Round-Table. The event consisted of several radiostations from around the country, including the #2 and #3 stations(from New York and Washington D.C respectively), andserved as a pre-cursor to the MTV Movie Awards (taped the followingday).


With guitar in hand, Mike Peters moved from station to station,doing interviews, recording Radio I.D.'s, and playing acoustic songs.Mike performed an acoustic version of 'The Message', which he announced wouldprobably be the first single in the U.S.A. from his forthcoming album Feel Free.The song was incredibly well received, and even spawned a bit of intriguefrom the other-wise disinterested "urban" stations at the round-table.


Mike was also persuaded to play a few Alarm classics like 'The Stand' and'Rain In The Summertime', the latter of which brought an interestedJaneane Garafalo, MTV Movie Awards co-hostess, out of the back-stage mazefor a quick listen. Applause rang from every corner of the room each timePeters finished an acoustic number, and by the end of the afternoon,he had won over most every radio station. John Reilly, Mike Peters'publicist, called the appearance at the event a "complete success

Mike Peters is performing at an Album Launch Gig 'Feel Free' at The Borderline, London, U.K. on Tuesday July 30th.

DON'T MISS IT!!

Mike Peters is currently in the U.S.A. and will be appearing live on WLIR Radio at Midday on the Thursday 30th May.

Mike Peters is also appearing live on WPLY Radio at 8:30 a.m. on Friday 31st May.

Interview: Mike Peters May 6th, 1986, WBCN Boston,

MA USA








This interview in interesting because it really

shows how some deejays,



especially her in America, can just talk forever,

and not let the



interviewee (read: victim) get a few words in

edge-wise. At least



Ken Sheldon is intelligent, which is more than

I can say for



some of the other DJs you'll see in some of these

interviews, but come on,



why couldn't he have let Mike, at least answer

his questions?!






Note: From listening to all these interviews,

the one thing that stands out



to me is the idiotic names that American

rock radio stations have



for their particular radio shows. This

one is no exception:



"The Mighty Lunch Hour", I mean,

come on, what is that ?






Note 2: Also, check out the references to "stereo"

and CDs, wow, this stuff is



dated.






KS: = Interviewer/DJ named Ken Sheldon.








***






(Note: ...) = Sometimes I can't help but add

my own comments,



they the *** asterisk warn you

they are coming



*** please ignore them if you don't

want to hear my



humble opinion









-----------------------------------------------------------------------------











KS: "The Alarm, hi Mike, how are you"








Mike: "Hello, Hello"






KS: "Welcome back to Boston. You've been

a guest here many times,



but you've never joied us for lunch..."








Mike: (in the background, sounding tired)

"Good to be here..."






KS: "....so welcome to the Mighty Lunch

Hour..."






Mike: "Thanks a lot (small laugh)"








KS: "...on BCN, we'll play your latest

track from the Strength album,



this is Absolute Reality on WBCN, The

Alarm"






(Play "Absolute Reality")






KS: "On the Rock Of Boston, this is Ken

Sheldon, the Mighty Lunch Hour,



we are joined today by Mr. Mike Peters

of The Alarm, welcome



once again Mike..."






Mike: "Hello"






KS: "...to BCN, you have been a guest

here many times, Boston seems to



be you home away from Wales..."






Mike: "It is definitely becoming that

way at the moment...(laugh)"






KS: "How come you got elected to be awake

at the ungodly hour of 12:40



..."






Mike: "I'm the early bird, and were not

called The Alarm for nothing..."






KS: "I know, and you do look wide awake,

ah, so many times, most of the



heavy duty rock'n rollers that pass through

town come in late



in the afternoon before their sound check,

or in the evening, late



after their show, or right before the

show, most people are too



tired to be here at lunch time, but thank

you for joining us here



on WBCN. You are playing tonight, and

tomorrow night at Boston's



Orpheum Theatre, two sellouts?"






Mike: "Both sold out..."






KS: "Both soldouts, sorry folks if you

didn't get yours, The Long Ryders



are opening up for you, have you been

on tour with them?"






Mike: "Yeah, The Long Ryders are a band

that we played with about 2 years



ago for the very first time, and we

kept in touch with them ever



since, and it is great to have them

on the tour, they are a great



band..."






