Ten Band Catalogues I Would Keep

At my age I’ve started thinking about downsizing my record collection; not so much my CDs, but LPs, which I have the most of. Between age, other things I want to do with my life, and hope to some day move house again, I gotta wonder what I really want to listen to from here on in and how much I might actually get the time to. There are records I’ve kept for years, for decades, and things I’ve picked up in recent years that I’ve thought One day I will have the time to really get in to this and enjoy it much more. Well, that time is now, because I’ve gotten plenty of albums and catalogues that I still rarely pull out (if ever), And more so, I have catalogues of bands and artists I can pull out any day and enjoy, and would gladly add more to that catalaogue if there’s something more or new of interest. So, here is 10 bands or artists that I would be putting aside. It is important to look at quantity and quality too – I love Boston, but 6 Boston albums. I also include direct or significantly related works…..

Now that I struggled through this, I may do a part 2 eventually including some of those shorter catalogues). And then there’s the band’s catalogues that I don’t even know why I still have!

URIAH HEEP (Ken Hensley, David Byron, Peter Goalby, Phil Lanzon….solo)

Well, for me the most obvious….Uriah Heep have 25 studio albums, 20 (official) live albums, numerous non-LP tracks that have ended up on compilations or reissues. There’s been 5 lead singers, each adding a different appeal to the band. There’s also been a number of name keyboardists, drummers, and bass players pass through the band, with 2 keyboard players providing a major part of the songwriting during their time in the band. So, aside from the studio and live albums, I’d be including the most obvious solo releases from Ken Hensley, David Byron, Peter Goalby, and Phil Lanzon. Sure, there’s plenty more, but those are most signifigant IMO.

BLACK SABBATH (Ozzy, Dio solo)

Some of the first albums I ever owned were the early Black Sabbath albums, so I can easily live with those 8 studio albums with Ozzy. I loved the Dio albums (mainly the first 2), and subsequent albums with Gillan, Hughes, and Tony Martin are largely great by me. 20 studio albums (I’m counting the Heaven & Hell releases), 8 live albums (though I’m not crazy about all these). Throw in the post-Sabbath catalogues from Ozzy, Dio, Bill Ward, and Tony Iommi, and i’m happy.

MAGNUM

British hard-rock/Aor band Magnum have been releasing albums since the late 70s. Their last coming 2 years, around the same time as guitarist & songwriter Tony Clarkin passed away. Few of the band’s albums actually got released over here, so I’ve still got a few gaps to fill in, but 23 studio albums, 10+ live releases. Lots of classic British rock to be heard, and keep me busy.

RUSH

Well, another no-brainer…. For being just a 3 piece band, Rush released a ton of excellent albums in their catalogue. 19 studio albums, 10+ live albums, plus lots of must-have bonus material (largely live) on box sets and reissues. The band changed direction a few times, always trying to stay modern and fresh, so there’s one can;t get bored of the band’s massive output since 1974.

STYX (Dennis DeYoung, Tommy Shaw solo)

Another band I got started with when I began collecting records. Styx released a string of hit albums from the mid 70s til 1981 Their catalogue though is worth having also for the band’s more obscure early releases, and most recent albums. 18 studio albums (albeit a few post-81 I am not keen on), plus 9 live albums (even though a number of these came after the band split with founding member Dennis DeYoung). But the has redeemed themselves in recent years with 3 excellent studio albums (w/ Lawrence Gowan). Not a lot of rarities in the band’s catalogue, but definitely worth keeping the solo albums from DeYoung and Tommy Shaw, as well.

PINK FLOYD (David Gilmour solo)

Since 1967, British psych and progressive band have released 15 studio albums, and 8 live albums (tho’ may of these are archived releases coming decades after the fact). I’m not crazy about the band’s earliest stuff, but the addition of David Gilmour, his guitar playing and vocals are the draw for me, largely. Pink Floyd did not record every year like most bands in the 70s, which seems to make many of their releases seem more like ‘events’. Love their 70s output (meh, not so crazy about The Wall), but also enjoyed 80s releases, and any David Gilmour solo releases, with his live albums always featuring a good chunk of Pink Floyd material. Roger Waters, well I like his first solo album.

ASIA (John Wetton solo, John Payne) ,

When Asia came out in 1982, that debut album was outstanding beginning to end! Rock, AOR, prog….a band consisting of 4 ‘name’ players, 3 big hit singles…. The follow ups were never as good, but I still liked them a lot. Featured the voice of John Wetton. Bu the band began to fall apart by the 3rd album, and endless changes occurred til Wetton left around 1990, and keyboardist Geoff Downes reformed the band around himself and new singer/bass player John Payne. The Payne era of the band, which released 8 studio albums of material and a number of live albums, never really caught on commercially and many fans simply overlook this period, but there is some excellent releases in there. The original band eventually reformed, released a couple of fine studio albums. Sadly Wetton passed away in 2017, but Downes has more recently regrouped with new guys, notably unknown singer/bass player Harry Whitley, who sounds remarkably like Wetton, and have (so far) released 1 live album and recorded 1 studio album, all sounding very promising. With the Asia releases, I’d include John Wetton’s solo records, and John Payne’s post-Asia solo , GPS and Dukes Of The Orient albums

