Lou Gramm, the iconic voice behind Foreigner hits like “Juke Box Hero” and “Cold As Ice,” recently revealed some startling claims about his former bandmate, Mick Jones. In an interview with VRP Rocks, Gramm alleged that Jones deliberately undermined his solo career to ensure his return to Foreigner.
Gramm’s solo career took flight in the late 80s with the release of his debut album, “Ready or Not.” The album’s title track and the power ballad “Midnight Blue” both achieved significant chart success, leading Gramm to believe he could establish himself as a successful solo artist. However, he noticed a peculiar pattern with his subsequent releases.
“As soon as ‘Midnight Blue’ broke into the top five, I had friends in Atlantic Records… one of them called me and he said, ‘I’m saying this under anonymity… Mick just had a big meeting with Ahmet Ertegun.’ That’s the chairman of WEA (Warner-Elektra-Atlantic) and the gist of the meeting was that if Lou’s solo album reaches a very popular stage, he’ll never come back to Foreigner,” Gramm revealed.
According to Gramm, this alleged meeting led to a deliberate lack of promotion for his subsequent singles. He claims that Atlantic Records, under the influence of Jones and Ertegun, intentionally stifled his solo success to pressure him back into Foreigner. “They didn’t promote it because Mick told him that he was sure I would come back to the band if the album didn’t do well,” Gramm stated.
This alleged sabotage wasn’t a one-time occurrence. Gramm further claimed that Jones employed similar tactics to undermine his supergroup, Shadow King, formed in the early 90s with Vivian Campbell and Bruce Turgon. Despite generating initial excitement, the band’s debut album faltered, and Gramm attributes this to a lack of support from Atlantic Records.
“I was told that, just before the album came out, Mick [Jones] had a talk with (label co-founder) Ahmet Ertegun… and told them that if Shadow King achieved success, then Lou will never come back with Foreigner,” Gramm shared.
Gramm’s claims paint a picture of a complex relationship with Jones, marked by both creative collaboration and personal ambition. While they achieved immense success together in Foreigner, these allegations suggest a behind-the-scenes power struggle that ultimately impacted Gramm’s solo endeavors.
“We were ready to go on the road for the long haul because we were so stoked about the material, attitude, and imagery of the band,” Gramm expressed about Shadow King. “Atlantic [Records] did not do us right.”
The alleged interference from Jones seemingly had its intended effect. Shadow King disbanded in late 1991, and Gramm returned to Foreigner the following year. Whether this reunion was driven by artistic desire or external pressure remains unclear.
These revelations offer a glimpse into the often-turbulent dynamics within successful bands. While fans may remember the music, the personal and professional relationships behind the scenes can be fraught with complexities and conflicts. Gramm’s claims, if true, suggest that his journey with Foreigner was far from harmonious and that his solo career was potentially hampered by the very person he shared the stage with.
This situation raises questions about artistic freedom, the influence of record labels, and the lengths individuals might go to maintain control within a band. Whether these allegations will ever be confirmed or denied by Jones or Atlantic Records remains to be seen. However, Gramm’s account provides a compelling and potentially controversial perspective on his time in Foreigner and his attempts to forge a successful solo career.