To be released April 24, HNE (Cherry Red) has compiled another bunch of URIAH HEEP albums, along with their extra tracks (see remasters), as they did with the previous release The Shadow And The Wind: 1973-1975. This one, titled after a Return To Fantasy track, features the last 2 to include original singer David Byron and bassist John Wetton, and the first 2 that feature replacements John Lawton (vocals) and Trevor Bolder (bass). A strange period for Heep, particularly in North America where their popularity and sales declined with each album, while in other parts of the world they had a few hit singles from the Lawton albums.
Return To Fantasy, from ’75 was a huge seller in the UK, perhaps in part to the addition of the well known John Wetton, and features the classic title track, as well as the favorites “Devil’s Daughter” and “A Year Or A Day”. The band undertook a major world tour at the time, but the album didn’t fare well over here. High And Mighty sold even worse, with the band self-producing. I really like this album, it sounded new and fresh, but it didn’t feature a global single, and the band toured it in North America well before it’s release. But songs like “One Way Or Another”, “Weep In Silence”, and “Can’t Keep A Good Band Down” are favorites among old fans, a shame this one came and went so fast, and often considered one of the band’s weakest. Heep carried on, with a long list of candidates to replace David Byron, before choosing John Lawton (Lucifer’s Friend) to record Firefly, released in early ’77. It was a solid album, featured the ballad “Wiseman”, a hit in Germany, as well as fan favorites “Sympathy” and “The Hanging Tree”. This was quickly followed towards the end of the year with Innocent Victim, a more varied album, which featured “Free Me”, a lighter pop song, which became a big hit in various European countries, as well as Australia, but that did not carry over to North America, with the album (in a different sleeve here) just breaking Billboard’s Top 200. Innocent Victim did feature a huge favorite in “Free N Easy”, the hardest & fastest rocker the band had done in years. It also featured a few fine tracks written by American writer Jack Williams (a friend of Ken Hensley’s), most notably “The Dance” and “Choices”. As with many Heep albums, particularly during this whole period (75-77), there were a number of good songs left over from each album session. Arguably, a few if these would’ve improved each album at the time (such as “River” from Innocent Victim), included here.
Even though I have everything here (as do many Heep fans), a collection of the rest of the Lawton era recordings (including, Fallen Angel, Live In Europe 1979, and the unreleased 4th album) would be a welcome collection, as would a set of the Peter Goalby era albums (along with perhaps the Live In Auckland recording?) But, oh well. An interesting (and odd) package cover, featuring a blend of the 4 album covers.
Here is another album cover, which was created by American artist John O’Brien. I’d featured John a few years ago discussing an April Wine cover, and again a few weeks ago, discussing the 2 Great White covers he was responsible for. Somewhere in there John mentioned a Mark Farner cover. And silly me for not even knowing Mark released an album in 2024, titled Closer To My Home. I loved Grand Funk, got the LPs, put together a little newsletter at some point in the 90s, and featured one of their album covers in a previous post a few years ago. So, upon John mentioning this latest album, I got a day later, and it is a great listen, and highly recommended to any Grand Funk fans; after all Mark wrote and sang most of the band’s greatest material in the 70s. *Check out John’s details of the Closer To My Home cover art, as well as the links below. *Thanks again to John for his time (and images) discussing his work and an excellent cover.
More recently you did the cover for Mark Farner’s Closer To My Home. How did that one come about?
Marks manager, Obi Steinman recommended me for review. The previous year I completed a project with Obi for Felix Cavaliere, “THEN AND NOW”, it went quite smoothly from concept to completion. So thankfully he had faith in my creative process and final product, since we had never met personally.
Can you tell anything about the photo chosen for the front cover? Do you where it was taken, significance?
The image was based on the heritage of Marks roots in the Midwest to be a part of the communication.
I spent a lot of time researching the perfect barn and location which I could add the American Flag which was one of my concepts. I finally found it online in a series of personal images by Ken Heins. The barn angle was perfect and the sky went from an uplifting blue to having an overhanging ominous darker presence. While not being a professional photographer, he captured the location, mood and angle that I needed to modify and portray the communication. It is great to go direct to a photographer, especially someone who shoots for personal reasons. He was great to deal with on securing the image and all usage rights.
I love the big bright lettering of Mark’s name, the layout… a very patriotic cover. Did Mark have a lot of input or suggestions?
Like many things the simplest direct communication is the best. In one sentence Obi stated the project was to reflect “Marks Heritage, Origin, Rock & Roll Legacy, Values and American Pride”. He is a true Rock & Roll Patriot. A variety of comps were proposed for discussion but, as discussed previously the Barn image with the flag summed it up visually. As far as typography chosen, I wanted to play off of Marks history and Rock & Roll energy. Some solutions related to GF to closely, but he gritty red type communicated the power and intensity he delivers. “Midwest American Rock & Roll” to be sure.
