Steve Grimmett (Grim Reaper) Interview

Regardless of how old you are, the grim reaper is coming for you. It might not be today, it might not be next week (or hell, it might!) but sometime, you will have to meet the man in black during your fateful, final encounter. That’s the band news. The good news, for metal fans at least, is that we should be more than acquainted with the grim reaper by the time he gets to us, or at least those of us who have been fans of New Wave of British Heavy Metal Grim Reaper will be.

Formed in 1979, Grim Reaper has been going strong across the pond for more than four decades, give or take a hiatus or two. Over the years, Grim Reaper has cultivated a devoted fanbase across the globe. Throughout it all, singer Steve Grimmett has seen the band rise from a group on the local circuit to one with a worldwide following. I recently caught up with Grimmett over Zoom to talk about his illustrious career with the band.

First off, how did you get into music in general and then singing?

Steve: As a kid, I used to listen to all sorts of pop stuff, back in the day. How I got into music was a girlfriend at the time caught me singing in the bedroom and went, “You’re pretty good” and I went, yeah, yeah, yeah. She said that there’s an audition coming up for a local band and I thought, “Alright, I’ll go” and I got the job. That didn’t last long but I got the bug. It wasn’t too long after that that I got myself into another local band and then that finished up and I ended up creating, along with the guitarist, Medusa. That was my first sort of real shot at doing it. It was in the blood and it’s still in the blood [laughs].

What was the journey from Medusa to Grim Reaper?

Steve: I don’t like saying it but it was a rival band at the time…different singer, drummer, bass player. I got a phone call from Nick Bowcott one evening and he was drunk as a skunk. He just dribbled drivel [laughs]. But he phoned me [again] the next day and said “Look, the reason I called you is I’d like you to sing for Grim Reaper” and I said “Ok, fine.” At the time, it was a few weeks previously to my dad that that was the only band I wanted to sing for. I really liked the stuff and they were a great band. Nick and I hit it off really well. He’d already got a new drummer and bass player and we struck it off, all of us, and away we went.

So you were a fan then before joining Grim Reaper?

Steve: Yeah, when I started off with Slade, I loved the band, and then I gradually got into heavier and heavier stuff. Thin Lizzy was one of them. The reason I actually sing is because I love Elton John. I especially love the periods when he was with Bernie Taupin who he wrote all his lyrics [with] and he’s again with him now and he’s producing some phenomenal stuff. That’s why I started to sing. Recently, within the last two years, I found out that I’m distantly related to him so maybe that’s it [laughs].

That’s pretty cool. How’d you find that out?

Steve: My mother gave me a family bible from 1830 or ’48 and there were pages in there for people to write their own family tree in there and, lo and behold, on my mother’s side it connected to the Dwights and of course Elton John’s name is Reginald Dwight and I was born in the same area as he was. The whole thing sort of links up.

What were those early days like with the band, transitioning from fan to lead singer?

Steve: We used to do a lot of drinking back in the day, Nick and I especially. Toxic twins comes into mind; we were awful. We got on like a house on fire to start off with. We started off…it wasn’t really touring but we were doing gigs all over England. I did a single for a band called Chateaux for Ebony Records and I did that and I wasn’t in the band, just purely doing them a favor. Then they asked me to do an album, because they still hadn’t found a singer and in between me doing the single and me doing the album, Grim Reaper had won a battle of the bands and we had won a session in the studio. We did the session and I took the session to Ebony Records when I went up to do Chateaux’s vocals, and six weeks later we were signed and on the dotted line. It was a bit of a whirlwind to be fair because it got into the States under import. A guy called Walter O’Brien, who I’m sure owned Combat Records at the time, he got in touch with Ebony Records. They said [they] didn’t want to deal with an independent label, [they] wanted to deal with a major so he took it to Bernie Goldstein at RCA and the rest is history.

What was that local scene like when you were starting?

Steve: It was hot, it was really good. I’ve gotta say, it’s a shame that it’s not still that way, you know? Places have closed, venues have closed, and people…I always sort of liken it to we used to have a gig in the middle of nowhere and I mean the middle of nowhere. It was an old ’30s ballroom place and we started doing gigs there and we were getting fairly decent crowds of people. People would drive there, which they won’t anymore, and it became one of the gigs we did on the circuit, it became a circuit show. You had the likes of Motörhead and Saxon play there and it was a fantastic gig but, if it were to open now, well, it’s a pile of firewood now, but today I don’t think it would be any sort of success because people are not willing to get off their back sides and go watch a band. It’s a shame really.

