Cherry Red released the Lou Gramm‘s ’80s solo material in 2021, as Questions And Answers (The Atlantic Anthology 1987-1989). Prior to that the last release of ‘new’ music from the original FOREIGNER singer was 2009’s Lou Gramm Band CD, which is well worth finding. This upcoming collection, strangely titled ‘Released‘, comes out March 27 through Cherry Red Records/HNE (UK). Check out details & tracklisting below in the press info.
Both Released and 1987’s Ready Or Not are being reissued on color vinyl through Friday Music, for details click on the titles.
The first single from Released is an instantly likeable upbeat 80s pop-rock track title “Young Love”, which features Vivian Campbell on guitar.
Released is the long-awaited new solo album from legendary vocalist Lou Gramm, best known as the iconic voice of Foreigner. Arriving in March 2026,the album presents ten original songs written by Lou alongside former Black Sheep bandmate Bruce Turgon, capturing the classic AOR sound that has defined Lou’s career while delivering a powerful sense of rediscovery and completion.
Lou says: “My new album ‘Released’ is a collection of unreleased songs that were recorded in the 1980s during the production of my 2 previous solo albums. These are powerful, heartfelt songs with a great vintage sound taken right from my old multitrack tapes. This new album was a long time coming and it’s a real nostalgia trip. When I pulled these songs out of the vault, I knew I had to finish them for my fans around the world, so they can experience what I did when I first heard them after all these years. It means a lot to me to finally see this album released, to be taken back in time when I hear this music again, to remember working with all these great musicians, and to feel that my catalog is now complete.”
Produced by Lou Gramm himself, Released features appearances from an outstanding cast of musicians, including Tony Franklin on bass for “Long Gone” and Vivian Campbell on guitar for the opening track “Young Love”, alongside long-time collaborators such as Lou’s brother Ben Gramm on drums. The result is a collection that feels both timeless and deeply personal, rooted in the era that made Lou one of rock’s most recognizable voices.
Born and raised in Rochester, New York, Lou Gramm emerged from a highly musical family before forming Black Sheep, whose two albums for Capitol Records have since become cult favourites. A pivotal meeting with Mick Jones in 1975 led to the formation of Foreigner the following year, launching a career that produced a run of multi-platinum albums and hit singles. Foreigner famously became the first band since The Beatles to see their first eight singles reach the US Top 20.
Alongside his work with Foreigner, Lou enjoyed major solo success with Ready Or Not(1987), featuring the hit “Midnight Blue”, followed by Long Hard Look (1989), which included “Just Between You And Me”. Now, with Released, Lou delivers his third solo studio album, completing a vital chapter in his solo catalogue while standing proudly alongside both his earlier solo work and his defining recordings with Foreigner.
The album also includes “True Blue Love (Unplugged)”, originally appearing on Long Hard Look, and follows recent high-profile collaborations with Foreigner connected to the band’s induction into the Rock and Roll Hall of Fame in 2024. Lou Gramm will be touring throughout 2026 in support of Released, with dates announced in March.
TRACKLISTING
1 Young Love 2 Lightning Strikes 3 Walk The Walk 4 Long Gone 5 Heart And Soul 6 Long Hard Look 7 True Blue Love (Unplugged) 8 Deeper Side of Love 9 Time Heals The Pain 10 Word Gets Around
Formats Digital Album Dolby Atmos Album CD (HNE Recordings / Cherry Red Records) Vinyl (Friday Music)
CREATURES recently released their second album, Creatures II, to follow up their debut in 2021. The 4-piece band from Brazil is heavily influenced by ’80s hard rock and heavy metal bands like Judas Priest, Ratt, Ozzy, Dokken….and although I see no mention, lead vocals definitely remind me of Lizzy Borden. Creatures II features a new line-up, with the band lead by guitarist/songwriter Mateus Canteleano, who has answered my questions below. Bandmembers also included their ‘top 10’ album lists, as well as influences.
CREATURES consists of Mateus Cantaleäno, Marc Brito (vocals), Ricke Nunes (bass), and Sidnei Dubiella (drums). *Check out Creatures II, the interview, and the links below.
Can you guys tell me a bit about the band coming together and direction?
Mateus Cantaleano: Basically, this lineup came together around 2022, a few months after the release of our first album, which was recorded only by me and the former singer, Roberto. After the release of the album, people started getting in touch with me asking about live shows, and since Roberto had moved to Canada, I invited Marc—at first just to sing the first shows—and CJ to play drums. The last one to join the band was Ricke, who became part of the band in 2023. We created a really strong connection not only musically, but also in our personal lives, and this naturally became the official lineup of the band.