LYNYRD SKYNYRD

Not a huge catalogue, especially what is considered the ‘real’ Lynyrd Skynyrd, the 70s stuff. But, as much as some of us (including myself on occasion) about this band continuing after the plane crash that claimed their leader and singer in 1977, there’s actually been some pretty good albums from the band, with Johnny Van Zant sounding close enough to late brother Ronnie, and enough originals or key guys there for years, that all make this a catalogue I’d be keeping and expanding on (especially archival releases). 13 studio albums (excluding the frigging Christmas album), tons of live releases (post reformation and archival), box sets, rarities releases….

APRIL WINE

One of my favorite Canadian bands. This band has been around since 1971, but there’s lots of gaps, so we only have 16 studio albums, 4+ live albums, a pile of compilations, though not a lot of rarities or related/solo material. But I can pull out these albums most days.

ALICE COOPER (band, solo…)

The original ALICE COOPER was a band, and my favorite American band. AC only released 7 studio albums in their day, before Alice went solo and has released over 20 solo albums. We also get solo and related albums from the other members over the years (Michael Bruce, Dennis Dunaway, Neal Smith), as well as a reunion album, an archvied live album, a reunion live mini album, box sets, and numerous live and compilations from Alice, solo.

DAVE FIELD – ’70s album artist releases new book.

Many years ago I connected with British artist Dave Field. Dave drew and designed albums, posters etc.. for many classic artists in the 70s, notably The Rolling Stones, Status Quo, AC/DC, and Uriah Heep.

A few years back Dave released a smaller book more so about his time doing these covers, logos, etc…called Cheques, Drugs, and Rock N Roll.

Dave has a new book out, telling more about his time as being part of and around the British music scene in the late 60s, early 70s, and his life over the decades.

Check out more info at – https://www.newhavenpublishingltd.com/product/the-many-lives-of-dave/

ANDY CURRAN ANNOUNCES LIMITED-EDITION ‘ROCKAHOLIC’ COLLECTOR’S LP 

Featuring two brand-new songs, “Rockaholic” and “Lookin’ for Love,” plus newly remixed and remastered versions of his Top 10 Canadian rock radio hits “No Tattoos” and “License to Love” 

For rock fans who remember the ’80s and early ’90s, Andy Curran needs little introduction. 

Now, the founding member and lead vocalist of CONEY HATCH is revisiting his solo legacy while adding two brand-new songs with the release of Rockaholic, a limited-edition collector’s LP that connects Curran’s past with where he is today. 

*The first 100 copies purchased will receive a set of handwritten lyrics autographed from Andy’s personal archives

The Rockaholic EP is the first of three vinyl releases planned from Curran’s archives on Vault Press.

Two additional releases, Caramel and Leisureworld, are scheduled to follow in 2027. 

Recorded at Metalworks Studios in Toronto, Halo Studios in Hamilton and Noble Street Studios in Toronto, Rockaholic was mixed and co-produced by Juno Award-winning Vic Florencia and mastered by Grammy-winning engineer Harry Hess at HBomb Mastering. 

Curran’s history with Canadian rock runs deep. As a founding member and lead vocalist of Coney Hatch, he helped establish the band as one of the country’s most respected hard rock acts. Coney Hatch shared stages with Judas Priest, Iron Maiden, Cheap Trick, Peter Frampton, Ted Nugent and others, while the band’s self-titled debut album went Gold in Canada and produced rock radio favourites including “Devils Deck” and “Monkey Bars.” 

Curran subsequently launched a solo career, with his self-titled debut producing three Top 10 Canadian rock radio hits: “No Tattoos,” “License to Love” and “Let Go.” These songs became staples of Canadian rock radio and MuchMusic, while Curran embarked on an extensive touring schedule that included shows with Rush, Kim Mitchell, Glass Tiger and Rik Emmett. 

His accomplishments also include a Juno Award win for Most Promising Male Vocalist, as well as a nomination for Best Rock Album. On that occasion, Curran ultimately bowed out to his friends in Rush, who took home the award. 

Curran’s musical résumé also includes co-founding ENVY OF NONE, with Rush guitarist Alex Lifeson, further cementing his place in the history of Canadian rock. 

Now, Curran is bringing the music from his solo years back to the stage in 2027 along side APRIL WINE. 

“This is the first time since 1992 that I’ll be playing some of this material,” Curran explains. “Songs we’ll be performing are ‘Nickels & Dimes,’ ‘Whiskey & the Devil,’ ‘License to Love,’ ‘No Tattoos’ – plus the new song ‘Rockaholic’ and selected Coney Hatch favourites.” 

Curran will be joined onstage by Sean Kelly, James Naro and Dave Ketchum. Kelly and Ketchum are also Curran’s Coney Hatch bandmates, while Naro is the son of the late Phil Naro, best known for his work with TALAS. 