Is that kind of the main reason you attribute to the scene slowing down there, laziness?

Steve: Yes, yes and metal really isn’t the “in” style anymore. I don’t really listen to chart stuff. I don’t listen to the mainstream radio stations because I can’t stand the soulless rubbish that they keep producing but selling millions of. I’ve never got that. Am I bothered? No, I’m not bothered because I can still travel the world over doing what I do. I’m not a millionaire by any stretch of the imagination and never will be, but I do it because I enjoy it and I enjoy seeing the fans’ smiles on their faces. I do that – I put smiles on my fans’ faces and that is priceless. I love it, I really do. Obviously, losing my leg five years ago made a difference. It’s a lot harder to tour now. I used to moan like hell every show every show we got to because there’s stairs but what’s the point in moaning because every venue’s got stairs so it’s like, “Get a life Grimmett!” Even my band said that I’m a grumpy individual that’s very good at it [laughs]. But no, I do love it. I recently got back from Brazil. That’s a place all of its own. The fans are absolutely, how can I say it, very, very passionate and they just want to be a part of your life. For me, it’s getting harder because wearing a prosthetic leg, it’s sort of between 40 and 50 percent more energy I have to put into the walking and it becomes a bit of a pain in the backside but it’s ok, that’s what I was given and what I get along with.

What was the process like to record Grim Reaper’s debut, See You in Hell?

Steve: It was well-rehearsed, the stuff, because we’d been playing it for two years, at least. We went to Ebony Records, who had their own studio, and we set up and we recorded it, the whole thing, including overdubs, backing vocals, [and] we did it all in four days because it was well-rehearsed. I can’t remember how long it took to get mixed, maybe another week, but it wasn’t very long. We spent more time doing Fear No Evil and then a lot more time doing Rock You to Hell. It was exciting because we had not done it before. We hadn’t done an album and it was an enjoyable process, really cool.

How exciting was that to get the first pressing of the album and have an actual, physical copy of your work?

Steve: It was awesome. Back in that day, I don’t think we had cassettes, maybe we did, but we certainly didn’t have CD[s], so we were getting twelve-inches. It was such a thrill to be able to say that I’ve got an album. The record label would phone me [saying] “We’ve sold this many” or “We’ve done this” and the whole thing just took off. I can’t tell you why because we certainly didn’t have the reach that we’ve got these days with social media. It was all done through magazines and Ebony Records, who were not really a company who advertised really well. Eventually it got into the States and that was that. We only toured the States, we didn’t tour anywhere else, I don’t think anyone had their finger on the button for where else to play. There was the likes of South America and there was the likes of Europe but we didn’t do it and it’s a shame, really.

The cover for that one became such an iconic image for you guys. Who came up with that design?

Steve: It was my idea. I don’t know how I came up with it. It was just what I saw: grim reaper on horseback looking over the rest of the world waiting for them to come to him, and that was it. Gary Sharpe-Young, the artist, was a fantastic artist. I also know his daughter and she’s just as good. I can just about draw a stickman and they have my ultimate respect for what they do. He was a phenomenal artist and he did Rock You to Hell as well, just stunning artwork.

What was the music writing process for you guys back in the day and how’s that changed over the years?

Steve: We used to rehearse a lot every weekend and basically that’s where we wrote the stuff. Nick came back, cause he was in college at the time, and said that he had an idea for a song. I said “Alright, what’s it called?” He said “‘See You in Hell.'” We played the song and that got into my head and I took that idea home and, I gotta tell you it’s a bit crass, but I actually wrote the lyrics while I was having a shit and it was funny because that title put us in the ranks of devil worshipers and it’s so not. It’s about the temptation of Christ and I’m still explaining that, 40 years on! Of course we never ever thought it would be as big as it is. If I do a show now and I don’t play “See You in Hell,” I’ll get lynched. It’s phenomenal that you write a song and it lasts that long in people’s memories. It’s fantastic.

How do you normally write lyrics?

Steve: I normally get a tune, a backing track, from whoever I’m writing with and then I come up with the melody and lyrics from there. I’ve done quite a lot, over the lockdown period, of songs for different people. It’s cool because some have really inspired me and then some of them don’t and it takes me a long time to get into it, but eventually I do because that’s one of the ways I earn money. It could happen any way. I’ve got an idea for the next album. It’s good and I really enjoy doing it whatever shape or form it comes to me in.