The American Eagle was used for some comps as well as for the record label direction. It was determined that it would best be utilized on the back cover as well as a label on one side of the album.
I submitted suggestions for limited release of the album in Red, White & Blue as well as classic Black.
The initial release is Red Vinyl and some were signed by Mark personally, which were available on his website listed below.
I assume this is the only Farner (Grand Funk) cover you’ve done(?)
Yes, the only one. Who would have thought I would get to work on Marks first solo studio album in 18 years, featuring the 55th Anniversary re-recording of “I’m Your Captain (Closer To Home). The project produced, engineered, mixed and mastered by Mark Slaughter, and co-produced by Mark Farner. A definite alignment in the stars for me to contribute to the visual communication.
It is also fun as I get to submit comps for merch such as T-Shirts for consideration. These are but a few versions with regard to the printing process of 3-5 Color for pricing considerations.
How familiar were you with him (and Grand Funk)?
Any teenager in the 70’s was aware, as everyone was at the time of GF. Blasting “Grand Funk Live” in my bedroom and hearing various songs played live by cover bands at Junior High School dances. It was a very loud year in 1970 when that album released. Ironically, it was released on Capitol Records, the future company I was to work for from 1983-1989 in the Art Department. Some synchronicity to be sure.
A special thank you to Obi Steinman for his support on projects.
Record Store Day Canada is proud to announce that legendary Canadian rockers Honeymoon Suite have been named the official Record Store Day Canada Ambassadors for 2026. To celebrate their role as Ambassadors, the band will release a special, Record Store Day exclusive version of their hit-packed compilation The Singles, issued on Limited Edition Translucent Red Vinyl and only available at independent record stores across Canada. This exclusive collector’s item features some of the biggest songs in Canadian rock history, including “New Girl Now,” “Burning In Love, ” “Wave Babies,” “Stay In The Light,” “Feel It Again,” and “What Does It Take” (from the One Crazy Summer soundtrack). It also includes the band’s hard-hitting contribution to the Lethal Weapon soundtrack. “We are thrilled to be the Record Store Day Canada Ambassadors for 2026, ” says Honeymoon Suite’s lead guitarist and songwriter, Derry Grehan. “To me, vinyl isn’t just a format; it’s how I fell in love with music in the first place. There’s a magic to holding the jacket, reading the liner notes, and dropping the needle that you just can’t replicate. We’ve always been a band that lives for the fans and the music, so getting to champion independent record stores, the place where that magic still lives, is a huge honor us.” “We are so excited to have Canadian music legends Honeymoon Suite representing us as RSDC Ambassadors in 2026,” says Ryan Kerr from Record Store Day Canada. “With an arsenal of great music under their belts, The Singles album is hotly anticipated by fans coast to coast. Honeymoon Suite’s catalogue represents some of the greatest and most memorable music in Canadian history, so we are proud to be working with them to bring that music to fans through our country’s incredible independent record stores.”
Adds Noble Musa of Microforum Vinyl, “Pressing The Singles title for the Record Store Day Canada 2026 Canadian Ambassadors Honeymoon Suite is so meaningful to us! Seeing this record grace stores nationwide and giving fans the opportunity to hear timeless hits in an analog format is why we do what we do.”
Formed in Niagara Falls, Ontario, Honeymoon Suite has been a driving force in Canadian rock for over four decades. With over a million units sold worldwide, their music is woven into the fabric of the country’s rock history. From their self-titled debut to the multi-platinum The Big Prize and Racing After Midnight, the band delivered an undeniable string of radio anthems that defined an era.
The Singles Tracklist
A1. New Girl Now A2. Burning In Love A3. Stay In The Light A4. Wave Babies A5. Feel It Again A6. What Does It Take
B1. Bad Attitude B2. Lethal Weapon B3. Love Changes Everything B4. Lookin’ Out For Number One B5. Still Lovin’ You B6. Long Way
Having seen this version of the band in 2024, and hearing both singles, I am pretty excited for this release, and what is to come later. An excellent line-up, and I can’t help notice how Harry Whitley sounds like John Wetton at times. Check out the press info and video below. To pre-order Live In England, check HERE.
Legendary English rock supergroup ASIA released their new live version of “Only Time Will Tell,” taken from the upcoming live album ‘Asia – Live In England,’ out on March 13, 2026, via Frontiers Music Srl. The single arrives alongside an official live video, available below.
Geoff Downes commented on the new rendition of “Only Time Will Tell”: “This was the second single from the first album in the USA, but on this side of the Atlantic, the label chose this as the first single, due to the trumpet fanfare intro and themes, which became a kind of 1980s perennial sound technique. ‘Only Time Will Tell‘ has always been a favorite to play live, as each member has a distinctive part to play.”
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)
Outsider Rock 