When and where were you born? What was growing up like for you? Was this something that was relevant in your household growing up?

Warner: I was born in Chicago, IL. 11/12/ 1950. Growing up, I was an explorer. Loving to travel and search out adventure wherever it might be found. I had an early appreciation and love for music as it defined emotions that I could not put in to words. Although I didnʼt start learning an instrument until I was thirteen, I could sing and that was my start. My family moved quite often so long lasting friends were not a reality. I had two brothers and we were close growing up. I spent many hours listening to music on my fatherʼs console stereo. He also sang and always wanted me to become a schooled vocalist. I donʼt think my voice is strong enough for that and was elated when I first started playing in bands and harmonizing with other singers. It has been a mainstay of my musical influence ever since. Eventually, the words to fill the emotions started flowing and the ability to put those words to music I had written, and co-written with others, finally completed my journey to becoming a musician. My mother and grandmothers were especially supportive helping me purchase guitars and providing encouragement to progress. I will be forever grateful to them for that love and help!

Warner with his Great Grand Father and cousins circa: 1954-55.

Bradley: I’m a baby boomer born in Little Rock, but grew up in the St. Louis area. I was a bit of a rebel in school so I hung out with other strange folks most of whom liked music. At 17 couple of us snuck into a bar in East St. Louis(dangerous even then). There was a great band playing. I had never heard music like what they did. I knew then I wanted to play. A friend had a really nice Gibson guitar he never played and loaned it to me. I worked hard and was blessed that it came pretty quick for me. I moved to attend Memphis State University. That was where I met Brit Warner. I was playing bass in a kicking Little 3 piece. Brit was a phenom 12 string Rickenbacker player in a band called the Changin Tymes. Amazing band Byrds, Beatles other unusual stuff. I loved it. Moment came when they offered me the bass spot. I jumped. From that point I pretty much pursued music as my focus. The band recorded some singles and we were working steady.

Who were some of your influences early on? Where would you go to see shows in your community and what groups/ performances stood out to you the most during that time?

Warner: Well. Of course, The Beatles. They provided a workable vehicle to the self- contained band. But, at that time, the progressive folk bands ( Buffalo Springfield, the Byrds, Poco, Dan Fogelberg) and rock bands ( Moody Blues, Genesis, Pink Floyd) provided an exploratory depth that blues and rock and roll groups just did not have previously. The world blew wide open for the musician at that time and it was wondrous as far as creativity was concerned. The Byrds, Buffalo Springfield, Genesis and The Moody Blues, were huge in my early days (and still are). Even the offshoots of those bands I mentioned prevailed and offered evolution. The intriguing harmonies and thematic chord progressions was intoxicating to me and my music. I do respect the genres of blues, basic rock & roll, gospel, R&B, soul music, country and the many forms of contemporary music then, but the progressive music “movement” grabbed me and never let go. For the recording acts, I would usually go to Ellis Auditorium. Saw Jimi Hendrix, Poco, Neil Young, Lovingʼ Spoonful, The Byrds and so many others! Local bands were everywhere and venues were usually civic centers, schools, some clubs and street corners. In the sixties, it was a musical free-for-all. I was in The Changinʼ Tymes back then with Glenn Frazier, Larry Moore, Charlie Ferrer and Wain Bradley who became bass player after Bruce Barham left the band. There were so many musicians playing and so few venues. It was a community of respectful competition. It was an inspiration to go and learn from peers and sometimes be the inspiration. It was a great time in Memphis, TN to be part of a new musical scene. However, that would be a pariah later on as no record labels were willing to invest and promote the Memphis “Rock” community. In any event, those who persevered went on to create their own legacies and they were successful in their own right.

Bradley: Learning to play guitar for me, led quickly to learning how to write songs. I took the lyric writing part very serious. I had ideas I wanted to express just didn’t know how. Then an amazing thing happened to me. I discovered “Days of Future Pass” by the Moody Blues and I was strongly moved to learn more about this kind of music. I had grown up listening to classical music so the sonic palette with this complex album made me know this is what I want to write and play. From there a friend shared King Crimson, Procol Harum, Genesis and others and of course YES who I saw live more that any other act.