***






(NOTE: Notice Ken Sheldon actually let Mike say

more them 10 words, before he



broke in, but don't fret, he'll make for

it with his own excessive



verbosity next)






***






KS: "They are a fine band, and this is

show a lot of people have been



looking forward too, especially people

who either missed one or



the other of you the last time you played,

but now you are in town



together, both shows are sold out. I

do want to talk about one of



my favorite songs that you do of yours,

and a song based on



Stephen King novel, _The Stand_, how did

that...you want to give



us a little background, I hope Carter

didn't ask you that a year



ago, he probably did..."






Mike: (laughs)






KS: "...but that's ok, we'll ask it again

so..."






Mike: "That's ok, yeah...umm I just remember

reading the book and it



really hit me hard as a book...






KS: "...it is powerful..."






Mike: "...as a piece of literature, and

ah, I was just writing a song one



day in my room, and the book was lying

in the corner, and it was



like 'come on down and' and all of

a sudden 'and the stand' yeah,



and it just kind of came out..."








KS: "These ah, a lot of your music reminds

me of, not in a negative



sense, but marching music, like rousing

get up and march along



with us kind of music..."






Mike: "Yeah, that's what the book was

all about, it was about a few



people who stuck together through the

hardest time imaginable..."






KS: "That's right, the..."






Mike: "And I think that's what I..."








KS: "...heaviest harvest imaginable, the

a, sort of the end of the world



as good and evil all come together, do

you fashion yourselves as



ah, rock and roll rabble rousers, rabble

leaders leading on the



marching on to good and evil?"






Mike: "Ah, No, I don't think so, ya know"








KS: (laughs)






Mike: (laughs)






***






(Note: This next "question" is a so

erratic, I don't even think Mike



knew what to answer!)






***






KS: "Not that heavy, well, can we dip

into your music, while not



necessarily directly political has such

a political feel to it,



being, ah, from Wales, I guess there's

a connection there with



the other ah, like Scotland, Ireland,

lands that were independent



at one time, that were suppressed by the

British, even use, I



have a friend whose a, whose distant ancient

relatives go back



to Wales, and when the British took over

Wales they forced the



Welsh people to march against Ireland,

and her family became Irish



but they have a Welsh surname, from many

hundreds of years ago,



how does that, I assume there is a kinship

between you and the



bands like U2 and other bands from umm,

from the, the UK let's



say"







Mike: "Well, they are mostly referred

to as coming from the Celtic



fringe..."






KS: "The Celtic fringe (laughs)..."








Mike "(ignoring KS's comment and continuing)

...and ah..."






KS: "(continuing over Mike again)...Well

a Boston, Boston is the



outermost fringe of the Celtic fringe...

(laughs at his own lame



joke)"






Mike: "Right, exactly, I think well,

I think if ah, we are the Welsh



people we are usually referred to as

the Irishmen who got



left behind in the big swim..."








KS: "(laughs)"






Mike: "...And I think there are probably

some Irishmen who probably



swam a bit further than Ireland and

ended up in Boston"






KS: "(laughs) Probably, let's hear ah,

The Stand now, on WBCN a



tune that Mike wrote being influenced

greatly by a fabulous book



by Stephen King called _The Stand_ on

WBCN Boston"






(play "The Stand")






KS: "The Stand on WBCN, that is The Alarm,

Mike Peters of The



Alarm visiting us today for a while on

the Mighty Lunch Hour,



we, ah you couldn't hear because you don't

have headphones on



Mike, but right at the end of that record,

because it has been



played so many hundreds and thousands

of times here at BCN,



it was scratched..."






Mike: "Oh no..."






KS: "...at the end, so what we are going

to do is, the next Alarm



song we play is going to be on crisp,

clear, unscuffed,



unscratched, unpopped, unsizzling compact

disc. I've just



been telling Mike that we just did a whole

compact disc day



here at BCN, and it is great to hear some

of the old, terrific



songs of, sounding fresh and clean again,

and hearing things that



you didn't hear before. Ok, Mike, right

now we turn you into



a DJ for minute here, do your thing"








Mike: "Well, if you can't get into see

The Alarm on May the 7th, you



can stay at home and listen to Simple

Minds recorded live in



Amsterdam, you can hear it in stereo,

on the rock of Boston, WBCN,



this Wednesday night, May the 7th at

10:00 pm"






KS: "Oh, wonderful, wonderful, everybody

is such a sucker for a



Welsh accent..."






