Turning Time: Sean Manning, The Exiles, and the Return of a Lost Hard Rock Project
Catherine Nadal welcomes Sean Manning, guitarist for The Exiles, for a conversation about his early music career, his partnership with Paul Rafferty, the rediscovery and restoration of Turning Time, reinvention beyond the music business, classic rock influences, modern studio technology, artificial intelligence, and the stories behind “Rainmaker” and “Soul Woman.”
Guest Spotlight: Sean Manning
Sean Manning is the sole guest on this episode of Bringing the Darkness to the Light. He is introduced as the guitarist for The Exiles, an international hard rock project inspired by the sound and spirit of 1970s bands such as Led Zeppelin and Bad Company. Manning discusses his long creative partnership with Paul Rafferty and the unexpected revival of songs they originally recorded decades earlier.
From England to The Exiles
Manning explains that he became a professional musician in England as a teenager and moved to the United States near the end of the 1980s to study jazz. His career soon expanded into hard rock, heavy metal, session work, Quiet Riot, Hurricane, and the Los Angeles music scene. Through music-industry connector John Sutherland, he met Paul Rafferty, and the two quickly bonded over shared influences including Led Zeppelin, Free, Jeff Beck, and the Faces.
The Lost Album and the Rebirth of Turning Time
The Exiles’ album Turning Time began as a collection of 1990s demos that received little distribution and no meaningful record-label support. Manning says the rise of grunge changed the industry just as the project was developing. Decades later, interest from a European record company brought him back to the recordings, where he discovered five forgotten songs and gained the opportunity to re-record, rearrange, remaster, and finally produce the album as he had originally imagined it.
Reinvention, Risk, and a Return to Music
As Napster, the iPod, and digital distribution transformed the economics of recorded music, Manning decided to reinvent himself. He moved into financial markets, film financing, real estate, and other business ventures before the Exiles project unexpectedly drew him back into the studio. Catherine connects that reinvention with the same willingness to take risks that brought him from a small English village to the United States as a young musician. Manning says growth often requires entering situations where failure is possible and refusing to remain unchanged.
Rock Memories, Paul Rafferty, and Creative Brotherhood
Manning recalls encounters with Ronnie James Dio, Paul Stanley, Gene Simmons, John Entwistle, Zak Starkey, and other major figures from his early career. He describes many established artists as gracious and generous, and he shares the surreal memory of discussing red wine with John Entwistle at Zak Starkey’s house. Manning also speaks warmly about Paul Rafferty as a singer, songwriter, painter, sculptor, and creative brother. Rafferty’s original lyrics, drawings, and studio notes were later incorporated into the restored album package.
Technology, Musicianship, and AI
Modern technology made the restoration of Turning Time possible because the original master tapes had deteriorated and had to be baked before transfer into Pro Tools. Manning praises the efficiency of digital production but warns that overreliance on technology can make music sound technically impressive yet emotionally uniform. He argues that musicianship still requires the ability to play an instrument and rejects AI-generated music as equivalent to human performance. At the same time, he says he used AI as a visual tool for the “Soul Woman” video while keeping the music itself entirely human-made.
“Rainmaker,” “Soul Woman,” and the Release of Turning Time
“Rainmaker” began with a riff influenced by The Cult’s Sonic Temple era and became the first song shaped by Rafferty’s vocal melody and lyrics. “Soul Woman” was one of the lost tracks Manning had completely forgotten until the master tapes were reopened, and he later rebuilt it with additional guitars, vocals, keyboards, and modern production. Manning says Turning Time contains fifteen songs spanning heavy rock, acoustic passages, mandolin, blues, and Faces-style rock and roll. The episode closes by encouraging listeners to follow The Exiles online and explore the album as new songs are released.