With Rockaholic, Curran isn’t simply looking back. The release offers a snapshot of where he came from, where he is now and what remains to be discovered in his archives. 

As Curran states, “I wrote this song about my bandmate, Sean Kelly, but I think deep down everyone has a little ‘Rockaholic’ in them.” 

Rockaholic Track Listing:

“Rockaholic” (Album Version) 

“Lookin’ for Love” (First time ever on vinyl

“No Tattoos” (2026 Remixed & Remastered) 

“License to Love” (2026 Remixed & Remastered) 

BUY NOW : https://vault-press.com/products/andy-curran-rockaholic?utm_source=press-release&utm_medium=pr

Andy Curran Live: 

January 22, 2027 – Hard Rock Hotel & Casino – Ottawa, ON w/ April Wine 

March 5, 2027 –      Fallsview Casino Resort – Niagara Falls, ON w/ April Wine

FOR MORE INFORMATION, VISIT:  andycurranmusic.com

ASIA – Indigo (a review)

It’s 2026, and there’s a brand new ASIA album out next month. Since the band’s massive debut album in 1982 there have been a lot of Asia albums and Asia line up changes, with keyboardist/songwriter Geoff Downes being the constant. The original Asia reunited 20 years ago, and recorded 4 more albums (though without Steve Howe on the 4th). When singer/bass player/songwriter John Wetton passed away in 2017, I think most assumed that was the end of Asia. Downes would put together a couple of versions of the band from 2019 onward, to tour. But enter Harry Whitley, who’d guested at the John Wetton tribute show in 2023. Downes put together a new Asia line up with Whitley on bass & vocals, along with drummer Virgil Donati and guitarist John Mitchell. The band toured North America in 2024, and has since released a live album, a full performance of the debut album. Seeing the band in 2024, I thought the band sounded great, but what struck me most of Whitley’s enthusiasm in playing the classic Asia songs, as well as his vocal similarities to John Wetton. So, when news of this line up recording a new studio came out, I was pretty hopeful, and looked forward to it, not to mention that some of these songs were began with Wetton after the band’s last album Gravitas.

So, my first thoughts on Indigo are that this is excellent, as it seems to include all those elements that made Asia great in the beginning. There’s the band’s memorable AOR, progressive pieces, harmonies, and that majestic sound that Asia records seem to posess. The first single and lead off track “The Traveller (Into The Light)” is a great start, upbeat and easily likeable like many early Asia classics, keyboard lead, but we get a cool guitar solo from John Mtchell. The harmonies are perfect, on par with that Asia sound, and Harry Whitley sounds remarkably like Wetton here (and throughout, the similarity is almost a comfort to hear. Initially, I thought this was a bit ‘eavy on the ballads, but songs like “Change Of Heart”, “Arcadia” and “In This Life” all have something different and those memorable melodies from one song to the next. There’s also the lighter piano & guitar ballad “Chesapeake Bay”, which features Steve Howe, and this is one that started with Wetton. But it’s not all lighter material, with the upbeat pop rock of “Night And Day”, as well as “Life In The Sun”, where we get to hear more from John Mitchell on guitar, and then the single “Echo Of You”, which has a lengthy intro before picking up. I like this one, lots of changes, atmosphere, and reflective lyrics. But the centerpiece of this album is the 3 part “Tattoo Indigo”, which brings back prog to Asia, with “Part 1” being an instrumental, which is reminsiscent of that first Asia album, with each player featured here. “Part 2” is an acoustic, vocal piece, and “Part 3” being more of a progressive rock epic, featuring more heavier guitar. This whole album gets better with each listen. Looking forward to holding a physical copy of it with that awesome Roger Dean artwork, and will be curious to hear how much of this fits in to the band’s live show next time out.

Pre-Order INDIGO – HERE

THE EXILES – 30th anniversary reissue

Recently looking in to my favorite HURRICANE album, Liquifury, from 2000. This was the last Hurricane album, (the 80s band) that featured singer Kelly Hansen (later of FOREIGNER, now of DEAD DAISIES). Among the guitar players and songwriters on that album was Sean Manning. I knew little about Manning, but was aware he also had an association with QUIET RIOT (see 1993’s Terrified album). I also found The Exiles, and in checking this out, discovered the band’s lone album from 1996 has more recently been given a 30th Anniversary reissue. The Exiles was a project released by Manning, and (singer) Paul Rafferty. both British, who had relocated at some point to the US. Rafferty had been the original singer in BONHAM, though before the band released anything. The original 10 track CD release of The Exiles was produced by Neil Giraldo (Pat Benatar), and included members of Benatar;s band, as well as White Lion, Foreigner and Santana.