Mike: "Do I get a job?"






KS: "I think you've got a job..."








(commercial)






KS: "Mike Peters of The Alarm in studio

with me. People are calling



up, wanting to talk to you, saying...

we had people calling



this morning saying, you are an attractive

young lad Mike and



people say 'Hi I'm from a newspaper and

from the Quimsey rwrwrw



...and I have to know where The Alarm

is staying, what hotel



cause I have to do a story on them...'

uh ha, (laughs).






Mike: "(laughs)"






KS: "We were going to play the compact

disc, were gonna save the



compact disc version of 68 Guns, because

your friend here from



IRS Records, your record company, reminded

us that there is a new



record, you have a new live track out,

recorded right here



in Boston, of "Howling Wind",

that you did, was this last year?"






Mike: "It was just in November..."








KS: "Was it just the last time you were

here, just November, my



goodness, well this is a very interesting

album, wonderful,



nice of you, and everyone else involved

to give up your royalties



for cancer research, this is the one called

"Live For Life", you



want to tell us what you know about it,

there has actually been



limited information about it ya know..."








Mike: "That's right, it was put together

by Miles Copeland for the



AMC Cancer Research Center in Denver,

and all the royalties go



to help them find a cure for the cancers,

and umm, there's



various people on the record like Sting

and Bob Marley, I think..."






KS: "Jeff Beck, The Bangles, Go Go's..."








Mike: "Everybody's on it (laughs)"








KS: "...Squeeze, every...a lot of it was

done right here in Boston too,



there is a live Squeeze track from the

Orpheum, and let's see ah,



there was another live one from Boston,

what was it, was it R.E.M,



no, ah, yours, ah, General Public, General

Public rec..."






Mike: "That's right..."






KS: "General Public recorded live at The

Channel, so a very nice..."






Mike: "...All featuring the famous 'Boston

Roar'






KS: "That's right, and let's here it now,

let's here you at the



Oepheum Theatre, much like, well, are

you going to do this



one tonight, are you going to give us

a little preview?"






Mike: "We'll probably slip this one in

the set..."






KS: "Okay, this is from the new 'Live

For Life' album, which features



many different artists, all doing tracks

that have not been released



before, live tracks, interesting new tracks,

let's hear The Alarm



now, live at the Orpheum Theatre"








(Play "Howling Wind")






KS: "WBCN Boston, that is The Alarm, and

the new live version of



Howling Wind, on 104 WBCN in Boston, that

on appears on the



'Live For Life' album, an album whose

entire proceeds evidently go



to, I assume sales as well as royalties

will be going to, for cancer



research, and from The Alarm, Mike Peters

joining us for the



Might Lunch Hour on WBCN Boston, welcome

again"






Mike: "Thanks"






KS: "Do you guys like touring this much?"








Mike: "Yeah, we do actually..."








KS: "Don't you miss your old sofa at home,

the old barkalounger, and



your sitting at home, and whatever you

do at home (laughs)?"






Mike: "Now and again we miss that, yeah,but,

ah, you know were



fortunate to be in a band, touring

around the world, we've got a



great following"






KS: "This is true, I was telling you how

when a band comes to town,



the interest picks up, and we see more

requests here at BCN,



and more people calling up and asking

about it, and it kind of



subsides after the band has gone, but

it just maintains all the



way through with your band, The Alarm"








Mike: "That's probably..."






KS: "(cutting Mike off) So, tonight and

tomorrow night, 2 sold out shows



Boston's Orpheum Theatre, next stop for

those people who ah,



couldn't get tickets, or forgot to get

out in time, do you



remember?"






Mike: "Well the next show will be in

New York on Friday night"






KS: "OK, where are you playing there,

do you play like...?"






Mike: "Were playing the Beacon Theatre..."