What are some of the yours (bandmembers) favorite bands, musicians, influences that you grew up on?
Mateus: For me, it was and still is bands like Judas Priest, Dokken, and Scorpions. As guitarists, I’d say Yngwie Malmsteen, Uli Jon Roth, and George Lynch.
Marc: Halford, Jon Oliva, Udo, King Diamond.
Ricke: Rush, Geddy Lee, Billy Sheehan, Juan Alderete, Felipe Andreoli, Bob Daisley, Jeff Pilson, Juan Croucier.
Are you able to give me a ‘top 10’ of favorite albums (each)?
Mateus (Top 10):
Defenders of the Faith – Judas Priest
Under Lock and Key – Dokken
Trilogy – Yngwie Malmsteen
Icon – Icon
Taken by Force – Scorpions
The Final Countdown – Europe
Bonded by Blood – Exodus
Down to Earth – Rainbow
Bark at the Moon – Ozzy Osbourne
Marc (Top 10):
Defenders of the Faith – Judas Priest
Invasion of Your Privacy – Ratt
Phantasmagoria – The Mist
Absolut Country of Sweden – Anti Cimex
Gutter Ballet – Savatage
Tower of Spite – Cerebral Fix
Ordem e Progresso – Azul Limão
Floodland – The Sisters of Mercy
Anything – The Damned
Into the Pandemonium – Celtic Frost
Ricke (Top 10):
Moving Pictures – Rush
Ready to Strike – King Kobra
Second Heat – Racer X
The Ultimate Sin – Ozzy Osbourne
Angels Cry – Angra
Icon – Icon
Back for the Attack – Dokken
Welcome to My Nightmare – Alice Cooper
Lean into It – Mr. Big
Leftoverture – Kansas
What is the metal scene like in Brazil? What sort of venues and shows have you been playing? Any major festival shows or guest slots ?
Mateus: Like I always say, I think Brazil in general is more focused on extreme/thrash/death/black metal bands and scenes, but we do have a small resistance within the traditional metal and hard rock scene. It’s not very big, but it’s loyal. Most of our shows here are as guests or opening slots for bigger bands—most of the time from other countries—or at festivals with local Brazilian bands. Sometimes we headline, and they are usually good shows in terms of audience.
A lot of excellent songs, such as Dreams, Devil in Disguise, Beware The Creatures, Nothing Lasts Forever…. This album doesn’t really slow down (til the last track). Any antidotes or stories behind some of the tracks? what stands out for you guys (individually)? and how much of this will the band be performing live on the road?
Mateus: Thank you! Well, something curious is that I usually compose the full songs alone at home, record a complete demo with everything, and then pass it on to the band. Each member takes their part, studies it, and adds their own identity individually. Since Marc doesn’t live in the same city as us, we never rehearsed or played the songs together as a band before recording the album—it was all a surprise. Also, balancing our jobs and personal lives, it took us a few months to record everything, but we were extremely satisfied with the result. For me, the standout tracks are “Beware the Creatures” and “Nothing Lasts Forever.” They’ve always been two of my favorites and still are.
Creatures II is a great production, with some riffs, intros, harmonies….Can you tell us about the making of the making of this album, as far as how aware you were about making it a ‘big’ sounding album? and what you (if) you had any 80s records or productions in mind that you might’ve strived for?
Marc: It took many, many hours of vocal recording on consecutive days, and there came a point where I was literally lying on the floor during every break between takes, even if it was just for a few seconds, lol.
Mateus: Well, like I said, it took a lot of work, days, and energy to record this album. We put the best of ourselves into it, and we’re very lucky to count on our producer and mixing engineer, Arthur Migotto, who has all the technical knowledge to bring out everything we were aiming for. We also tried to keep everything as analog as possible—real amps, real pedals, real drums—to sound as close as possible to what we like to listen to.
How does Creatures II compare to the first album (or differ)?
Mateus: First of all, I’m the one who recorded both albums, so this time we had almost a completely new band recording it. Over these four years, I’ve also greatly improved my knowledge of music, my skills as a guitar player, and mainly as a songwriter. I think the songs are much more mature on this album. Having a full band recording it this time—people who were already used to playing together and performing shows—also made a huge difference for the better. Musically, the new album goes into a darker territory, and I also think we have more heavy metal (and a little less hard rock) influences on this one.
