More AIRTIME Articles & Reviews: AIRTIME feature: http://www.barrieadvance.com/article/55490 Rik Emmett feature: http://www.barrieadvance.com/article/55501 AIRTIME feature: http://www.mississauganews.com/article/8613 AIRTIME/Rik Emmett  Interview: From www.rocksquad.net Darrin: Rik, it seems like The Liberty Manifesto has been in the works/talked about/anticipated for about 5 years now…. How long in actuality was the project from conception to delivery? Rik: Mike & I started writing in mid ’04, I think. We delivered masters in the fall of ’07. We were both doing a lot of multi-tasking, and had many family things crop up throughout the time period. Darrin: How was this project born? Who initiated it? You or Mike Shotton? Rik: I’d say Mike was the one who was keen to do some writing together, and then who suggested we collaborate on rock stuff. Mike had originally had me out to his studio to play on some other projects he was producing. That was maybe late in 2003, and in 2004, we spent some time jamming on a few things that we had mutually found intriguing from traded ‘idea’ tapes. Darrin: Bottom line, what are your personal feelings on the outcome of the project? Did you achieve what you set out to do? Rik: I try not to think like that too much anymore. I set out to have an adventure and see what happens. I set out to try and get along with the person I’m collaborating with, and let the music lead me, and give it my best shot. I don’t think there’s any such thing as ‘perfect’ – and the challenge of music, of the art & craft of it, is infinite. So I try to remain humble, in the process, and also in the final analysis - that’s my bottom line. Did I have fun? Yep. Am I proud of the work? Yep. Would I do it again? If enough people remain interested in it, I might … for I was always constantly facing the question – “Rik – when will you rock again, if ever?” So now that curiosity angle has been satisfied. Will those people now decide to support that kind of work? Or will they just file-share it? I’d probably take another kick at it with Mike, sure, if we can get a decent paycheck for our time & energy. Darrin: The entire product is very slick in the visual realm also. A very cool Airtime logo, and CD cover. Who took care of the graphic/branding part of the project for you? Rik: The logo was something I sketched out, and Jeanine Leech from DoublePlay Designs realized it for me. Then Jim Bullotta, from Smash Designs, who does my website, and who’s done lots of stuff, from Van Halen packaging to websites to you-name-it, did the CD package. Darrin: If you had to pick a track that you would consider the heart and soul of the project, what would that track be? Why? Rik: There are a few things. The ‘epic’ track is Liberty, which lent its title to the CD package title as well, as the song deals with the complicated responsibilities that we all have towards freedom, and democracy – and Mike and I were functioning as indies, with our heads full of lots of baggage, setting out new & fresh once again. The instrumental “Transmutation” was musically very satisfying & fun – close to one of the first things that we worked up together, writing and playing off the studio floor … The two ‘single’ type songs that define the mainstream-ish accessibility of the band would probably be “Midnight” as the hard rock side, and “Find Your Way” as the melodic side [although early reaction was strong to “River”, so that raises an interesting point … ] Y’see – you’re asking me, as if my opinion matters. But we live in an age where the customer rules, and the consumer defines ‘results’ … What will stand the test of time? What emerges in collective consciousness? Maybe nothin’ … or maybe nothing that I would ever have picked. I don’t like to have to play games of prediction anymore. One should only be so lucky as to have market forces formulate a direction, and I wouldn’t have indulged in the different directions, and the different aspects of heart & soul, that exist in Airtime, if I hadn’t felt genuine about any of them. We are now in the phase where reviewers and critics will have opinions, and maybe champion some things, and maybe downgrade other things. I don’t get to pick much of anything now. My picking and choosing, my considerations, are done with. The music has become public ‘property’ now, and – in this modern digital world – the equation is even more out of my hands than it has ever been. The odds of the music becoming lost in the digital maelstrom are stacked against all but the super-duper heavyweight priority acts that have heavily funded machines behind ‘em. Darrin: What was it like working/writing with Mike Shotton? What did Mike bring to the table that you had previously not experienced in writing and recording an album? Rik: Tons of energy – an unbounded appetite for experimentation. It’s hard to get Mike to focus, sometimes – he loves tangents maybe even more than I do. But he’s talented, too – great singer, larger-than-life personality, multi-instrumentalist in terms of demoing up ideas. One of his great strengths is in the area of engineer / producer. He sure knows his way around ProTools. Darrin: Aside from recording to PC, what different technologies and methods were used in this recording, vs your earlier rock recordings? Did