With this 30th Anniversary reissue, THE EXILES – Turning Time spearheaded by Manning, 5 recently unreleased tracks were discovered, mixed, and included. Now, if you like your classic British blues influenced rock, like FREE, BAD COMPANY, LED ZEPPELIN, and even pre-hair metal WHITESNAKE. Turning Time will seem like a long lost album you need to have. It is in that style, feel, and class, and it’s genuine, without coming off as another Zeppelin clone act. Highlights include “Rainmaker”, with it’s acoustic intro and heavy rock feel, the more laid back “Ain’t No Fool”, the ballad “Woman Let It Shine”, which really reminds of The Alllman Brothers (especially with the harmonies), and the rockin’ “Tearing Up A Storm”. There’s lots to get in to here, with different tracks, plenty of acoustics, harmonies, organ, …Check out the 3 videos and links below.

THE EXILES have released the music video for the track ‘I’m The (One’ from their album ‘Turning Time”, available now on Bad Reputation Records. 

The first single “Rainmaker” recently entered the top 10 on 97 Underground radio, debuting at #4.

Lead Guitarist Sean Manning talks about the song “I’m The One”, “I was really into Jimmy’s Outrider solo album when I initially wrote this riff. I love the Telecaster—such a raw and honest guitar. Paul came up with the chorus, which really finishes it off, and I added the heavy Les Paul onto the new track here in Dallas at Empire Studios….And it sounds like I nicked some early Bernie Marsden rhythm work for the chorus.”

Track list:

01. Turning Time 

02. Rainmaker 

03. Soul Woman 

04. Tearing Up A Storm 

05. Ain’t No Fool 

06. Travelling Blues 

07. Friend 

08. Feminine Side 

09. Richmond Castle Walk  

10. Woman Let It Shine 

11. Mission Bell 

12. Soul Has No Home 

13. I’m The One 

14. High Old Times

15. Carry You Home 

LINKS:

https://badreputation.fr/THE-EXILES-TURNING-TIME

https://theexilesuk.bandcamp.com/

https://www.facebook.com/theexilesuk

https://bravewords.com/news/the-exiles-team-up-with-bad-reputation-records-for-reworked-expanded-30th-anniversary-reissue

https://www.instagram.com/theexilesuk

EUROPE – Come This Madness, out now

Photo: Andy Ford

Well overdue, EUROPE’s brand new album comes 9 years after Walk The Earth. I really got reintroduced to the band with 2015’s War Of Kings, an outstanding record that made me want to go back and pick up all the albums since their reunion, so after 2 great albums, 9 years is a pretty lengthy break. So, was Come This Madness worth such a wait!? I think so. Musically heavier than it’s precdecessor, lyrically a bit deeper in places, as the band take on a few topics in the state of the world these days, as well as hope.

Certainly songs like “One On One”, “Scandinavian Eyes”, “In A Different World”, and the ballad “This Time Of Year” all stand out for me and sit comfortably among the band’s best. But really a very strong album, that I’m sure someone else could easily pick a few different favorites. John Norum stands out more here via his solos, and riffs on this record than the previous few, there’s a few classic intros from Mic Michaeli , and Joey Tempest, who’s voice hasn;t lost anything over the years. Again, for those who never got past Europe in their 80s pop-rock era, this is an excellent guitar driven, classic rock album, with latter day Europe filling the void of bands like Thin Lizzy and Gary Moore. Ends on a high note with “Nothing Can Follow This”.

*See below for the videos from this album, as well as press info, links…..

Europe’s new studio album Come This Madness signals a powerful new chapter for one of rock’s most enduring acts. Across songs like ‘One on One’, ‘The Cult of Ignorance’, and the title track ‘Come This Madness’, the band channel tension, truth, and raw energy into a record that feels both deeply personal and globally resonant.

Come This Madness was recorded at RMV Studio, the Stockholm-based recording facility founded by Benny Andersson and Ludvig Andersson. The album features special guest appearances from Tobias Forge (Ghost) and Mikael Åkerfeldt (Opeth) and was produced by acclaimed producer Tom Dalgety (Ghost, Rammstein, Pixies, The Cult, Opeth), who became a true creative force throughout the process, deeply embedded in the band’s writing and recording, shaping the album’s sound from the ground up. To bring the project to its final stage and complete their vision, the band turned to one of rock’s most respected recording and mixing legends Mike Fraser (AC/DC, Van Halen, Metallica, The Cult, Loverboy) to mix the record.

With Come This Madness, Europe deliver a landmark record that finds them fully realised and present, confronting the realities of the modern world with conviction and creativity. Building on the momentum surrounding the album’s release, the band will also embark on an extensive run of live dates, including numerous festival appearances and a major tour to celebrate the 40th anniversary of The Final Countdown. Kicking off in Glasgow on September 30th, The Final Countdown 40th Anniversary Tour promises to unite the legacy that defined them with the renewed energy, driving them forward today. 

Come This Madness album artwork by Storm Studios (Pink Floyd, Led Zeppelin…).