Can you tell me about the albums artwork? Who created it? The ideas behind it, etc..?
Mateus: I developed the concept, and the artwork was made by a guy named Velio Josto, who had already worked with a considerable number of heavy metal bands that we like. We were aiming for something simple, something that mixed all that heavy metal and horror aesthetic that we’ve always liked and embraced. I think it turned out great.
What’s coming up for Creatures in the near future? Any possibility of shows in North America?
Mateus: Well, we have a few shows ahead. We’re going to play our first Creatures II show in a few weeks and do some more shows in Brazil. In April, we’ll play our first show outside Brazil, at the Keep It True Festival in Germany. We’ll actually be the first Brazilians ever to play this festival in its entire history, so this will be a historic moment for us!
About a show in North America, we would absolutely love to do it! I hope we can make this possible in the near future! 🙂
Compiled by GOLDEN EARRING archivist Wouter Bessels, Essential Earring became a challenge to compile the 10 most essential ‘Earring tracks, from over 50 years and dozens of hits in their homeland and abroad for new fans.
“Put together a single compilation LP with the very best of Golden Earring For the beginner, for the (young/youthful) explorer, for the (beginning) vinyl collector. And for a soft price. I did, Music On Vinyl was excited and a few weeks later I sat in the cutting room of Record Industry in Haarlem to make it together with the cutting engineer.”
Keyboard player & founding member of Canada’s legendary 70s band A FOOT IN COLDWATER, Robert (Bob) Horne passed away January 12.
Bob Horne had played in the pre-Foot band NUCLEUS, who released one album in 1969. He then went on to play on A Foot In Coldwater’s first 3 albums before leaving prior to the band’s 4th and final album (Breaking Through, 1977), and relocating to the US. He did contribute keyboards to the standout track “Why” from that last album.
*Below was posted on A FOOT IN COLDWATER’s Facebook group page, as were many other stories, images, and tributes. Please also check out the links below.
It is with profound sadness that we announce the passing of our dear friend and founding member of Nucleus and A Foot in Coldwater, Robert (Bob) Horne. Bob died suddenly on January 12, 2026. Our deepest sympathy and sincere condolences to Fran, Bonnie, Kari and the extended family.
Bob was a classically-trained keyboardist, and was one of the most unique and proficient B3 organists we ever knew. He loved R&B music and played with Toronto icons David Clayton Thomas and Dominic Troiano before joining The Power Project in the late 1960s.
When The Lords of London made the switch from a commercial rock band to a progressive fusion style, we asked him to join us in Nucleus. When Bob, Hughie Leggat and myself met Alex Machin and Paul Naumann, A Foot In Coldwater was born.
Our relationship with Bob was multi-faceted. He became our de facto leader. He excelled in the business side of music. He was tough, enterprising and talented. If you were lucky enough to be his friend, you were his friend for life. To us, he was more than a friend…he truly was our Brother.
Rest in Peace our dear Brother. You will be forever in our hearts
Danny Taylor, Alex Machin, Hughie Leggat (Foot), Greg Fitzpatrick, John Richardson (Nucleus), the late Brian (Turtle) Hamelin, Wayne Ferguson, Stephen (Tex) Paquette, Steve Byron, Jimmy (Mung) Leggat, Bob McFee and all our crew members.
Austrian heavy metal band ZEPTER will release their debut album next month. Zepter features cover art created by Sebastian Frigerio, from Chile, who’s also drawn a number of other album covers for various metal bands. Below Sebastian talks about his art and creating the Zepter cover. As well I’ve included images of other covers that Sebastian drew.
Check it out, and check out the new ZEPTER album, which has a new video release for the track “Dark Angels”.
Can you give me a bit of background as to your work in art, and in particular, how you got involved in music and album covers?
First of all, thank you so much for your interest. This goes back a long way. I’ve always been fascinated by the visual arts, especially drawing. My first foray into it was collaborating with bands and friends’ projects, contributing illustrations to their demos and other releases. They would introduce me as their artist friend, giving me the opportunity to do my first work, and little by little, connections were made. During that time, I began creating my own pieces to gain recognition and, above all, to perfect my technique.
Do you have any favorite album cover artists, as well as a list (5+) of some of your favorite record covers (excluding your own)?
Well, from artists like Goya and Gustave Doré, to Renaissance and modern art, there are many, but this would be my top list:
Frank Franzetta, Boris Vallejo, Michael Whelan, Rowena Morrill, Andreas Marshall, H.R. Giger, Necrolord, Emanuele Taglietti, to name a few.