KS: "The Beacon Theatre, a great place"








Mike: "...and then The Tower Theatre

in Philly, Philadelphia"






KS: "Good, you've got a nice tour lined

up"






Mike: "Yeah, it's gonna be great"








KS: "So, Alarm fans that didn't get tickets

can just start slipping



down the East Coast here, following them

around. Thank you for



being here Mike Peters of The Alarm"








Mike: "Thank You"


<

Setting off for America's Interstates and Highways cannot cease to thrill. It is truly a journey into the unknown, an exploration of possibility and an investigation into the self. Yes, rock n' roll can bring you all this - besides heavy fatigue and fast food.

At 'The Double Door' in Chicago Mike used the soundcheck to fine-tune material from his new album. 'Feel Free', 'Regeneration', 'My Calling', all made me excited for the future, whilst the addition of drum loops for the first time during an M.P. acoustic set added a surging extra layer of texture. For many fans that night, it was their first post-Alarm show and their enthusiasm and excitement were deeply infectious.

Detriot, Ohio, and then the long road to St. Louis. All the way across Indiana and Illinois to reach the eastern border of Missouri. You could see for miles and you could see nothing for miles. America's vastness began to dawn on me in all it's incomprehensibility. 'Mississippi Nights' was a return to familiar territory for Mike. The walls are lined with the photos and album covers of bands that have passed through, from INXS to Nirvana. But first in this gallery of all-stars are The Alarm. I looked forward to returning soon and seeing Mike Peters' paraphernalia added to this catalogue of legends.

Lawrence, Kansas gelled into Kansas City - a place split curiously between the States of Missouri and Kansas. The set that night looked heavily to the future and went on to structure the performances for the rest of the tour. Opening with 'Rip' and 'Feel Free', Mike introduced his blooming U.S. fan base to the songs that would be forming the backbone of the new record. As the tour went on, more and more of this material would receive it's live premiere...

Kansas. Mile after mile of flat, flat, flat land. Arid, sandy terrain with sporadic signs of life. Jules aptly described this land of open country as the world of 'Wizard of Oz'. When we stopped to update the Tour Photo-Journal, she pointed out the Tinman coming over the horizon... The plains seemed to stretch on forever and we found respite in a dusty old-fashioned roadside diner. It was like entering another dimension. Coming from outside we could only move in slow motion... The clocks here had stopped long, long ago. Slow, spooky, lethargic. We eat our fishburgers like invisible travellers from an alien nation.

We were joined at the Salt Lake City gig by 107.5 The End DJ Rob Hill who introduced Mike to an adoring crowd. M.P. again played a set very much focused on the solo material and this gave his performances on the tour a refreshed energy and vigour. The classic tune 'Wonderwall' an anthem for the '90's if ever I heard one, had also joined the set. For MPO on the road it had become much more than a song, but that's another story...

Next stop was to be San Francisco, requiring another mammoth cross-country haul. Westwards from Salt Lake the scenery was again spectacular - an arctic intensity that lasted into Nevada, our eventual overnight destination. The city arrived in a blaze of light, sparkling and glittering, promising treasure. At the neon nucleus, scores and scores of slot machines clinked, clanked and bleeped. We, though, in our own inimitable style, headed not for the machines but for the bar and a delicious cold beer...

California bound, California dreaming, we set off the next day with high spirits and thoughts of sunny skies. Life on the road, however, is rarely the whirligig of glamour it is perceived to be, and this day was a case in point. Our reality was snow blizzards, closed Highways, and a tortuous day of waiting. At 8:00 p.m., after ten static hours in the Tourbus, I had to call ahead to cancel the gig. Cold, wet and hungry, we abandoned the road to nowhere and turned back to Reno.

So California arrived a day late but in the welcoming shape of Santa Cruz's 'Palookaville'. A superb P.A. assisted M.P.'s rich vocal sounds, with the powerful, confrontational 'What Is It For?' being added for the first time and immediately becoming one of my favourites. The crowd loved it and two encores were required. I went to bed thrilled all over again, having seen the Pacific Ocean for the very first time...