You mentioned earlier getting lumped in as a devil worshipping band. Do you think that helped you guys get attention or hurt your reputation?

Steve: No, we’d already gotten the attention. I did find out from a fan that her pastor was gonna take us to court over See You in Hell and something else and that surprised me. I think the reason he didn’t do it was Judas Priest won their case and so did Ozzy Osbourne, so I think he thought it probably wasn’t worth it. I don’t know if that would have been a particularly good thing or bad thing. I don’t like being in court so I’m glad it didn’t happen.

Those court cases are kind of scary to look back on because if they had lost, it would have changed music tremendously.

Steve: It would have. That’s a shame really because it’s against freedom of speech. You’re basically putting a stop on what I want to say and I don’t agree with that. I’m not a devil worshiper anyway. I’ve only ever sworn once in one song and that was recently. My lyrics are based on, certainly back in the day, on Hammer House of Horror and basically it’s a three-and-a-half or four-minute House of Horror and that’s all it is and the same for Grim Reaper. It’s one of the four horsemen from the Bible, from Revelations, and it lends itself to great artwork. It’s not something that I worship, it’s not blah blah blah and all the things I’ve been accused of. It’s like, get a life, you know?

I read “Dead on Arrival” is based on you knowing Brian Field from the Great Train Robbery. Is that accurate?

Steve: Yes. Way before I got into music, my family had a newsagent so we sold newspapers, cigarettes, chocolates, and that sort of thing. We used to open seven days a week but on Sundays, it was just 8 till 12. We had a knock on the door just after twelve o’clock and it was Brian. He said “Can I have the paper?” We let him in and basically that was letting him into our lives. He was one of the nicest guys you’d ever want to meet, and dad and I used to talk about him quite a bit because there wasn’t anything he didn’t know about and well with detail. My dad says “I bet he’s been to prison” or “I bet he’s done this.” Anyway, his wife and him split up and she came and lived fairly close to us and then, one evening, we get a knock at the door and it’s Brian. We hadn’t seen or heard from him in donkey’s years and he came in, got hellos and everything sorted, and he says that he’s come down here for a reason. He said “I want you to know about my past life” and that’s when he told us he was one of the Great Train Robbers. He was the lawyer that was involved in it. It was funny because we used to go see him and his wife down in Cornwall, a fantastic place to visit for holidays, and we were sitting to eat outside and I picked up my fork. It had B. Field on it and I’m like, “Who’s B. Field?” and they stuttered because we didn’t know at the time!

That’s wild to get to know someone and then find out they were involved in something that well known.

Steve: It was but it’s a true story. The second half of the true story is the fact that, because he was a family friend and always would be, I picked up a paper in the morning when I was working and there he was, second page in. He’d been killed on the freeway and it was just something that…I was gobsmacked. I couldn’t believe I was reading it but it was true. We went to his funeral in Wales and yeah, it was surreal, really.

People always say you have your whole life to record that first album and then the pressure sets in with the second one. What was that process like for you guys?

Steve: It was actually easier because we decided, and talked to the record company, we would spend more time with it. It wasn’t quite as well-rehearsed as See You in Hell so we needed to take our time, which we did. It was still done in two weeks, or something like that. It was a lot more attention to detail more than anything else. We weren’t under pressure to finish it or to do it in the first place, although RCA tried to do that, but we went’ “You’ll get it when you get it.” It was another good experience again because we were all together. It was like a holiday.

By the time Rock You to Hell came out were you guys pretty comfortable with the whole process by that point?

Steve: We definitely were. We were ok with it entirely but Max Norman came along and destroyed all that and that’s not in a bad way. He tore the songs to pieces, made us rewrite stuff where we needed to, and he said to me one night while we were at dinner “You’ve got a problem.” I said “What’s that?” and he said “You sing out of tune?” I was like “What, what are you talking about?” Then I started to listen to it and actually he was right. He put me through hell. It was just the worst thing I’d ever done, but when I got home, I sat at a piano for six weeks learning to pitch. He did me a favor and whilst I was going through all this, I was going to Nick [saying] “I can’t do all this, it’s impossible. It’s absolutely impossible.” Then it comes to Nick’s time for doing stuff and, lo and behold, he comes to me and says “I can’t do this!” I just learned that this is what a producer is all about. It’s not the sound, it’s got nothing to do with the mix. The producer is [who] crafts your talent and that’s it. I hear the term “Oh that’s nice production on that.” It’s not production. Production is how the producer gets you to use your talent. Mixing is how it sounds. It was a great experience.