How did you get involved with the Zepter album?
Well, that was thanks to social media, and the band followed up with a couple of bands they had already worked with.
And they were looking for something similar to what I had already done
Was the cover completely your own creation and/or was there input from the bandmembers? What inspired it?
If the band had an idea that perfectly matched my artistic tastes and references, the drawing process was much easier thanks to our shared interest in dark fantasy and album covers from the 70s and 80s.
Had you been able to hear the music prior to and did that play a part in creating the cover? Any favorite tracks from this Zepter album?
I was already familiar with the band, so it was a surprise when they contacted me, since their style is what I listen to most often, so it also served as inspiration. Overall, I’d highlight the entire album, from its composition to the final result, both musically and in terms of design.
Can you tell me about the actual drawing – how it was achieved (drawing technique…) ?
Well, this work is done in oil on paper, and the goal was and is to make it similar to the classic album covers of bands from the 70s and 80s, which are practically an influence and inspiration.
What are some of the other album covers you’ve created for other bands? Any in particular that stand out? And aside from covers, do you also create posters or merch items for the bands you work with?
Well, as I mentioned before, I participated in several projects, but when I started to stand out it was thanks to bands like Insecurity, Phantom, and Void, which put me on the radar of many others, something I’m very grateful for since it also opened me up to the field of design for other types of merchandise. And obviously, working with more bands has been rewarding in many ways.
After disbanding 5 years earlier, and after a number of line-up changes, British progressive rockers ATOMIC ROOSTER were reformed as a trio with keyboardist and founder Vincent Crane was rejoined by guitarist / singer John Du Cann, and new drummer Preston Heyman.
This was the first Atomic Rooster LP I picked up, likely on a trip to Toronto, and out of curiosity, seeing as I knew nothing of them then, and this album never got released here. This would be the band’s heaviest and closest thing to ‘metal’, and having come out during the NWOBHM, I guess I can see where they got lumped in with the heavy metal crowd. But the interplay of Du Cann’s heavy guitar riffs and solos, with Vincent Crane’s 70s sounding Hammond organ, and the the way they feed off each other throughout this 10 track release, makes for a great album for the period, and an underrated gem in the band’s catalogue. Favorites include the lead off cut “They Took Control Of You”, “She’s My Woman”, “Don’t Lose Your Mind”, and the instrumental “Watch Out”. “Do You Know Who’s Looking For You?” was issued as the lead off single.
Last year Cherry Red issued a 2 disc set from this, which included the album, a couple of outtakes, some very good sounding demos, and a not so great show of the band at London’s Marquee, which included songs from this record mixed in with the Rooster classics. Again, not a proper pro recorded show, but listenable, and historically interesting for Rooster fans.
ATOMIC ROOSTER, one of the foremost heavy bands from the early Seventies, have re-formed with original members Vincent Crane and John DuCann. Their first single to be released by EMI is Do You Know Who’s Looking For You, followed by an LP, Atomic Rooster, in September. (Record Mirror, 08-02-80)
ATOMIC ROOSTER: ‘Atomic Rooster’ (EMI EMC 3341), By Malcolm Dome NO, ‘ATOMIC Rooster’ isn’t the greatest comeback album of ’em all and cynics will doubtless suggest that the reason for this once all -conquering band’s return from beyond the grave was something to do with the singular failure of its two prime protagonists, Vincent Crane and John DuCann, to make their solo mark. However much truth there may be in such idle thinking, the fact remains that this Is a worthy effort and a 1980 recording. ‘Do You Know Who’s Looking For You’ could almost be the Boomtown Rats with a glossy metallic sheen, so catchy Is the heavy melody, while ‘They Took Control 01 You’, taken at almost Olympic sprint – speed, Is propelled along by some vintage firebrand guitar work from DuCann and the slower, subversive ‘In The Shadows; allows Crane to stretch out a little on some claustrophobic keyboard passages. The album’s classic cuts though, are saved for the latter half of side two with ‘Watch Out’ proving to be a red-blooded and lar from pompous ‘theme tune’ that, given free-reign from the production viewpoint’ could Join Iron Maiden’s ‘Transylvania’ and The EF Band’s ‘Instrumental Dufort’ as the year’s most outstanding HM instrumentals. Finally, closing ‘AR’ we have ‘Lost In Space’, a spine-tingler, I assure you. All In all, the Rooster crow once again means happy listening, although in the final analysis I must admit to having serious doubts as to whether the Crane I DuCann re – alliance can sustain its initially promising momentum and EMI would have been better advised to Inject their sagging, moneybags into a younger, more long term prospect. (Record Mirror, 09-22-80)