you play with any new effects, techniques etc? Rik: It was all new. But I’m fairly old school. To me, it’s about capturing performances – not necessarily making technology be the guiding force. I used my Yamaha Pacifica, and a Nathan East 5 string bass [playing bass on every track was a new one on me] … I borrowed some guitar amps, but it’s essentially the Vox Tonelab board, using mostly Marshall Plexi sounds. Darrin: Your guitar chops are still so fresh and unique, after all of this time away from writing in the rock n roll frame of mind. Has the smooth jazz, blues, classical, folk and other styles you have concentrated on during your solo career, maintained that amazing rock technique that you are so admired for? Rik: I don’t know. I don’t really set out trying to be “amazing” – it’s not a pursuit of gymnastic or pyrotechnical technique. I just write, and play, and do what I do, and try to be the best me that I can. It’s not easy – I was very happy to have Michael as an editing surgeon on many things we were doing. But I think the range of my approach in different styles has helped me with perspectives, yeah. Good music is good music, no matter what style it is. It has to do with dynamics and expression – feel – and I think I have a better sense of what I like and don’t like [what’s good and what needs to be done again] now that I’m older. Darrin: On that note, how have you kept your voice in such great shape over the years? Did you find it a challenge in the recording process to get those songs down vocally? Rik: Yes – it was a challenge. And Shotton is someone who can sing higher than me – and he’s a younger man. But it’s also good to have a producer that understands that physical process, too – and he knew when he could push me, and when he had to back off ,and when he had a good take, and when he knew we’d have to try it another day. As the sessions evolved, thankfully, it got a bit easier to take advantage of good days. I don’t smoke, and don’t drink alcohol too much. Maybe my voice stayed strong because it got so much abuse over the years from me coaching on baseball diamonds and soccer pitches. It’s probably more just good genetics and dumb luck. Darrin: How was the experience, having the disc mastered over at Metalworks? Was there any nostalgia in working on a rock project over there? Rik: It had a bit of a surreal air when it first started, but the people there were nice, and I know the manager from way back [cuz he used to work at Phase One, where Triumph made a studio production deal long before we even thought of building Metalworks]. Nick Blagona did a great job, so it was a great experience. I’d also like to think that we brought him final mixes that were very good. I didn’t think of it as nostalgic – it was a new experience. Totally new gear, new room [for me], new personnel. There were some moments, but it was also a great relief, in some ways, to re-establish an acquaintance with Gil Moore, and to reconcile with him. There had been too much negative baggage for too long, and it was good to have a mutual agreement to get rid of the baggage and move forward. Having Mike Shotton and I in as guests, to master at the Metalworks as guests of Gil, was a classy gesture that I really appreciated. Darrin: Are you looking at opportunities to perform this material live? Rik: If and when the opportunities present themselves, I’ll look at them. It’s premature to think about that at this point. Darrin: Was it difficult to find the distribution partners that you were comfortable with in Europe and Japan? In turn, are you happy in the decision to not fully market this project on your own as your previous releases have been? Rik: We did go through some weird shopping stuff, and of course the music business is in complete disarray – perhaps even annihilation, as I’ve known it. I’m grateful to have Marquee and Escape doing their respective things in their respective territories – let’s hope that they can provide some market muscle, and gain some traction, that would be impossible for an indie act, trying to market globally. But we’ve kept our own North American rights, and that’s because we couldn’t find any offer that made any sense to us. Which doesn’t make me bitter or anything – the state of the biz is … well … it’s destroyed, and what will rise from the ashes? It’s a sub-theme of the album, actually … There is so little interest, in the music business, in rock music that comes from the classic, melodic, hard, slightly progressive territory. But there are actually plenty of people out there who seem interested in it. So maybe our partners will know how to get us some profile in that community, and we can use that to find that audience in North America too. Darrin: Now that Airtime is officially out the door as to speak, what is next on your plate? Is Marco finally going to get completed, or are you going to focus on performing in 2008? Rik: I’m going to try and finish Marco, and do another Troubadours CD with Dave in the smooth jazz territory. I have a new relationship with Gibson guitars and Traynor amps and I hope to build on that, and Shotton and I will probably start writing some new rock stuff soon too. But first up is – Mike is going to help produce & engineer to get the Marco thing finished Darrin: I