Track listing:
One on One
The Cult of Ignorance
Come This Madness
This Time of Year
In a Different World
Scandinavian Eyes
Takin’ It Back
In the Absence of Grace
The Angels Must Have Flown
The Devil’s Back
Nothing Can Follow Thi

Come This Madness will be available on vinyl, CD and digital formats. Pre-orders can be placed Here

EUROPE are: 
Joey Tempest – Lead Vocals
John Norum – Guitars
John Levén – Bass
Mic Michaeli – Keyboards
Ian Haugland – Drums

EUROPE links:
www.europetheband.com 
www.facebook.com/europetheband 
www.instagram.com/officialeuropetheband 
www.youtube.com/europethebandtv 
www.tiktok.com/@europethebandofficial 

PAUL MARANGONI – ‘FM’ 50th anniversary concert Interview

Canadian drummer Paul Marangoni played with a number of acts in the 80s and 90s, notable Canuck acts like Coney Hatch, The Works, Kim Mitchell, and FM. The latter is currently preparing for a 50th anniversary show in November, with Marangoni behind the drums. Hopefully this 50th anniversary show will lead to more. Paul relocated to California decades ago, and played on a number of albums with guitarist Alex Masi, such as the 2001 Masi album, Eternal Struggle, and 2 albums of fusion instrumentals / covers under the name ‘The Trio Of Stridence’ (more on these in another post), and worked with former Alias frontman Freddy Curci (Zion).

This was a pretty casual disussion with Paul, and a lot of fun; we talked about the upcoming FM reunion show, a few other things he’s done since being in California, and what he’s listening to these days. Enjoy the read, and please check out all the links at the end.

I was going through those CDs you gave me (The Trio Of Stridence, Jazz Martyrs), and you did a lot of writing on them and a lot of producing them, so it’s kind of a…

Well, I think I wrote two songs on all those CDs. I arranged everything though, definitely.

Yeah, they’re very different. The Trio Of Stridence. I like that; I love the cover of “Red”. The other stuff is kind of straight up jazz. I put it on at one point, there is a Chuck Mangione song, and I was like, Wow, what is this?

Yeah, it’s too bad Chuck died. I was hoping he would hear my version, because my version is in seven as opposed to four.

Going back to when you were in the band FM (late 80s-early 90s), how long did that whole period last?

Not long, like two or three years. I can’t even remember. I really should have kept a diary. That was like 35 years ago or something. It’s scary to even say that number.

And you guys did recordings?

We were working on new music, but it was never recorded.

So, at what point did you relocate to LA?

January of 2000.

So you were still around then, in Toronto and that for much of the 90s then?

Yeah, definitely.

What else were you doing then? I have this on cassette (hold up The Works cassette).

Wow. Not much. I was just playing in a bunch of cover bands and I was doing the Genesis Tribute. Actually, at one point, we had a Yes Tribute, which Cameron Hawkins was playing bass and singing in. But we only did a few shows. And Phil Naro was singing in that band. I had a recording of a live gig we did at the Tralf in Buffalo. It was really good, but for some reason, that ended too. I don’t know what happened there. That was a good band. I love playing that stuff.

I saw Phil about 20 years ago, 15 years ago. He was playing in a club in Toronto, like an upstairs somewhere. It was him, Don Mancuso. I think his son. And so they’re doing a lot of Yes stuff.

I can’t believe he’s gone. Everyone’s dying, man. Holy cow.

Last time I saw him, he was doing an acoustic guitar duo, at a small place somewhere in Toronto. They were just doing acoustic tunes, the two of them. Would have been around 2007, 2006, (something like that).

There’s been other versions of FM. I saw them in ‘94 when they did the reunion tour, and there’s a few other things since then, live albums and the studio album from 2015… You weren’t involved in any of those. So how did this new line-up kind of come together?

Well, I kept in touch with Cam over the years because I was going up to Toronto like three or four times a year while my parents were still alive. And we’d get together now and then. And a couple of years ago, I was up there. And before I went up, I contacted him. I said, Hey, let’s get together for lunch. And he told me he was thinking of doing some shows to coincide with the release of this new documentary about Nash the Slash. And he said, It’s been 50 years. And I said, Well, if you need a drummer. I’m totally down. So that was when it started. So, the two of us were sending files back and forth on the tunes to work on. So he would have my drumming to along with. And then he set about to find someone to play mandolin and violin. It took a while.

I assume Ben Mink is not around anymore (locally)

Ben Mink is out in British Columbia. So, if for some reason this turns into doing a lot of shows, and if we ever end up on the West Coast, I’m sure we’ll get Ben Mink to sit on a bunch of tunes because I love Ben Mink’s playing.

Is the show going to focus mainly on the Black Noise stuff? Or is it going to be…

Yeah, it’s just going to be Black Noise and maybe a couple of other tunes. Some of the hits or other tunes.

When I saw them in 94, they put out that from it, but I always wonder, they called the FM Archives Volume One, there was no volume two.

(lol) Yeah, I don’t know what happened there. I got that too somewhere. They were kind of screwed over by labels all the time.

Other than Black Noise, what might you play or what do you like out of that catalog?