How much did it shake your confidence when he said that to you?

Steve: It threw me entirely off because it got to a point where I couldn’t open my mouth without me thinking about it, which is the wrong thing but a good producer sees your weakness and works on it. He brings you down to start off with and then they build you up. I’ve seen this on more than one occasion and it’s a good thing. If you treat it as a good thing it becomes easy. If you fight against it, it’s horrible and I’ve seen that too. I did some work, and I won’t say the band’s name, but I did some work with a producer called Stephan Galfas and he had me sing the main song, the single from the album, so this guy could copy it. When I heard the single, I thought “That’s more me than him, what the hell’s going on?” I take my hat off to producers, they really earn their money.

You also had to be willing to take that advice and put in the work when he told you that. I imagine a lot of people would just tell him to piss off at that point.

Steve: Absolutely. I did think that to start off with. I wasn’t very good at riding that but I thought, in the end, this guy is world famous and knows what he’s talking about and I don’t so let’s get on with it. I went to him and asked what I’ve got to do to do this. That’s when I decided I’ve got to get on with it and trust him and that’s what I did.

That album had a bit of a delay on actually coming out. What happened there?

Steve: That all had to do with Ebony Records. They had been stealing our money and we took them to task over it, and we basically left Ebony Records and then he sued us for leaving to the point where he wouldn’t let us work either. I can’t remember how long we spent, I think it was two years, not working. We couldn’t tour or do anything, such a shit time. I can’t believe people do these things to each other. It’s a horrible thing to have to go through. That’s the reason for the delay.

Did that play into you guys disbanding the first time there in ’88?

Steve: Kind of because the momentum of Grim Reaper had slowed down so much because we weren’t out there. I had an offer from a band called Onslaught. They said they’d love me to come sing for them, and they made me an offer that was really good so I went back to Nick [and] told him what happened. I got in touch with my management, got in touch with RCA Records, and I didn’t hear anything back from any of them. I said “Ok, I quit Grim Reaper and I’m doing the job with Onslaught.” I did that Onslaught album and I had my own band, Lionsheart. I was really disappointed with what happened with Grim Reaper. It didn’t need to happen and certainly the way I was treated.

I wanted to ask about that Onslaught album, In Search of Sanity. How much different was it for you to record that album with a new band at that point?

Steve: It was pretty similar. Although it was a totally different genre for me, I got on really well with the production crew. That was when I first met Stephan Galfas. He let me get on with it because I don’t think, for one minute, that he understood thrash metal but he made a great job of it and his team made a great job of it. I came along after the record company pleaded with me to do a good job. I said I’m not going to do a bad job. I did it and I enjoyed it. The process is exactly the same except it was a finished album before I started work on it so all the pressure was on me. I was the only one working. All the bass, the drums, the guitars had all been done. It was all on me but again, it was good. It was a great album to do. I know it’s their best selling album. It was good.

How did you end up forming Lionsheart?

Steve: I met the Owers twins, guitarist (Mark) and bass player (Steve), and they had made it known that they wanted to work with me. I said I wanted to do British blues-based rock, kind of like Whitesnake and that’s what we did. I thought it was a fantastic album that didn’t do that well. Well, actually that’s not true. It did exceptionally well in Japan, went to number one in the Japanese charts, which is totally unheard of for a non-Japanese act. That was stunning. I was talking to the A&R guy one morning to go and do a load of press work, and he said “Steve, if you do 15,000 copies in Japan, it’s considered a success.” I said “Yeah, I’d really love to do that, it’d be fantastic.” He said “Well, we did that in the first two hours this morning.” It was like, bang, straight to number one. It was everywhere. I couldn’t walk down the streets without being recognized and pawed all over. It was really cool and I know they’re desperate to have Grim Reaper over there as well. We just gotta wait for all the COVID stuff to go away.

All of your bands have had similarities but they’re all very different styles of music. What do you like about the challenge of playing in those different sounding types of bands?

