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The Dragonfly EP ranks high up in NWOBHM collectibles, and not without reason; as not only  has this gem been circulated in a very small press, it also displayed a most creative brand of NWOBHM with a staggering potential. With this, Dragonfly definitely could have gone places, but at least they now get the recognition they deserved some 25 years back!

Guitarist Stephen Heath takes us back in time...

 

* Which bands did DRAGONFLY emerge from, or was this the first experience in full band format for its members?

 Stephen : Basically, this was the first (true) full band experience for all of us, and which began in early ´79! (and ended in ´81!)

 

* It seems, the band didn't take too long to get to the vinyl stage; knowing this, the first set must have included more originals than covers or wasn't DRAGONFLY much of a live-act in its early stage?

Stephen : We have never played covers! From the word go, we knew exactly what we wanted to do! This was to eventually become serious contenders, standing alongside the bands that we grew up with and respected! (I'm talking Judas Priest - Scorpions - etc-etc here!) The idea of simply playing covers in pubs for example, never even occurred to us! We were that confident, and had that "all or nothing" attitude and vision! The vinyl stage occurred, maybe half way within three years, 1979 - 1981. Much of a live-act in our early stages? Well, yes, we were pretty busy! Actually, our very first gig was with AngelWitch at the "Ruskin Arms".

 

 * Did you record any demos or rehearsals prior to the EP and have any promotional dubs / demos been shopped around to record labels, if so, which have been approached?

Stephen : For sure! We recorded our first demo (which included the songs "High-Talk" and "Loser") at the "Orange Recording Studio" London W1. We then recorded these other songs - (as demos) - "Mercy" - "No No No" - Reasons" - (and later on) - "Dragonfly" - (and an earlier / different version of) - "Silent Nights". As for approaching record labels, we mostly sent them to all the majors that you'd expect. We did have interest from A&M, and they wanted to know if we could also write something that could "cross-over" commercially. So, we intentionally recorded a more commercial pop/rock song called "Stop Your Fooling" (which was very "Thin Lizzy"). Very catchy, but certainly not "us" y' know...?

 

* Was the private-press of the EP a direct result of no labels showing any interest in the band?

 Stephen : Not really, it was more a case of us not only trying to "get a foot in the door", but us trying to "get both feet in the door!" What I mean by that is, by having an EP out there, more people had the opportunity to hear us, thus creating a wider audience for us, and at the same time, the wider the audience, the greater the chances of record labels showing curiosity and interest.

 

* Where was the EP recorded and how many recording tracks were used?

 Stephen : I don't recall the name of the studio, but it wasn't more than a few minutes walk from the "Ruskin Arms" in Manor Park E12. The studio was beneath a Pet Shop of all things! Oh dear, (I'd guess that gave the Parrots something to talk about) I mean, we were L-O-U-D...! I can't remember how many tracks were used.

 

* How many copies of the DRAGONFLY EP were pressed, and did they all come with the sleeve?

Stephen : Five Hundred. (I do know that a lot of them have been destroyed though!) Yes, they all came with sleeves.

 

* Back in the days, the East Ham location was one of the epicenters of the NWOBHM,  mushrooming bands, and with a vivid live-scene which included the famous Ruskin Arms pub. How did you encounter this, and was this of any advantage to you being located there?

Stephen : Well, the very fact that the Ruskin Arms was within the "location" you've  mentioned, does I guess, lend itself to the area being an "epicenter" of NWOBHM. I mean, as well as ourselves, Iron Maiden came from the area, as indeed did Phil Collen. So yes, consequently, the live scene was quite "vivid"! We encountered this, simply because we all lived locally, and were therefore able to witness (whilst it seems, being part of) the NWOBHM scene that was developing around us. And yes, it was advantageous for us, because we had a very well established NWOBHM venue, practically on our doorstep.

 

 * Did the success of locals Iron Maiden trigger the formation of new NWOBHM bands from the area, and has their success been a blueprint for others trying to follow their footsteps in the genre? 

