Brimstone | Interview | “Paper Winged Dreams”

‘Paper Winged Dreams’ is a fantastic record released in 1973 by Canton, Ohio based band Brimstone.

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It’s a record taking influences from the late 60s psychedelic rock towards the upcoming wave of progressive rock groups. It’s one of the rare US progressive rock records that incorporated Christian lyrics. The band also issued a 7″ containing ‘Visions Of Autumn’ and ‘Home Coming’. At the time the band had enough material to make another album, which sadly remains unissued.

“Local scene in Cleveland had a lot of clubs that supported prog bands”

When did the band get together? 

Christopher Wintrip: The original band Brimstone was formed in 1970 and disbanded in 1973. 

What followed after that period? 

After that the second version was as a bar cover band only, not pertinent to this interview. 

So let’s discuss the original version of the band.

In 1970 I met Ken Miller at a high school combined school choir event and we started composing together. He later introduced me to a Greek musician named Jimmy Papatoukakis. Greek also dabbled in piano and the three of us wrote many early songs that weren’t on the ‘Paper Winged Dreams’ LP.

How would you describe that early material and how eventually you began working on your album? 

Material was somewhat scripture based due to my influence from Phil Keaggy of Glass Harp. This went on though 1970 and 1971. I met Greg Andrew’s at a Battle of the Bands at Memorial Auditorium. We talked a bit and he expressed interest in our project. A friend turned me on to Yes and Genesis and I began my journey exploring lead/rhythm guitar covering all the harmonic structures of our music. Gregg joined and became our Front man / lead vocalist and lyricist. All four of us could sing lead trading ideas back and forth. 

Where was your jamming place?

Our jam places were anywhere we could find. A barn or Church social halls.

How would you describe the local scene in your town? Were there any other bands you shared stages with?

Local scene in Cleveland had a lot of clubs that supported “prog.” Local bands like Dragonwyck, Glass Harp, Fayrewether, Alex Bevan were some that seem to play regularly. We graduated from the bar scene into concert venues opening for The Raspberries, Roger McQuinn, Frampton’s Camel, Harry Chapin, Climax Blues Band, Renaissance, New York Dolls and the original Lynyrd Skynyrd.

Was there a certain moment in your life when you knew this is it?

At the time I felt I knew this was it when we were booked studio time by the Conn/Lang agency that had been booking our club dates.

Did you all contribute to the songwriting? 

A lot of the songs on ‘Paper Winged Dreams’ were written before Bernie Nau joined. He was one of Gregg’s connections.

The writing would start with me at first then the band would follow my idea and expand on it in collaboration. Songs like ‘Dead Sleep at Night,’ ‘End of the Road,’ ‘Fields of Clay’ and the whole second side were written before Bernie joined, then ‘Paper Winged Dreams’ the title cut was written all together with primary writers Gregg, Bernie and I and to this day we still own all rights.

You gained some local success with opportunities to open for national acts.

Brimstone soon became an iconic force to be reckoned with. We met our promoter/manager Pat Fugate who took Brimstone to new heights opening for Climax Blues Band at Meyers Lake Ballroom. That concert gave us the drive to push on as an original band!

Tell us what was the experience like to record at Peppermint studio?

Our manager Pat Fugate arranged for us to go into Peppermint and record an album while we were playing six nights a week at the Warren Brown Derby. Sleep deprived, we stayed up many nights and rehearsed, living in a motel apartment cooking our meals and discussing our next session.

Was the album self-released?

The album was not really self released. It was handled and controlled by our manager Pat Fugate and his connections. Cleveland International released and distributed ‘Paper Winged Dreams’. During that time there was a chain of stores called Recordland. At the time Pat got us a show opening for the Raspberries at the Cleveland Agora. That’s how we met Arnie Rosenberger at Agency Studios and cut our first single ‘Homecoming’ and ‘Visions of Autumn’.

The LP was recorded at Peppermint Productions in Youngstown, Ohio and released by Conn/Lang. Brimstone label, distributed 1000 copies by Cleveland International in 220 Recordland stores across the US. Later a single ‘Homecoming’ and ‘Visions of Autumn’ was released on Lanco Records (Conn/Lang). 500 copies were printed and received minimal airplay on Cleveland stations only. Recorded at Agency Studio in Cleveland by Arnie Rosenberg. It was difficult to get airplay unless you were on a National label.

You are also an artist, did you draw the Brimstone cover? Would you like to share some further words that represent?

The artist that designed the cover was a high school friend Luann Lightenwalter whom I met in art class in ‘70.

“Both songs were the catalyst for our second LP ‘A Search for all Seasons’ which was never recorded until Brimstone regrouped”

Is it true that the single was considered to be part of your second album, which was never released. What happened, what were the circumstances around it?

Both songs were the catalyst for our second LP ‘A Search for all Seasons’ which was never recorded until Brimstone regrouped in mid 2000’s to salvage any early “garage recordings” from rehearsals to see if we could actually finish this masterpiece. It’s still sitting unfinished and I don’t think it’ll ever get released.

So what followed?

After that great experience nothing much to tell. We disbanded in 1974 after several attempts to save the legacy with new band members. We ended up in a psych/prog/fusion direction (King Crimson, Soft Machine, Gentle Giant et cetera). We became more experimental than commercial and it didn’t go anywhere. I met a new drummer Scott Grewell and brought back bassist John Davis who replaced Ken Miller in Brimstone while we were touring the US playing various clubs just to survive.

What were some bands you shared stages with?

Bands we’ve opened for were The New York Dolls, Climax Blues Band, Roger McQuinn band, Renaissance, Babe Ruth, Lynyrd Skynyrd, Frampton’s Camel, Raspberries. 

You had other projects too?

There were many hardships as the band lost members; Jimmy the Greek and Gregg Andrews. In 1974 I started all over with new musicians with Musical Aire, a name from a Brimstone composition that was from our second LP project never released. 

After the Brimstone II era, I formed a creative trio “Musical Aire” with bassist John Davis and drummer Scott Grewell.

What would be the craziest gig you ever did?

Craziest gig ever? Brimstone opening for Lynyrd Skynyrd at the Smiling Dog Saloon concert club. Shared a 15 x 15 dressing room and it was out of control. As we played the fans were yelling out “Skynyrd” and shaking beer bottles. Needless to say we played our 45 minute set and got off the stage.

Is any member still involved with the music?

Keyboardist Bernie Nau and I are the only ones doing music. Bernie has a successful recording biz in Southern Ohio specializing in Celtic music.

Where and when was your most memorable gig?

Most memorable gig was several nights opening for Harry Chapin. He loved our band and we had a great experience with him.

Which songs are you most proud of?

Song or songs most proud of? All of ‘Search For All Seasons’!!!

Looking back, what was the highlight of your time in the band?

Memorable experience? Meeting all the acts we opened for in 1973!

What are some of the most important players that influenced your own style and what in particular did they employ in their playing that you liked?

My musical influences were all classical guitarists, Phil Keaggy and Steve Howe. Love their choice of melodic line playing and chordal theory.

What occupies my life currently? 

Family, teaching guitar/theory, performing with my legacy son Chris Jr. and a new jazz project which I can’t reveal due to label restrictions. Thanks for your consideration and interest. Carry on the legacy.

Klemen Breznikar