ATOMIC ROOSTER Atomic Rooster. EMI EMC 3341. Producers: John Du Cann and Vincent Crane. The old ones are still the best ones, yet good though this reformation album is, they do not seem to know quite whether to return to their roots or become an out and out Heavy Metal band. No matter as they succeed on both counts and this should find them a whole new audience, while drawing back much of the old one, (Music Week, 09-13-80)
LEGENDARY PROG ROCK BAND NEKTAR SELLS OUT OF THE FIRST PRESSING OF MISSION TO MARS AND ISSUES LIMITED EDITION AQUA BLUE HAND NUMBERED AND SIGNED TO KICK OFF THEIR 2026 MISSION TO MARS TOUR
Formed in Germany in 1969, Nektar favored extended compositions and concept albums over the constraints of pop. They were among the progenitors of the progressive rock movement of the 1970s as well as the jam-band scene that arose in the late 1990s. Their sound traveled well to the States, where they enjoyed Top 40 success with A Tab in the Ocean (1972) and Remember the Future (1973). Nearly 20 albums later, the band’s artistic and personal charisma has earned them masses of devoted fans along with their album “The Other Side” (2020) which was Number 1 on Amazon Progressive Music. For over half a century, Nektar has been the guiding star for countless fans, leading them on mesmerizing expeditions through the vast expanses of the cosmos and the depths of the ocean. With their unique fusion of progressive rock and stunning visuals, these trailblazing prog-rock legends have ignited the imaginations of generations.
Nektar’s latest release, Mission To Mars, is the first in a trilogy and the first to feature new drummer, Jay Dittamo, alongside longtime members Ryche Chlanda (guitars, vocals), Kendall Scott (keyboards, synths), Maryann Castello (vocals) and original founding member Derek “Mo” Moore (bass guitar, vocals). Nektar melded those aforementioned traits with the soothing mellowness and adventurous jamming of Camel, the Grateful Dead and Caravan. Nektar’s knack for thought-provoking concepts and entrancing music has rarely wavered and is just as evident on Mission To Mars.
The first pressing of Mission To Mars is officially Sold Out worldwide so Deko Entertainment is thrilled to announce a second pressing Limited to 300 copies on Aqua Blue only for Indie Record Stores and 100 hand numbered and signed by the band available only direct to consumer. As founding member Moore says, “We have had the Mission to Mars LP pressed in a very different color. There will be 100 units numbered and signed available. Please order these special copies NOW before they run out. Please note the first pressing is Sold Out.”
The band also kicks off the first of their 2026 dates in January at the following venues. Friday January 23rd – My Father’s Place – Roslyn, NY Saturday January 24th – The Dunellen Theater – Dunellen, NJ
This second release from Austrian band ZEPTER is a great surprise that kicks ass from the start. (OK, so the first release was an extremely limited EP cassette). Influenced by the like of Thin Lizzy, early Iron Maiden, and New Wave Of British Heavy Metal bands like Saxon and Angel Witch. This has a definite old-school vibe, with heavy twin guitar blends. A good listen beginning to end. Check out the first video for “Slasher On The Highway”, which is a good indication of this album. Other favorites include “Hit The Streets”, “Everlasting”, and a cover of “Lonely Night”, originally by a short-lived Swedish metal band from the 80s! These guys remind of Swedish band Black Trip, who put out a pair of great albums a decade ago, then changed their name and disappeared! *To be released February 20 on various formats (including vinyl!). Killer artwork. Order Link: https://www.hrrecords.de/ZEPTER
Zepter are a new traditional heavy metal band from Austria. The project started in January 2024. A few months later, an EP called »Inferno« was issued on cassette in a limited edition of 100 copies through Ironbound (a vinyl version on Fucking Kill Records and a CD edition via Witches Brew followed shortly after).
“We have been knowing each other for years and have played together in other bands,” explains guitarist/vocalist Lukas about the formation of Zepter. “One day, the idea to form a traditional heavy metal band came up. And this is exactly what we did. We had our first rehearsal in January 2024 and the EP was published in April the same year. Everything happened really quick.”
High Roller Records will release Zepter’s self-titled debut album, which Lukas describes as “authentic heavy metal of the old school, with lots of catchy hooks and tasty twin-guitar harmony parts”. According to him, “it should come across like a mixture of Thin Lizzy and UFO of the Schenker era, combined with elements of early speed metal by the likes of Acid and Slayer, as if they had been already around in 1978.”