I really like Surveillance a lot. That was my favorite record. And then off of City of Fear, there’s one tune off there we’re probably going to play, “Surface to Air”. We’ll probably play that. We’ll probably do “Shapes of Things”; that got a lot of airplay. And that’s it. We’ll be extending solo sections and stuff like that, so it’ll be a lot of fun.

I don’t see much of Cameron Hawkins online, so I don’t… I never know what he’s up to.

Right. He said he’s going to probably put up an Instagram account one of these days. That was the plan, to do that and start promoting, but without any promotion, the show sold out in like three days.

Wow. So…

And there’s talk about, hopefully a show at the El Mocambo in January. And then if these shows go well, we’ll see where it goes next. We’ll probably stick to Canada for the time being, especially now that this arrangement in the US and Canada has kind of gotten pretty messy.

I wonder if the band ever actually played outside of Canada in that whole period of the late 70s, early 80s.

I’m not sure. I know they did a lot of shows with Rush.

And there’s some people that have posted some of those shows online pretty wild. It’s funny how fast they played a lot of those tunes.

I think it was Con-test that must have been the album that was current when I saw them. And then they did Tonight, which is funny because I watched an interview with Nash where he did not like that album. He mentions that they brought in a “hair guitar guy”.

Simon! (lol) Apparently Simon is now doing pyrotechnics for Katy Perry or something.

Really?

Yeah. That’s what Barry Connors was telling me.

He’s not playing?

I’m not sure. He was a good guitarist.

I know he did those albums with Andy Curran, post- Coney Hatch.

Yeah. He was the one that got me the FM gig. Because I was hanging out with him and Andy, and Simon said, We need a drummer for these shows coming up. And I said, Dude, I know all that shit. I grew up listening to FM. So, I jammed with them and got the gig.

What else are you doing? Are you playing a lot live?

No, I moved to Indio three years ago, and I can’t find players around here to do anything. I was working on doing more Trio Of Stridence stuff or some jazz stuff; working on my own and then sending files to people either in Europe or in LA. I love doing stuff with Alex (Masi), and before I left LA, me and Alex, we were thinking of doing a Jeff Beck Tribute thing after Jeff Beck died. We rehearsed a bit. I put together a little promo video. I sent it to a bunch of booking agents. No one was interested. It was too bad. It would have been cool.

I saw him over at Artpark (Lewiston, NY). the last time through here.

Yeah, I love Jeff Beck. And, like I said, I was working on writing some stuff, working on my own thing, and then the FM thing happened. So, I’ve just been focused on that since then. Rehearsing all the old FM stuff and working on making sure it’s going to sound good.

Do you know these other guys that are playing with you guys?

No, I’ve never met them, Kevin (Breit) and Hugh (Marsh). Actually, I did a recording with someone in the ‘80s that Hugh Marsh played violin on, but we weren’t in the room at the same time.

I imagine Cameron found them somehow(?)

We were trying to reach him through social media. Couldn’t do it. And then I was having lunch with Andy, and he said, Well, let me talk to Alex Lifeson, he’s a good friend of Hugh. So, he got Hugh’s email from Alex Lifeson. And that’s how we got in touch with Hugh.

Wow. So that was like more recent?

Yeah, that was like last December.

That’s interesting, all the connections with all the Toronto bands. I like picking up some of the late 70s Canadian stuff. I picked up the first Hunt album.

Wow. I remember seeing them at the Gasworks….

And you posted something recently about a band called Teaze.

Yeah, I saw them last week.

I remember them being big at some point, and I remember the logo. The logo looked cool, and the name was cool, but I didn’t know much about the band. And when you posted that stuff, I was reading something, and I said, Holy shit, these guys are Canadian! I didn’t know that.

(Talk ensues about Teaze, their comeback, and Canadian rock festivals)

It seems like most of these Canadian bands, especially from the last few decades, they tend to play a bunch of festivals. Three or four times a year, there’ll be a festival in Alberta or Newfoundland or Quebec, and then they all get together.

I hear about these things from Barry. Do you remember the band Alias with Freddy Curci?

Yeah, I’ve got that somewhere.

I recorded with Freddy a few years ago, and I was actually… I got together with him about a year ago, and I told him,  I think it’s time you should go out on the road again, get the band going. He considered it. I haven’t talked to him in a while, but I think that would be good, too.

I find the connections with the Canadian band interesting. There’s so many… It’s kind of like the British bands where you have some of those connections between Whitesnake and Deep Purple and Rainbow, all those bands.

That’s right.

But, I mean you look at Helix and Honeymoon Suite and a few others. It’s almost like they (occasionally) share members.

Actually, I remember I auditioned for Helix when I was 17. I drove out to….they were playing a gig somewhere in London, I think. I played some tunes with them. And it went well, but they said, You’re just too young. We can’t take the chance. Yeah, I was a fan of Helix.