Steve: I like Grim Reaper. I like what that does. The kids love the songs. I just got back from Brazil and there isn’t a song they don’t know. They know all the lyrics and everything and I could just turn the mic and point it at them and they’d sing it all night long. That gives me great pleasure. I don’t think it would be fair on myself if I didn’t expand and try other things. I do like doing that and that, in a way, is doing different songs for different bands that come to me and ask me to feature on a track or album. I like doing it, I really do.

How did bringing Grim Reaper back in ’06 come about?

Steve: It was funny, actually. The reason being was I got involved and [a manager] was getting us shows all over Europe. He would say there’s no money in it but you’re going to do this show. I’d say fine. Little did I know he was reaping all the money. He put us up for Wacken and I said “We’re not doing Grim Reaper stuff at the moment.” We called the band Seven and were doing that stuff. I said that I’d like to do Wacken but it won’t be Grim Reaper. He said he’ll tell them and I kept asking to make sure he did. When we get there, I get my package with everything we need from Wacken and it’s got Grim Reaper on it. I thought, “What have you done?” but couldn’t get ahold of him. Basically they were wanting Grim Reaper and they didn’t get it. They got three songs, the three title tracks. I think that upset them because I haven’t been asked to play there again since and it’s not our fault.

Then we got asked to do the Keep It True Festival in Germany, which is a great festival. The producer of that show is a great guy, a personal friend of mine now. We got asked to play that and I was watching all the bands before us and the place really wasn’t that full. I had decided at that time that I was gonna give it up. Just before we were about to go on, I took a peek through the curtains to see what was going on and it was rammed, absolutely rammed, so we went on and it was fabulous. We had a great gig. I got back to the dressing room afterward and said “What do you think about this?” and they said we’d better write a new album so that’s what we did, Walking in the Shadows, and I couldn’t believe the response that we got. Then, all of a sudden, we get offers coming in, offers to play here, offers to play there. That’s when we decided that we would go for it.

I got in touch with Nick and said that we were being asked to do all this and would he be interested? He said “No, I just want to let sleeping dogs lie.” I said that I’m gonna do it and that I had a taste of what it could be like and we did. I came up with a thing with Nick to say it’ll be called Steve Grimmett’s Grim Reaper because he didn’t want anyone thinking he was playing in the band. Now, whenever he gets the opportunity, he’s inviting himself to come and play [laughs]. But we’ve taken Grim Reaper way beyond where it was back in the day because we only ever toured the States. We still do that now but we’ve been all over Europe. We’ve done it in Australia and I’m hoping I can get it together this year to do Japan, Australia, and New Zealand. 

Were you surprised at all with how fervently people wanted Grim Reaper back at the time?

Steve: Yes, I was very surprised. The refreshing thing was that it wasn’t like the fans back in the day. They were young fans, like teenage and upwards. There were still some old farts in the audience like myself or the same age, the diehard Grim Reaper fans. That’s the same worldwide. We see in Europe mainly 16 to 25 year-olds. Definitely the same in Brazil and South America. I just don’t get it. I used to question it, like how the hell is this happening? Then I just don’t question it and just think play for them and get on with it. That’s what we do and we love what we do.

So what do you look for in a potential new member of Grim Reaper when you have those spots? Has that criteria changed as the years have gone on?

Steve: No, I’ve changed things slightly. I now use three lots of guys. For South America, I use South Americans. For the States, I’ve got a band of American guys. For Europe and England, I use the guys that I’ve used for a while. Basically, I had a long conversation with my label and they basically said take charge of your own career, you are the key asset and you need to see what you want to do and not bow down to what others want. The rest of my guys will not tour in the States for more than three weeks, a waste of time. It costs me the best part of nearly $10,000 before we even get on a plane. That’s just for my work visa and the flights. I could do away with most of that by using American guys. It also makes it easier to get a visa because I’ll be employing Americans. That works the same in South America so that’s the way it’s gonna be done. I don’t pick average musicians, either. The guys in the States, I’ve toured with before. I did a tour in Europe with The Three Tremors and so I played with a backing band, phenomenal. I know what they’re like. They’re all youngsters. The drummer is now playing for KK’s Priest and he’s out at the moment with Ross the Boss. Phenomenal drummer. I’ve never worked with a drummer like him, the guitarist as well. He’s a young guy, but he plays ’80s style, stunning, stunning guitarist. Same in Brazil, the guys out there are stunning musicians.

Was it weird to record that first album back, Walking in the Shadows, after so long away from the band?