wish you, Mike, Spud Wharton, Dave Dunlop and the rest of your supporting cast the very best of luck with Airtime, and all other projects and ventures in 2008. Thanks for again, taking your time to answer my questions! AIRTIME  Reviews: From www.rocksquad.net Airtime - Liberty Manifesto When this disc arrived in my mailbox, I would have to say it was one of the most anticipated releases I have received to date. That says a lot after recent releases from Ministry, Queensryche, Motley Crue, Foo Fighters and more arriving in said mailbox. This release, from Rik Emmett (Songwriter, Guitarist, Vocalist, Ex-Triumph) and Mike Shotton (Drummer, Vocalist and Songwriter, Von Groove) has been awaited with much anticipation from Rik Emmett and Triumph fans alike. The first rock n roll record, HARD rock, PROG rock from Emmett arguably since the last Triumph album he performed on, Surveillance, many say since Thunder 7. Yes, Rik had rock releases early in his solo career, with Absolutely and Ipso Facto, but they were already showing a softer/pop type approach to Rik's writing. Enter Liberty Manifesto. From the wide open progressive feel of the lead off track Edge Of Your Mind, The Rob Zombie heaviness of Midnight Black and Blue, to what I consider the crowning jewel of this disc, Liberty, the listener is shown a side of Rik Emmett, that I am sure few were not sure existed as a songwriter and performer. Edgy. Heavy, technically amazing. Shotton's pickiness in perfecting layered backing vocal tracks, and production excellence are evident, and the disc sounds HUGE, which I am sure is a product of mastering at the award winning Metalworks Studios in Toronto. Not exactly what I envisioned a scant year ago, for a "reunion" with his ex-Triumph band mates, but an excellent choice to get the right warmth and feel to these songs for the mastering process. One other thing...Rik Emmett's voice has stayed amazingly fit over these years, and if possible, his rock guitar chops may be stronger now, after all these years of acoustic work. He has not lost a thing, except perhaps the spandex..... This disc is going to appeal to all rock, progressive rock, and hard rock fans, as it displays a myriad of feels, influences and styles, and much to my own joyous surprise, a hint of the past in the beautiful acoustic piece Headstream, running directly into the driving hook laden River Runs Deep. It reminded me of the jewel that became expected on every new Triumph release. There are no losers on this cd, and the only thing that could really ice the cake on this one, would be news of a tour to support the project. This is one of the best releases of the rock world this year bar none. Stand out tracks include: Liberty 8 River Runs Deep 8 Midnight Black and Blue 8 Moving Day 8 Transmutation From www.classicrockrevisited.com Airtime - Liberty Manifesto Rik Emmett is famous, first and foremost, as being one of the best guitar players to walk the planet. He is a multi-faceted musician and plays as a virtuoso in many genres including rock, jazz and classical. Now, after years of playing every kind of guitar music known to man, he has formed a new band called Airtime and returned to playing the style of hard rock that put him in the headlines in the first place. Airtime features Rik on guitar, bass and vocals and Michael Shotton on drums. The disc opens up with "Edge of Your Mind" proving Rik still has all the tools of trade needed to crank up his rock n' roll machine. The tune features a blistering solo right out of the box that captures the listeners attention and makes you want to hear more. "Midnight Black & Blue" is a hard rocker that showcases Emmett's flair for the dramatic. Rik continues the tradition he had with Triumph by including an instrumental piece on the album. This time around it is a jazzy number titled "Headstream." Following the mellow reprieve, Emmett launches into one of the best tracks on the CD titled "River Runs Deep." Another standout track is "Find Your Way" which starts slow but builds into a excellent piece of music featuring a message of hope. "Addicted" is a slab of hard rock riffage that is sure to be a fan favorite. "Code 9" sees Emmett reach out musically. The song is part funk master James Brown, part Led Zep and part Triumph. In between the choppy chords and harmony chorus Rik plays a melodic and ripping solo. Musically, "Code 9" may be the gem of the disk. After the ballad "Moving Day" the album comes to a close with "Transmutation." The track starts off with a Zeppelin-esque riff before tapering off into open space where Emmett takes liberties with the fretboard. Portions of the rhythm remind one of the Zep classic "Kashmir" but don't be fooled into thinking this is tribute track. The song is 5:23 of pure guitar pyrotechnics. Emmett lets loose with flairs of melodic runs that turn into bold, full bodied riffs. The mood of the song bounces between bang yer head/wave yer fist in the air hard rock and jaw dropping musicianship. We are not sure why Rik Emmett picked this particular time to crank up the amp and let loose but we are glad he did. Airtime is a winner from start to finish and his welcome return to the world of rock. One could call it a triumph of sorts -- ah ya know that was coming now, didn't cha? -- Jeb Wright