All tracks on the album are new, apart from the cover version of a song called “Lonely Night” by the band Screem.
With songs like “Exterminator”, Zepter’s music transports quite a strong NWOBHM vibe, with hints of Trespass and Tygers Of Pan Tang, first and foremost. “That’s true,” says the band’s guitarist and vocalist, “for this project the NWOBHM is a big inspiration. But it’s not the only one. We are all listening to different stuff, from blackended death metal to prog, post-punk and film music. Our smallest common nominator is the NWOBHM though. And that’s where Zepter comes in. Some specific NWOBHM bands which have inspired us are early Maiden (everything from »The Soundhouse Tapes« up until »Killers«), Saxon, Witchfinder General, Dark Star, Raven, Saracen, Angel Witch and Satan.” MATTHIAS MADER
TRACKLISTING: 01 Slasher on the Highway 02 Everlasting 03 The Slayer 04 Hit the Streets 05 The Exterminator 06 Dark Angels 07 Lonely Night (Screem Cover) 08 The Lords
LINE-UP: Lukas Götzenberger – guitar, vocals & synths Stefan Bolda – guitar Tobias Hochwagen – bass Alex Nemeth – drums & vocals (on “Lonely Night”)
Well, I will say that I think Canadian rock music (and rock in general) peaked a few years before this. So we are at 1987 for top Canadian albums and I am not as enthusiastic….. Good albums, but most of these bands have passed their ’80s peak, and they’re either done (splitting up soon) or changing direction.
Triumph – Surveillance
The last album before the band split, released in November. I actually liked most of this album, a slight improvement over Sport Of Kings with “Never Say Never”, “Carry On The Flame”, “All The Kings Horses”,… Steve Morse (pre Deep Purple) guests on 2 tracks. Surveillance only contains 1 pointless outside track. Out of all these, I probably play this one the most. Another fine cover from Dean Motter.
Loverboy – Wildside
The 5th and last from the original line-up. I thought this one was an improvement over the previous album (no Mutt Lange!), and a bit more hard edged than Keep It Up. Lots of outside writers / co-writers, particularly American writers Todd Cerney and Taylor Rhodes. Lots of good songs, surprised this didn’t do better – “Notorious” (co-written with Bon Jovi guys), “Read My Lips”, “Hometown Hero” (co-written w/ Bryan Adams), and the title track. CD version included extra song (ballad) “Don’t Keep Me In The Dark”.
FM – Tonight
Released in early ’87, Tonight was the follow up to the reunion album Con-test, which featured the original trio. However, Martin Deller is gone here, and Nash The Slash and Cameron Hawkins are joined by 3 new members for an even more aor sounding album. From what I understand Nash was not a fan of any commercial approach or the new line-up. But hey, for what it was – this was a pretty good album! A few hits and plenty of good tracks like “Magic In Your Eyes”, “Take The Time To Dream”, “Dream Girl”, and “She Does What She Wants”. Also included a cover of The Beach Boys “Good Vibrations”. Album cover art by Robert Vanderhorst who’d done the previous album, as well as a few of Nash’s solo albums.
Rush – Hold Your Fire
Although I eventually got every Rush album, following Power Windows I was in no ‘rush’ to get the next few. I love Rush, but this one, (released in September of ’87) sits near the bottom for me, but it did include the big hit “Time Stand Still” (feat Aimee Mann of Til Tuesday), and favorites like “Force Ten”, “Prime Mover”, and “Lock And Key”.
Bryan Adams – Into The Fire
The follow up to the mega successful Reckless album, released in March. I really preferred this one, but it didn’t live up to it’s predecessor in sales, and got criticized for it , but really – it still went Top 10 in Canada and the US, and had 4 hit singles! Favorites include the hits “Heat Of The Night”, “Victim Of Love”, “Hearts On Fire”, and the title track.
Saga – Wildest Dreams
This was the first album to feature the band as a trio , with session players filling in, notably legendary German drummer Curt Cress (once of Lucifer’s Friend). Coming out late in the year, I remember getting this one in the delete bin, and not being crazy about it initially. A bit of a grower, with good tracks in “Only Time Will Tell”, “Chase The Wind” and the title song.