And their drummer and the guitarist were twins. Brian Doerner was the drummer, and he recommended me for a gig. I didn’t even know he knew me. And then me and a guitarist named Lawrence Falcomer flew down to LA to try putting a band together with Brad Gillis and Mark Free. So, for a week, we rehearsed and wrote some music. And the guy that was paying for it all was the producer from Night Ranger. And at the end of the week, he told us what the deal would be where he was going to take 50 or 60% of all proceeds from the songwriting. And we just couldn’t come to terms with it. Nothing ever happened of it.

(Talk about Brad Gillis being on Rick Hughes album).

What are you listening to these days? Is it mostly jazz type stuff?

Let me see what’s on my phone here (lol)

You know what I got recently, Genesis The Lamb Lies Down box set. And it has a live concert that they did in L.A., and the live concert is amazing! I don’t know if they touched up a bunch of stuff, but it sounds better than the studio record. It’s amazing.

I haven’t got that.

It’s actually all on YouTube, too. Simon Phillips’ latest record, I got that. That’s more of a fusion thing. Pat Metheny’s latest; I’m on the fence with that. A guitarist named Nir Felder. I really like his stuff. It’s kind of a fusion-y kind of thing. I probably listen to mostly jazz lately. I got the Jethro Tull Bursting Out re-release. That’s pretty good. Yeah, mostly jazz stuff.

You mentioned Genesis. Have you picked up any of the Steve Hackett live albums where he recreates each of the albums?

No, I haven’t. I saw Steve Hackett in Toronto. It was probably 1978 or 79 at the O’Keefe Center. That was amazing. love Steve Hackett. Speaking of Steve Hackett, You’ve heard of this Cruise to the Edge thing!? (No)  It’s a cruise out of Miami, and it’s a bunch of progressive rock bands for like a week, and Steve Hackett is the headliner. I think Kevin Labrie is playing with the keyboard player from Dream Theater. Check it out, CruiseToTheEdge.com. Anyway, I figure it’s all progressive rock, and they leave port in April, so I sent an email to them, see if maybe I can get FM on the gig. But I never heard back from anyone as far as who to contact about booking, so maybe we’ll try to get the next year. They do it every year, apparently.

That’d be quite the slot to get on.

(Talk ensues a bit about Genesis, Phil Collins, Paul – “He was my favorite.”)

Any other Canadian bands you were really into?

Kim Mitchell, Saga, FM. I was a huge Rush fan from the beginning. I can’t really think and differentiate which ones were Canadian. I mean, going downtown and seeing stuff at the Gasworks. Dave Bendeth, he was kind of doing like a Jeff Beck thing, that was cool.

Well, did you keep your vinyl over the years or did you get rid of it?

I sold a bunch of it. Since I moved to California, it’s been like 26 years now. I’ve moved 11 times. So, you just keep throwing stuff away every time.

At one point, when we sold my parents’ house in Toronto, I had all my albums there, so we had to get rid of stuff. So, I took them all downtown to some vinyl place and sold them all and whatever they didn’t want to buy, I gave to friends of mine who were collecting vinyl. So, I don’t have any more vinyl.

(Further chat about records, Unidisc, Wireless – “I remember seeing them open for Rush, they were really good too.”)

*photos of Paul borrowed from his website: https://www.paulmarangoni.com

LINKS:

https://www.theredwoodtheatre.com/event-details/fm

https://www.paiste.com/en/musicians/paul-marangoni

https://www.youtube.com/@PaulMarangoni

https://www.proggnosis.com/Artist/7677

https://www.jazzmartyrs.com

FM – Facebook Group

BOSTON – Boston @ 50

BOSTON’s debut album has become a staple of FM radio over the past 50 years, and not just with 1 or 2 songs. The album written and recorded largely by guitarist Tom Scholz, along with singer Brad Delp, with Scholz and John Boylan producing.

Now, I know many may pass over this as an album they’ve overheard, especially with the album’s biggest hit “More Than A Feeling”. But there is no denying this album’s huge sound and impact at the time. And, if you’re a classic rock fan, you don’t know just 1 of the 3 hit singles – you probably know most of the album, as most of it (if not all) occasionally still gets FM radio play, somewhere. The hit singles “More Than A Feeling“, “Piece Of Mind” and “Long Time” are all featured on side one, with “Long Time” being part of the epic piece, accompanied with the instrumental “Foreplay”, rivalling anything Deep Purple or Uriah Heep had done. There is also the classics on side two, most notably “Smokin‘”and “Rock & Roll Band“. Then there’s no less impressive string of songs on that side – “Something About You“, and the softer “Hitch A Ride” and the closing ballad “Let Me Take Me You Home Tonight“. These guys mixed and layered melodic guitars (acoustic and electric), along with vocal harmonies in the choruses, and organ on many tracks.