Stephen : In a way, yes... there certainly did seem to be a lot of bands appearing around that time. What you are saying about Iron Maiden is interesting, because I think that in an almost unrealized way, a lot of bands perhaps felt that once they were playing the Ruskin Arms regularly, they were suddenly walking in the shadow of (Iron Maiden's) success, and that one thing could / would follow the other... Not so! I think that Iron Maiden's rise and success, was equally - (perhaps even more-so) - to do with their "Sound House Tapes" single being favoured and pushed by DJ Neil Kay. (Although there's absolutely no denying the Iron Maiden / Ruskin Arms, er... "legend"!). Yeah... I guess it is true to say that to an extent, there did appear to be a "blueprint for success" for other bands to (try to) follow there.

 

* Gauging the EP, The DRAGONFLY sound was genuine NWOBHM, but, additionally featured light blends of Doom (intro/outro of "Silent Nights", plus the one-off, slug riffed sections in both "Spacebound" and "Mercy"), as well as it incorporated Fusion-esque hooks running underneath the solo in "Spacebound"; where did these come from inspirational-wise, and/or was this purely experimental?

Stephen : To analyze it to such an extent, is (for me) difficult really. I know this is quite a basic answer, but it really was just down to the natural flow of composition and content. I honestly can't say that (in my opinion) we were in any way experimental!

 

* The DRAGONFLY EP holds quite a diverse palette of songs; was there any specific musical direction the band would opt for, or was the sound/repertoire simply this diverse...? besides, its songs are pretty in-depth, in comparison to the regular NWOBHM act...

 Stephen : I would say that the musical direction that we were aiming for, was to be almost a "kaleidoscope" of the bands that we liked and were influenced by. Our influences at that time were very much Judas Priest, Scorpions, Van Halen. - ("Van Preistions" perhaps?) - In regards to the songs on the EP being diverse, I think this is because these influences hadn't come together, and "gelled" properly at that point... we really hadn't been together that long, don't forget! Hmm... yes, I agree that the songs are in depth, compared to many of the regular NWOBHM bands.

 

* Although the EP is now being favoured at large by NWOBHM aficionados worldwide, it surprisingly did not do the trick recognition wise, back in the days, quite remarkable isn't it?

Stephen : A reason for it not doing the trick recognition wise? Possibly because it wasn't too long after the recording of it, that we, er... split up! Y' know It's strange, but I certainly did sense a slight "indifference" to it from people at the time of us "releasing" it. I believe that within our ranks, Dragonfly had a great song writing ability and a great potential to go further in that area... perhaps more-so than the vast majority of other NWOBHM bands. As you say, the songs were quite "in depth" for its genre, and that may be one of the reasons that it does seem to be lasting the "test of time" so to speak.

 

* What happened after the release of the EP; was any further material being recorded? There's talk of such material with a change onto a more common musical interpretation... Has any of this been officially released?

 Stephen : Maybe about 9 months after the EP's release, we split up... so no, there was no further material recorded what-so-ever.

 

* What happened after the band called it quits, did any of its members further their career in related or similar bands or completely different bands?

 Stephen : Myself; Okay... what happened was this. In May 81, Uli Jon Roth - (who I've known and been friends with since 1978) - asked (after Dragonfly had ended) if I'd "be interested in playing second guitar" thus augmenting, and being a part of, his (then a three piece) band "Electric Sun"! Well, to say that I was in love with Uli's playing would be, like... the understatement of forever! Needless to say, I embraced the opportunity with a passion. What followed, were many happy journeys to "Seaford" - (where Uli lived with Monika Dannemann at that time) - basically, to be taught (and to relearn my) guitar playing from scratch, and to learn the majority of Uli's/Electric Sun's/Scorpions' material. During the next couple of years, I played with Uli and Ule Ritgen - (of "Zeno" and "Fair Warning") - at many rehearsals and auditions (as Uli was looking for a new drummer!). We also traveled to, and spent time together in Germany, where we had a few rehearsals / jams with various people, and where I became friends with Uli's younger brother "Zeno" Roth. (Who is also an amazing guitar player!). This all took place between the years 1981 to 1983 (between the Electric Sun albums, "Firewind" and "Beyond The Astral Skies"). Within this period, Uli had his mind set on augmenting Electric Sun even further. Much further in fact...! When, in 1983 Uli (with new and powerful management) secured a record deal and a subsequent UK tour, Uli then had the finance and opportunity, to basically (yet again) augment the line up, with whatever he wanted. He actually went for, two keyboard players, two drummers, two female singers, and three male singers. Now this really did lead to "second guitar" becoming superfluous within this "ensemble". Consequently, it was at this point that Uli and I "working" together, came to its conclusion. There was absolutely no disappointment or problem about this... it was simply "common sense" coming into effect. (I'll also mention the fact that Uli has never since utilized or worked with any other "second guitar" player what-so ever!). We're still close, and we're still very good friends. (Oh yeah... he asked me to play an outdoor UK gig with him in 1997, but the gig was (in Uli's words) "cancelled on us"! (Never mind). Anyway, who knows what the future holds? All I'll say is, that I'm very proud to have been taught by, to have played with, and to share a great part of my life with, such an amazing guitar player, and such an amazing person! A true honour indeed.