Helix – Wild In The Streets
The follow up to the band’s commercial sounding Long Way To Heaven. This one being a bit rockier. Includes the excellent title track, as well as the anthem “Never Gonna Stop The Rock” (written by the Overland brothers, of British band ‘FM’), as well as a cover of Nazareth’s “Dream On”. A few interesting guests, notably Don Airey. Went top 30 in Canada, certified Gold, but kinda flopped in the US, and the band were done with Capitol Records. Cool cover too.
Lee Aaron – Lee Aaron
Released in February of that year. This self-titled record features a new ‘less metal’ image, and a cleaner, more radio friendly sound, and included 4 singles, notably “Only Human”, and “Powerline” (co-written w/ Joe Lynn Turner). A great step up for the era.
Gowan – Great Dirty World
The follow up to the 1985’s Strange Animal, released in March. A bit lighter overall, but included the big hit “Moonlight Desires” (feat. Jon Anderson of YES), as well as minor hits “Awake The Giant” and “Living In The Golden Age”.
Anvil – Strength of Steel
The fourth album from Anvil. This one featuring favorites like “Concrete Jungle”, “Cut Loose”, and a cover of The Stampeders’ “Wild Eyes”.
*Other albums from 1987 : David Wilcox, Breakfast At The Circus. Body Electric, Walking Through Walls. Sacrifice, Forward To Termination. Haywire, Don’t Just Stand There
A couple of years back I featured John O’Brien’s cover art for April Wine’s 1984 album Animal Grace, as well as touching on a few other covers John created. Recently I reconnected with John to get his recollections of a classic pair of 80s albums by GREAT WHITE – 1987’s Once Bitten, and 1989’s …Twice Shy. This was the band at their peak with hits and favorite cuts like “Rock Me”, “Lady Red Light”, “Heart The Hunter”, “Save Your Love”, and the hit singles – a cover of Ian Hunter’s “Once Bitten Twice Shy” and the ballad “Angel Song”. Once Bitten would be a top 30 album in the US and Twice Shy making the top 10. I had these on cassette when they came out and played the hell out of them! I also recall that a few of these songs were in high rotation at any peeler back then. The late 80s were better than I thought, I guess.
Below John has provided details on these album covers that he worked on. John was also kind enough to provide images included. (Thanks to John & Alan Niven) *Check out the links below.
John: My responses mandate some additional memorable and illuminating recollections by Alan Niven (NIV) (Great White Manager, Writer, Producer)
You were at Capitol during the period of Great White’s Once Bitten and …Twice Shy albums.
I was at Capitol for the first album Once Bitten and due to Alan’s trust I worked on …Twice Shy after I left Capitol to form a company that designed packaging as well as creating Movie Advertising Key Art.
What/who was your intro to the band or Alan Niven?
Being on staff at Capitol the designers were assigned at random to projects by the Art Director at the time, Roy Kohara. We worked on a variety of artists on the roster who worked with the internal art department. One lucky dayI was assigned Great White. I remember Alan showing up in the art department at my office door one day with all his unique grace and charm…fortunately he trusted me.
NIV: Yeah …me being nosey … who is who and who actually does the work.
NIV: An internal art department is less expensive, and if one can form a relationship within the department one has a chance of doing better than if one hires, at great expense, outside ‘experts’ all full of their rationalities. You had a great energy. A sense of humor. That was enough for me.
Were you brought in to work on the cover well before the album was done?
Projects began after the titles of the albums were settled.
On Once Bitten you were credited with the concept and layout.So, does that mean the entire idea (the model posing in the water with the shark fin) yours’?And can you tell a bit about that whole concept / idea came from?
I was credited with cover concept and layout credit – but Alan was specific with the idea of having a beautiful woman (Traci) with the specific direction of the primal necklace to be constructed and worn. I followed Alans direction and submitted the concept utilizing the model, water and shark fin background.
NIV: Yeah. Much of the album material was about dysfunctional relationships that were mostly formed by primal urges.
How was that first covered achieved? Was it one photo or a couple overlayed?
Once Bitten cover was shot in camera. The photographer was known for his talent in composing and capturing images, lighting and mood. Photographer Ron Slenzak, 3 years previously shot Purple Rain Poster art.
To find Traci (Cover Model) we had a well attended open casting call held in the Tower conference room to search for the specific representative we needed for the cover.
NIV: Traci came to the casting at the Tower. All were dressed. No swim suits. We are, after all, gentlemen.
With …Twice Shy, were you well aware ahead of time that they’d be using that title?