What would you and your friends do for fun back in the day?
Warner: My universe revolved around music. I was always at band practice or listening and learning songs and trying to write. Whenever a band was playing that I wanted to see, we would try and go and support or learn. That was fun! Other than the usual teenage angst of trying to have a social life with a girlfriend was an ongoing drama! I was always amazed at how our Ladies would come night after night that we would play and act like they were never bored. ( At least thatʼs the way it looked from stage} A night playing was the epitome of displaying the accumulated talent of the band that we had worked so hard to hone. And that was fun!

Brit & Gayle Warner on their wedding day.

Bradley: There were many great musicians and bands in Memphis and I had friends in a lot of them. We would go out to hear who was playing around town. Also, when a new album was released by certain artists, listening parties would happen and this was very popular. Everyone I knew was either a musician or an artist. We all loved listening and getting lost in music. Playing music in Memphis at that time was a magic carpet ride. It was hard work, and lots of fun.

Did you participate in any groups prior to Companion? How did you initially meet your bandmates Andy Tate, Wain Bradley and Mike Russell?

Warner: There were many bands in different cities that I lived. The Misfits (who wasnʼt in a band named the Misfits) in Huntsville, AL during my sophomore year in high school 1964-65. The Changinʼ Tymes in Memphis, TN during my junior, senior and after graduation in high school 1966-69. Wain and I met during this period. He was in a band called “Fox”. I really admired his playing and vocal talents. We became fast friends and he later joined the Tymes. Even though we came close to recording and moving forward, we were very young and our management was very narrow minded as far as securing an effective deal and the group sadly disbanded. Glenn and Larry are no longer alive and I am still best of friends with Charlie and Wain. I married the love of my life, Gayle, in 1970 and served in the Air Force from 1971-1975. During that time, Wain formed Leviathan and they enjoyed greater success. I remember going to see them when I was on leave and was enamoured with the musical talent in that group! Needless to say, it was an honor to join Leviathan in the latter days of the group and to perform was a high point in my humble music career.

I will be forever grateful for that opportunity. After the split of Leviathan due to collapsed record label support, Wain and I vowed to continue and eventually found like minded musicians to form Companion. Mike Russell is an extraordinary keyboardist and composer in his own right. He came on board the creative team and the core of Companion was born. Mike had been around in different groups throughout the sixties and seventies. Wain and I had always known Mike Russell but had never played together in a group. Filling the drummer position was difficult and we interviewed and auditioned many over a lengthy period. We finally found Bill Lineberry and he quickly became the percussive foundation of the group. There were a few iterations with some vocalists and guitarists. We were looking for a lead guitarist to add different depth to the guitar work and Andy appeared and was amazing. He continually created a fresh and explosive dynamic to our music and became a musical signature in the group. Eventually, Wain Bradley, Mike Russell, Bill Lineberry and Andy Tate and I would round out the groupʼs membership.

Bradley: FOX (a bluesy 3 piece all original). Changin Tymes (lots of guitars, soaring vocals and first real studio time. Band that Brit and I first played together in). E. Barlet Band (8 piece horn band from Little Rock. We played lots of Chicago, Blood Sweat & Tears, oh and not forget Rae Earth). Leviathan (I landed an album deal with Mach/London Records on the strength of my material. We did a couple albums and opened a lot of shows with bigger acts. This band is when I learned my first lesson about the “biz”. Brit joined on guitar for the final chapter of Leviathan. The best we ever sounded). Companion (I had some studio time from my deal and a key to the studio. Brit and I decided we would track our material. Mike Russell had worked with us in a club band and was an incredible multi keyboard player. Andy and Bill joined the sessions). Andy Tate was hands down one of the most gifted players I ever knew. The idea of a band grew out of support for the Dreamers album. What we wrote and played was far from “southern rock”. Music was arty and a little complex. We should have been in Europe not Memphis. Companion was so much more dynamic live than what we captured on the album. Live we were a wall of sound, harmonies and instrument layers. For a year, we rented huge office space in a vacant building in downtown Memphis. It was the greatest rehearsal place I ever shared. We were on the 4th floor so with windows open, the music carried. Several floors up was a small FM radio station. They asked could they run a mic and air some of what we were playing. We said sure and they ran a mic out the window and down 2 stories, Companion was live on the air for the first time.

Bradley in the E. Bartlet Band circa: 1972.