L.A. The gridlock capital of the world (we learned first hand). I found my way to the hip and happening Melrose. I browsed and watched L.A.'s beautiful people go about the business of being beautiful. So many looked like they were in the movies, or wanted to be in the movies, or thought they were in the movies. I was in Hollywood after all... Adverts for film extra's and acting classes posted to lampposts... enough designer jeans and sunglasses to sink a boutique. It was weird, wacky, glitzy and gauche - and that was before we arrived at 'Luna Park'... Amongst the audience that night was The Cult's Bill Duffy...

The West Coast was hotting up nicely and it was going to get better and better. At 'The CoachHouse' in San Juan Capistrano the following evening, Mike played for two and a half hours and thirty seven songs. The MPO's U.S. Internet Co-Ordinator, Steve Fulton, who has recently written a mammoth article on Mike Peters and The Alarm in Goldmine Magazine, rated the show as the best he has ever seen. If there are any bootlegs out there, they must already be legendary. In 1991, The Alarm played ten shows back to back at 'The CoachHouse', but for Mr Fulton and many others, this show had surpassed them all...

By this stage of the tour, energy was low, and sleep a rare but much sought-after commodity. Mike Peters though, seemed fresh as ever as he belted out an acoustic set on San Diego's 91X. Then straight on stage at 'Brick By Brick', a few hours shut eye, a long drive into Arizona and a midnight gig at 'Gibsons' in Tempe. The pace was relentless and glorious...

Leaving Tempe meant the beginning of the big trip East. We had to be in Philadelphia - 2,500 miles away - in four days. It was an intimidating but thrilling prospect. It would not be a journey; it would be an epic odyssey... Our aim was to pick up as much of Route 66 as possible. This fabled mythological road, the first to cross the whole of America, had become like a golden trail for us, and we were determined to mine for as much of it's treasure of dusty motels, curio shops and Indian relics as possible. We read from our Guide Book as the towns passed us by... Refugees going down Route 66... Meteor Crater... Amarillo... Oklahoma City... Little Rock... on and on eastwards until we eventually arrived at the home of rock n' roll, Memphis. First stop was Sun Studio. I tentatively stroked the microphone which ushered in a new era. Here a young Elvis Aaron Presley came to record a song for his mother at Christmas. From these humble beginnings, a social phenomenon that has captured the hearts and thoughts of tens and millions took root. It felt almost holy being there, on our own rock n' roll pilgrimage.

The marathon continued via Nashville, Kentucky and the shimmering Impressionist landscape of West Virginia. We ploughed onwards, with showtime approaching, and only arrived at 'Grape Street' in Philadelphia after the first band had taken the stage. It had been an extraordinary few days, a journey of a lifetime that I shall never forget. On stage, Mike reconstructed the soundtrack of this voyage and I watched happily as more and more people climbed on board the good-ship MPO.

The pace refused to slacken and an overnight drive to Connecticut created the time for two radio sessions. At WMRQ, Mike performed a brilliant on-air acoustic 'Rain In The Summertime' and he went straight to 'Toad's Place' where he delighted the crowd with further gems from his ever-expanding songbook.

Long Branch, New Jersey. 2:00 a.m. Mike Peters, marathon-man, had gone way beyond curfew and was nowhere near the end of his set. At 2:20 a.m. a note was left on the stage warning him that the club could lose it's license. Cue legendary response:

"I'm being told that if I carry on playing in here the club will lose it's license; but I haven't finished my set yet... So, if I can't finish in here, we'll finish outside. See you all in the carpark in five minute!"

I couldn't believe it, but of Mr P. I could believe it. After a few gulps of water, I found myself escorting him outside. It was an unforgettable occasion. Mike strummed away and coaxed the disbelieving crowd into joining him for 'Spirit Of '76' and 'Blaze Of Glory'. As the snow began to fall on the moonlit carpark, he ended with 'Merry Christmas/War Is Over'! Not many artists would have dreamt of doing such a thing: no other would have carried it off. Mike Peters departed his outdoor stage to rapturous cheers. Amazing...