Steve: It kind of was because we thought that we needed to go for the Grim Reaper sound, which we did I still maintain to this day. That was good fun. It was done in my own studio. I loved doing it. I love playing live and I love being in the studio so for me it’s a no-brainer, I’ve got to enjoy it. That was quite good but again, with people working, it’s a pain in the ass to get them together and play. To write to start off with and then it’s such a long process. That drives me insane when it doesn’t need to be. I’ve got an album, virtually half written and recorded, actually. I think that’s going to be coming out next February. I just thoroughly enjoy the whole process of being a musician.

What are your thoughts on how the last album, At the Gates, turned out?

Steve: [That] wasn’t really me because I was in a mess, to be quite honest with you, mental health wise. I’ve got PTSD from losing my leg and two years into that I lost my brother. I was just at an all-time low and I couldn’t write. I had a mental block. I could write some stuff but it’s not Grim Reaper, as far as I’m concerned, although it still sounds like it. For me, the whole thing took two years, over time, and I gotta say that I was part of that, but mainly it was the rest of the band that was holding it back and that’s another reason why I’m saying that I’m not doing that anymore. I can’t say I enjoyed it this time around because I didn’t. My head was not in the right place, it is now, but I just didn’t get it, didn’t want to do it, didn’t want to be there, and I don’t know whether you can tell but there it is.

So the one you’re shooting to release next February, is that under the Grim Reaper name?

Steve: Yes.

How’s that one been going for you?

Steve: It’s going great. It’s only just recently that I’ve come out of this dark hole so the writing has been better. The guys understand that, so it’s really cool. I’ve got another six songs that I’ve gotta finish and then they will mix it and it comes back to me and I master it. I’m thinking maybe at the end of August I’ll give it to the label.

How affected were you by the COVID pandemic and the lockdowns?

Steve: We couldn’t do anything. We could have but the only guys to contact me to say “Let’s do an album while we’ve got the time” were the American guys and I said yeah, let’s do it. My guys…haven’t heard a dickey bird from them about writing another album. It’s gotta continue and I’m up and ready. Going to Brazil has done me a world of good and I’m ready to get back on the train and get going again.

How exciting is that for you to get things somewhat back to normal and be able to play live again?

Steve: It’s good. It’s good for the soul. I play in a duo with a friend of mine, a guitarist, and we play to backing tracks. We’ve got a whole setup…P.A., monitors, and a light show. We can’t even do that because he works but he’s a civil servant, and they are having to deal with COVID still so he’s not available even to rehearse, so that’s all come to a stop as well but it shouldn’t be long before we play again.

Looking back on your career, do you have a favorite album that you’ve been on?

Steve: They’ve all got different things for me, but I think Rock You to Hell was my favorite because it sounded great. It sounded like Grim Reaper should have sounded in the first place. With my guitarist, Ian, who lives in the UK, we did a Steve Grimmett Band album called Karma and that was great because I love the songs. I didn’t write all of them but I still love all the songs. When I first heard the first mix of the first song, I was so taken aback. This was how I wanted it down all along. Unfortunately, the record label we were using let it slide and it slipped through the cracks, which is a real shame. Another one I did with a guitarist from the States called Steve Stine called Grimmstine, that’s one you should check out, absolutely fantastic album. We had a writing process that was just stunning. He would send me noodles and I would chop it up. It was so easy to write and it was [so] easy that we’ve got a second album written.

What do you think Grim Reaper’s place in metal history is?

Steve: I think that we are probably one of the leaders of the New Wave of British Heavy Metal now. It wasn’t until I went to Brazil that I said, why am I so popular? People [there] said “You’re a legend!” I said “What do you mean, a legend? What’s that mean?” I know what it means, really, but why am I one? “Well, because you were part of the setup of the New Wave of British Heavy Metal.” I kind of accept that now. I think that Grim Reaper was and is a part of that. I think that’s well recognized. We did our job.

Is it wild to you to be 40-plus years on and still going with the same band?

Steve: Yeah, it’s funny actually, that you mention that. Lots of people say it’s Grim Reaper but now, when people mention it, it’s Steve Grimmett’s Grim Reaper, it’s not Grim Reaper anymore. We’ve done albums, we’ve done the live stuff, we’ve been all over the world. People just accept it being Steve Grimmett’s Grim Reaper instead of Grim Reaper.

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Photo at top: Rock You to Hell album cover.