What were your first impressions of them?
Warner: Companion was a dream come true for creative synergy. Each member contributed to each composition. Yes, it was work and compromises in personality but that is what made Companion work. Each musician had the talent to deliver their part to the whole and that is what I enjoyed the most. As a composer, to hear your dream come to fruition equal to the sum of its parts was a joy I had not experienced in any group to that point. If there was a keyboard part to be worked out, Mike was there, and he shared the limelight as Wain contributed on synth keyboards as well. Of course, Andy added his virtuoso to every composition. It was a poetry for me being a guitarist and adding my style of playing and then Andy would add a whole new level. Wain always invented running and intricate bass parts with Bill solidifying the rhythm and pushing the music forward. Everyone was dedicated to the music and the brotherhood of Companion. The musicianship was tremendous and the friendships were a mainstay. Yes, there were rough times, but through it all, I was proud to be involved.

When and where did the group get together to first rehearse? What was the chemistry between everyone like right off the bat?

Warner: Haha… Initially, it was in living rooms, dens, garages and the studio. Wain, Mike and I would write the songs and put them together in the studio. We recorded the album before we had a band. It was not an easy process. Wain and I would put in very long hours in the studio. Mike was there as well but did not have to put in as many hours with guitar parts and vocals. We added Bill later than we would have liked so there was allot of catching up to do on Billʼs part. Rehearsing in the studio was a luxury we allowed ourselves, as we were producing and engineering our own album. Once Andy came, it all started to take a shape that we were proud to call our own. After the album was recorded and we finally got a mix, then the rehearsals began in earnest. There were stints at different houses and anywhere we could set up and play.

Our first gig was at the Orpheum Theater in Memphis at which we debuted the album in 1978. We were well received and the album started enjoying local airplay. Eventually, we rented rehearsal space at the Exchange Building which became our home away from home. Countless hours rehearsing , writing, and arranging our live show and preparing for the next album. The chemistry of the band was synergistic. I alway marveled at the musicianship and creativity. Everyone followed the initial permutations of a particular song, but then added their own signature to the piece. If the composer heard strings at a point, Mike would put it together and we would arrange every other instrument accordingly. All you had to do was say go with Andy and he was on it. I always had a great time building guitar parts around Andy and Wain playing off both of us. Later compositions really highlighted this such as “Anytime, Anywhere”.

When and where did the band make their live debut performance and what was the experience like for you?

Warner: April, 1978 was the first time Companion performed as a group at the Orpheum Theater in Memphis, TN. We were all excited and nervous which is to be expected. Allot of people came together to help and support the group. The concert was sort of a dream memory for me as the only mishap involved me. During sound check and setting the lights, I was holding my Rickenbacker 12 and grabbed my mic to set a position for the lights. I immediately was shocked to the point that I could not let go of the mic. I remember looking up to the balcony where my brother Steve was sitting and thought, this might be it. As hard as I tried to let go of the mic, I could not. I felt my knees giving way and myself falling backwards. I looked around and all seemed surreal. I started blacking out and noticed Wain rushing over to kick the mic out of my hand breaking the circuit. Once I regained some composure, I got up, removed the guitar and walked to the stage edge, but lost my balance and landed in the orchestra pit. I crawled out of the pit and sat down.

Needless to say, I believe Wain saved my life or at least lessened the chance of that happening! Everyone decided I needed to go to the emergency room at St. Joseph Hospital where my wife worked. She came rushing in and I remember she was the most gorgeous sight and I was grateful to be there with her. They ran EKGs and checked stats, bandaged my hands which had second degree burns where my fingers were on the guitar strings and around the mic. Finally, I went home got changed and went back to the Orpheum. I removed the bandages, we took the stage and I remember praying, let me do my part to share our music tonight. And my prayers were answered… It was an experience I will never forget, although, it was kind of a blur! I do remember looking at Mike, Wain, Bill, Andy (and at that time),Tony Pilcher, who was another guitarist that was with us for a short time and we were all smiling throughout the concert. From that point on, we had the fever to play! The concert was captured in picture by my great friend, Steve Spakes. I would be happy to share copies if you need them.

Warner and Bradley on the set of WKNO live in concert during the promotion of Companion's "Reap the Lost Dreamers".