Another snowy night on the road, this time to Rhode Island, merged with little sleep into my final destination of this tour, Boston. Here, Mike was to headline an Amnesty International gig at Aerosmith's club 'Mama Kin'. Finally, twenty four days after we had arrived in Chicago, Mike took the applause for the last time on this main section of the tour. Twenty four unbelievable days. It felt like we had been there for months, we had seen and experienced so much. Twenty four days and we had travelled from East to West and back again. Twenty four days and 9,000 miles, twenty four states, countless landscapes and mountains and sunsets and snowfalls and encores. Twenty four days and twenty four thousand moments of exhilaration...

Mike Peters' new album 'Feel Free' has been completed. It was recorded at Fort Apache Studio's in Boston, Massachusetts and Elevator in Liverpool. The tracks were mixed at Dreamland Studio's in Woodstock, New York. Stay in touch for the latest release details.

Mike Peters has been asked to contribute to a Bob Dylan tribute album. Please post suggested Dylan tracks for Mike to record c/o The Alarm Mailing List at .

The Gathering IV was a complete sell-out and a fantastic success. Thanks to all those who came and made it such a special weekend. Tickets for The Gathering V are now on sale. Early booking is strongly recommended to avoid disappointment. Tickets have been held at the price of £20. Please send cheques/postal orders payable to the MPO at MPO UK, PO Box 709, Prestatyn, Denbighshire, LL199YR, or call (01745) 888911 to make a credit card booking. See you there.....

It is rumoured that Mike Peters recorded up to 20 tracks for his new album. Standby for some superb extra tracks on future M.P. releases...

The Mike Peters World Wide Web Internet Site has been re-designed and expanded recently. The MPO welcome Steve Fulton and Gary Overington as it's new Internet co-ordinators...

Mike Peters' personal lyric-book was stolen at a recent U.S. show and anonymously returned some weeks later at M.P.'s New York Irving Plaza show...

Rumour has it that The Alarm are to reform without Mike Peters. Reports suggest that Dave Sharp's dad Bill Kitchingman will be taking over on lead vocals...

Mike Peters was spotted leaving the Rhiga Hotel in NYC recently with Gene Simmons from Kiss...

Twist and Redeye were spotted at M.P.'s recent San Francisco gig. Sadly, M.P. never made it to the show due to a snow-storm in Reno, Nevada...

During the recording of his new record, Mike Peters is rumoured to have committed the main body of his acoustic shows to tape...

Select Records hosted a 'Listening Party' for Mike Peters' new album at House of Sound Studio's in New York City recently...

South by Southwest. The driver collecting us from the airport was menacing in his commentary. I watched him silently, framed at a safe distance in his rear-view mirror. All shades and stetson. Just like the movies. Shades of Tarantino in every corner. I leant back in the cavern of a cab and trawled through the memories of the past month as the dustbowl of Texas embraced me. A blur of united states clashing like a blinding patchwork quilt.

Today we were in Austin, Texas, a town devoted to pleasure and a town at the mercy of a deluge of record industry types. Mike Peters had been cordially invited to plug himself in at the industry gig of the year. And here we were; sweating in the intensity of a glimmering Austin afternoon. This in effect was a music biz convention where people travelled from all over to press the flesh and mingle. There is a definite skill to meeting and greeting - the art of speaking with an interested expression and simultaneously watching over the shoulder for someone far more interesting and important to appear in the viewfinder.


The whole business takes on a domino effect as more and more people mingle their way through to the central point where it's all at. 'We' thankfully were not at the mercy of this bizarre ritual and could mingle at our whim, mingling with whoever took our fancy and remaining with our chosen mingle for as long as the mingling excited us.

Austin reminded me a lot of Rhyl, N. Wales. A large quantity of bars in a confined place, huge droves of people tramping the street late at night in search of 'something', and a vast consumption of alcohol. The only difference being "the wearing of the laminate". Yes, all music biz people were identified by a huge laminate dangling around the neck announcing position and origin. This became quite hilarious as all eyes alternated like ping pong balls between the shoulder and chest level, in an absurd attempt to track down potential VIP's for a possible one night mingle. My laminate proudly announced my origin as Mike Peters, Rhyl, which drew me some very strange stares at chest level. We were also accompanied by our U.S. publicist, John Reilly, who had better luck this time (after sadly missing out on last year's Mexico trip) securing himself a PR trip to