In the years that followed, I put together a "power-trio" which was very much a Jimi Hendrix/Frank Marino/Robin Trower type of band - (which let's say, has always been my true "calling") - we were called "End Tricks" (Which at one point included Nik again!). Towards the end of the 90's, Nik and I worked together yet again, alongside Mark Bloxsidge - (who was the Bass player from "Trilogy" {see below}) - in a short lived band called "Sabotage".

 Rudi; Put together a couple of bands, such as "Sapphire" and "New Torpedoes" and went on to play with - ("Pre-Thunder") - "Terraplane" for a while.

 Pete; Played with Rudi in "Sapphire" for a bit, but eventually chose to opt out of playing within the world of heavy metal. (However, he does still play!).

 Nik; Assembled a very good Rush influenced / inspired "Prog-Rock" three piece band called "Trilogy". In the early to mid 90's, Nik also played for a while, with a guitar player called "Phil Hilborne".

 

* How do you look back at the early days of DRAGONFLY and what does it do to you, that the band finally got the credit it deserved some 25 years ago, as it is now considered one of the top items in the NWOBHM genre...?

Stephen : The early days? Well, apart from the equally shared ambition and determination, what mostly springs to mind is lots and lots of fun and laughter. What does it do to me that we're now getting credit for it that we didn't 25 years ago? Hmm, let me see... okay, it makes me feel either of the following; "Better late than never!" or "About bloody time!" - (I'm only joking of course) - It's quite flattering really, but at the same time it does seem a shame. I have to say, that had we not split up, (which I take responsibility for) maybe with a little more time, people would have picked up on the EP, and then... who knows?

 

* Any chance of the band getting back together again?

Stephen : We all know the old adage - "never say never" - It could happen. We actually got together and played again (just for the fun of it) in November 1998 at a local rehearsal studio. We simply played a selection of Dragonfly material, and to be honest, it was pretty good. The songs came back to us in an instant. Even after the seventeen year gap.... it even "felt" right, very natural. Everything just seemed to "fall into place" so to speak.

 

* Anything else you'd like to add?

Stephen : It's a shame that people never got to hear the best of us. Y' know, I do feel that we did have that "something"... that intangible, special "something" that makes all the difference... and that is - (I guess) what people actually refer to as that "X-Factor". (Perhaps it is easier to be "wise after the event"!). I remember reading an early edition of the reference book "The Encyclopaedia Of Hard Rock And Heavy Metal" and it actually stated, that we were "once hailed as the great British hope"... maybe we were, but if we'd been aware that people were thinking that about us at the time of our "being"... then again, who knows? I don't know if it will be of interest to anybody, but we do have a "live video" of ourselves shot at the Ruskin Arms, and which features our complete ´set´. The sound quality is pretty good, so you never know... we could perhaps put it out as an audio CD in the future! (Likewise, a couple of the demos!). Okay, so... thanks Paul, and thanks everyone, for your enthusiasm regarding ourselves and the NWOBHM genre, and for "keeping the faith"...

(God bless...!).