Tell me about writing as well as recording the songs that are featured on the bandʼs legendary debut LP “Reap The Lost Dreamers”. When and where did recording begin in ‘77 and what was that process like creating those songs? How inspired the title of the album?

Warner: “Reap the Lost Dreamers” was a most unique recording experience for me. We began recording at Royal Studios where Leviathan had recorded. Wain set it up and we began with an assigned producer. During the presentation of songs, he said, “you guys need to produce this yourself”. We did not argue! From that point on, it was go to the studio time in our pursuit of this album. The studio was perfect, at that time, for us as we had the place to ourselves. We would only record late at night after all the day sessions had cleared. So, as far as I know, no one really knew we were there. We were diligent in our efforts to leave everything as we found it. Closely guarded our session tapes and masters and respectful of the opportunity we were provided. Mike, Wain and I would write our songs, usually at home, and present them for recording consideration. Each of us had different styles which, to me, added to the depth of what we were becoming as a group. Wain and I had a longer track record together and we would collaborate on writing some of the songs we came up with. Mike was included as well. Personally, I would write the music first, the emotion is still strongly important to me, and then the words. It works better for me… Others will have differing opinions as it should be. It is poetry with a vehicle that takes you places.

I try to take from personal experiences in my life as, I feel, it is more relevant to the music. If I had problems with train of thought or structure, I would ask for help from Wain or Mike. Some of the songs had been around a while, at least for me. When I was in the Air Force, I was a member of a group called “Home at Last” with Beth Nielsen Chapman, Davis Clegg and Mike Stephens. It was a prolific writing period in my life at that point and the collaboration was inspiring! Beth and I wrote “To the Better Days” which was on the album. I will be forever grateful for the three years we were together writing. She is an incredible writer and talent and I am a huge fan as she has gone on to recognition she deserves. The album progressed slowly as we tried to find a drummer that would become a foundation for Companion. Shof Beavers, from Leviathan, graciously sat in on “ The Child Goes On” and he did a fabulous job. Although, he did not want to become involved in another band at that time. Eventually, we found Bill Lineberry which gave us the opportunity to record the rest of the album. Wain was the lead engineer but I was close on his heals learning, experimenting and forging my interest and love for sound and music. We had basically completed all the songs for the album when Andy came on board and it was imperative to me to add his distinct style to as many songs as we could at that point. Again, “The Child Goes On” was a perfect song for him to add his great guitar work. I remember recording his parts and marveled at how quick and innovative he was with parts, both electric and acoustic. As we produced that night, I knew we were a group!

During the whole process, Wain and I would record the vocals and we labored with the harmony textures, arrangement and voice doubling during the recording of the album. When Wain and I would double the same parts with our voices, the session sheet would reflect the “BRWAIN” voice (Brit & Wain) overdubbed. I think, IMHO, that the vocals stand on their own and serve the album well. As the group prepared and rehearsed for the performances, Andy and Bill were incorporated to help with harmonies. Eventually, we all contributed to the vocals during performances. It was ALL a labor of love, long hours, experimenting and finally deciding on the final mix. After much deliberation by Wain, Mike and myself, I realized that, as a group, selecting a self serving title was not to be. After noticing that if I put song titles together from the three writers, I came up with “Reap ( from “ The Lonely Reaper” by Brit), the Lost (from “Lost my Past to You” by Wain), Dreamers (from “Wine for Dreamers” by Mike). We had a title that included everyone who had contributed to the writing of the album and fit the premise of the album... Hope our music will be your Companion!

Solomon Alfred's in Memphis, TN circa 1980-81.

Bradley: Leviathan recorded all its material at Royal Studio in Memphis. So did Companion. I had helped engineer some of the second album so I had a working knowledge of the room. The entire album was accomplished by experiment, accident and sometimes we actually got the magic and figured it out. It seems we did write some of the material in the studio but Brit, Mike and I had ideas we worked up and brought in and everyone added their parts. Brit and I did all the vocals We called it “Brain”. We would set up the mic, put the tape machine in record, run into the studio and sing, run back and stop it. We did it a lot. Most of the time it was just he and I there so we did what was needed. We recorded and mixed the entire album there except for one track we remixed at another studio. The album title was a combination of words from our song titles. The RAV label was a custom deal done just for that album. Basically 3 people and their initials RAV. We played them the tracks thinking demos and we would re-record everything in a bigger studio. No, they loved what they heard and wanted to release it. The band did record many more songs but music had changed and we couldn’t find a home. We were going to have t-shirts saying “Companion, the best band that never was”. At the end of the 70’s, Brit and I decided to retire the group and move on.