I was made aware after the title was chosen, before the concept for the cover began. Alan always had marketing in mind when working his projects, his choice of covering Ian Hunters song “Once Bitten, Twice Shy” on the album seemed like a great marketing idea.
NIV: The idea was to have a link between the first Capitol album and the next. There was no guarantee that Once would be a best seller, and having the titles link might help in the marketing of Twice Shy. Notice, “OBTS” was the last track on side two of TS and was there to facilitate the marketing connection. Of course, it helped that it’s a great song and ours was a definitive version. The fact it sold a mill as a single makes it debatable whether it was good for the long term or not.
On …Twice Shy, you were credited with art direction/design, and Alan Niven was credited with the concept. Can you describe the idea behind this one?
…Twice Shy was the genesis of wanting two girls on the cover representing the concept. I thought a more surreal landscape would be interesting, rather than a literal version of water, with the red satin and the shark fin ripping threw it. We did a vast coverage of images, from singles to combinations anticipating usage on multiple applications. Douglas Hyun was the photographer and was tasked with the multitude of coverage as well as constructing the set with red satin and the fabricated shark fin ripping through the fabric. A long fun day and night. With various combinations of images possible, that were used in montages and in all cases the water was added to the rip by retouching.
The new girl Bobbie, showed up at my new office in Burbank one day, pre chosen for review… No recollection of her origin, but she fit the bill.
NIV:Twice Shy? Now two girls. One sophisticated, the other primal. It’s a comment about the nature of LA relationships – about The Sophisticate teaching The Primal the art of manipulation. As Zsa Zsa said “I am a good housekeeper. Every time I divorce I keep the house.” And the jewels.
There were a lot of similarities between these 2 albums – musically, the title connection, and the covers – such as with the back cover lettering and lay out. Was that back cover layout and lettering idea yours?
Musically the band had further developed, and the title I was given was an obvious extension and connection. I designed the first album typography to define that specific project. I continued on the with the second album as it was a stylistic connection of the previous. As the two were related, the typographical treatments seemed appropriate.
The similarities between the 2 are obviously deliberate, making a fine pair of albums (though they didn’t use the same model), but you weren’t around for the next album (Hooked) even though it shared a bit of similarity on the front. Is that because you’d left Capitol or just weren’t asked? (The 3 albums, to me, are the highlights in the band’s catalogue)
Once Bitten and …Twice Shy are obviously similar due to a title “continuation” and the concept of the 2 different girls on the cover, Alan’s vision of the symbolic relationship of the two. The first model, Tracy was used on both, firstly with the shark tooth jewelry and secondarily with the emerald jewelry, and Bobbie now added with the same shark jewelry. As Alan previously stated “The Sophisticate teaching The Primal the art of manipulation”.
I was not involved with Hooked as another Art Director had joined Capitol and he utilized his contacts to create most appropriate art for the project.
Can you talk about the extra pieces that you would’ve designed for the Once Bitten and …Twice Shy period, such as promo posters, adverts, and the various singles? (Were you responsible for all picture sleeve singles at home and overseas?)
Important to remember in those days packaging came in multiple formats; LP, CD, CD Long Box, and Cassette so all items designed in house. For fun I designed …Twice Shy CD with a double cover. If you flip the insert over you have a different version of the cover displaying both models in an alternate pose.
The photo of the band for …Twice Shy was composed of individual images and stripped together C Print and retouched. A more striking image of the band rather than a single posed image. It was certainly a more confrontational and direct image of Jack.
I was, as all in-house designers, responsible for all campaign art & design for domestic product; Ads, Promo Items, Singles, Posters, Marketing Materials for both projects for continuity. I do have more items for …Twice Shy for examples as it was a broader campaign designed for playing on the title, specific imagery and sizing, as well as to keep the project compelling.
In many cases, such as Great White, were you a fan of the music much? Was it something you would’ve been into at the time?
I was introduced to GW when I was assigned the project. Alan supplied a promo cassette of the songs for inspiration.
And if you recall, did you have any ‘favorite’ tracks from either of these albums or any kind of appearances or social calls with the band?
“Save Your Love” and “Rock Me” from Once Bitten and “Heart the Hunter” and “House of Broken Love” from …Twice Shy seemed to resonate with me.
My contact was with Alan on both projects. That seemed to keep me focused on my creative and deliverables. Any call, biz or social with Alan is memorable. I had no direct interaction with the band.
(Alan, thank you again for your additional responses. My memory needed a fact check.)
LINKS:
Get it direct: Alan Niven Discussing Origin of Great White Covers!
Outsider Rock 