How did the deal with RAV Records come about? What was the first order of business once the album was released? Did you guys go on tour, or play a line of shows to help promote it?

Warner: Wain instigated the arrangement with RAV Records. Up to the point of meeting with them and signing contracts. They were kind and dedicated to Companion although I remember resources being very limited. There were only one thousand albums pressed on that first release as I recall. Surprisingly, they went fast. I have seen them on sale on the web, Sometimes for hundreds of dollars! I know Wain will have more to offer on the particulars of those involved and how the original contacts were arranged. I do know that I was grateful for their friendship and help in releasing the album. It was a long road trying to find support in Memphis and abroad. No one knew what to do with us and our style which was not a “Memphis” sound as the world knew it. However, I do believe we left a positive impression. If not for RAV, I do not believe it would have been released. I remember a first priority of securing a safe place to rehearse and write.

Miraculously, we found a home in the closed down Exchange Building in downtown Memphis. The 4th floor on the northern end of the building became home to Companion. I remember people sitting in the park below listening to the music. Once we had the rehearsal space, we could really focus on live performances. Once again, venues for us in Memphis were few. We found a performance home in Soloman Alfredʼs and performed there on a fairly regular basis. A huge help in promoting the album was WLYX at the campus of the then Southwestern University at Memphis. They played the album constantly and interviewed us on the air as well. We had a very large following but could not get national attention or interest at that time. There is no blame, we were just not in the right place at the right time for discovery to happen. It seemed to occur many years after the group in the appreciation of the album.

What eventually happened to the band after this? Did you continue to create music throughout the 70s? What have been up to in more recent years?

Warner: After much consideration with my family and self, I made the decision to leave Companion in 1983 and pursue a career in film industry location and post- production sound. Wain, Andy, Mike and Bill continued in a new band called Secrets with Vickie Loveland as vocalist. Joe Dixon became the producer - engineer for the band. I continued to help the band in any way I could. They enjoyed local success and continued recording in hopes of securing a record deal with a label. Companion was my last group and I am grateful for the friends and music we created. As I stated, I moved on in my career as a production sound mixer for film and had many great experiences shooting on location over the years. After film school at the University of Memphis, I got to work with amazing talents and crews and continue in many friendships made over the years. In 1996, I decided to come off the road and moved in to post-production sound. I was an on staff sound designer at Crawford Communications in Atlanta, GA in the early 2000ʼs and moved in to my own post-production company, Sonic-Ally, in 2016. The last film that I Sound Supervised was “Robert Shaw, Man of Many Voices” which was nominated for an Emmy in Sound in 2018. I have continued writing music for my own and familyʼs pleasure. My record days are over but my love for music and sound is an ongoing journey of exploration.

Bradley: I loved studio engineering, so I played some but worked behind the board as much as possible in Memphis studios. Brit opened one of the first digital recording rooms in Memphis. He brought me in and we pioneered digital audio there. We moved to Atlanta in the 90’s and I went to work at a 24 track room there. We were one of the first beta test sights for ProTools. O my, what an adventure that was. However I learned how to merge digital and analog audio. That led to a position at the largest post facility in the mid South, MPL Film and Video, as head of the audio department. One of the very first post houses in the country with a digital audio suite. I also began broadcast video editing with Avids and worked at that for years. That has led me to indie film making which is what I do now. I am a producer/film editor/Sound Designer and VP of Post Production for Jackpot Pictures in Stamford, CT. Our feature film “Moments of Youth” is in post and scheduled for release spring23. I have 2 other projects coming up. One shooting also in spring ‘23 and another fall of ‘23.

Is there anything else you would like to further share with the readers?

Warner: Support your local musicians, support your creative spirit and appreciate those that share theirs with you! Thank you for the opportunity to share my journeyʼs path...

Bradley: If you have a dream and feel called to do something creative with your life, do it, find a way. Greatest thought ever shared with me, “with everything you try, you either WIN, or you LEARN”.

Brit Warner & Wain Bradley - Companion

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