Boston became the biggest selling debut album at that time. It’s since sold over 20 million copies worldwide. This album has become one of the most recognizeable albums in classic rock, not just with it’s distinctive sound, but with a number of songs from it appearing in lots of movies and TV shows over the years. The album’s cover is also outstanding, IMO, despite it’s artist once calling it “mediocre”; it is easily recognizeable with the upside down guitar, appearing to resemble a spaceship. The upside down guitar theme and logo would become part of the band’s subsequent album covers. Boston is absolute essential ’70s rock listening. The band’s follow up, Don’t Look Back, did not sell nearly many copies, but it was an excellent follow up.

*see below for Press items from that time, and various related links

BOSTON in the press:

BOSTON -Epic PE34188. This highly touted New England group more than lives up to its billing as being able to rock in heaviest metal style while remaining warm and fluid. The uniqueness would appear to emanate from Tom Scholz, an MIT mechanical engineer in product development for Polar- oid who played a mean local guitar in bar bands by night. Scholz was chief engineer and co- producer of this album, which grew at least partially from some phenomenal demo tapes he made in his own home studio. Lead singer Brad Delp and his many overdubs vocalize with a lot more feeling and beauty than the often perfunctory singing often found in even big -name hard rock groups. Scholz and Delp individually wrote all the songs on the album too, again with much more melody and imagination than one usually expects to find on a heavy metal outing. An unusually auspicious debut in an era of particularly high standards for new rock groups. Best cuts: “More Than A Feeling,” “Let Me Take You Home Tonight,” “Smokin’.” Dealers: This is a particular autumn push group for Epic. (Billboard, 09/11/79)

BOSTON — Epic PE 34188 — Producers: John Boylan, Tom Scholz — List: 6.98 Not many hard rock bands show even a smidgeon of the concern for pleasing melody lines and supporting harmonics that are the hallmarks of the Boston sound. An extremely impressive debut effort, “Boston” demonstrates all the essential in- gredients for first rate rock ’n’ roll — glassshattering vocals, molten guitar lines and just enough use of keyboards to make the whole package interesting. Don’t be surprised if you hear a majority of the cuts from this LP on the FMprogressive airwaves. In fact, tunes like the autobiographical “Rock & Roll Band” will also be warmly received by the pop programmers. Boston is a very promising group.(CashBox, 09/04/76)

BOSTON -More Than A Feeling (3:25); producers: John Boylan and Tom Scholz; writer: T. Scholz; publisher: Pure Songs, BMI. Epic 8 -50266 (CBS). Electric guitar-dominated rocker is made commercial with an accessible beat and hand- clap backup and smooth, soaring vocals. (Billboard, 08/28/76)

BOSTON -Long Time (3:03); producer John Boylan.
writer Tom Scholz. publisher Blackwood. BMI Columbia
850329 The group had a top 10 single its first time out and
Mrs lollowup is comparably catchy in its combination of
spacey electronic fills and soaring, lull bodied vocal har
monies
. (Billboard, 01/22/77)

LINKS:

Facebook (official)

Facebook group

https://axs.tv/news-story/boston-to-reissue-1976-debut-album-for-50th-anniversary-with-unreleased-lost-demos

https://www.theatlantic.com/entertainment/archive/2015/03/the-immortality-of-the-more-than-a-feeling-cover/388739

https://www.theatlantic.com/entertainment/archive/2015/03/the-immortality-of-the-more-than-a-feeling-cover/388739

JOHN SLOMAN releases new album, ‘Meridian Man’

John Sloman is ready to release his brand new 2-part (2CD) album Meridian Man‘. This will be issued in a very limited CD run (to start), direct from John, himself. Contact John via his Facebook page or email (johnsloman@yahoo.co.uk)

Meridian Man marks the end of an era for John Sloman, as the Welsh singer and multi-instrumentalist, has left London, after decades, back to Wales. Like John’s previous 8 solo albums, which were made in his home studio, in London, John performs all instruments, vocals, and choirs, as well as produces and mixes this. The 2 CD set will come with booklet, as well as cover design by Tuula Halén.

I will write more on Meridian Man later. My early impressions are that the 2 tracks making up this release, both well over 20 minutes, are quite the musical epic journeys. So much has gone in to the music, with each track given memorable intros, as welll as various changes, various instrumentation. and vocals. It is a lot to dig into, but the songs flow well, and one can play a number of times (as I did today), and get more into it with each listen. If you are a fan of John’s albums, particularly his latest 2, you will not be disappointed in this new one. Definitely John’s most ambitious album yet. At 69, John is one of those few artists whose voice has aged better, and as an artist seems to have a lot more interesting things to create.

*Read John’s description below the album cover.

Further to Meridian Man, John is aiming to release ‘Rock Heaven – The Soundtrack Album‘, in 2027, which is a companion to his 2025 novel ‘Rock Heaven‘, available on Amazon with his previous books. He’s also planning to release his 4th book, a novel – ‘Diary of Dimensionist‘ next year. also.

Meridian Man , John Sloman´s 11th solo album

MERIDIAN MAN– For many years I lived near Greenwich in South East London. The area was steeped in Britain’s history. The River Thames was walking distance away and on Saturday mornings I would run up the steps in Greenwich Park and gaze down in wonder at the Royal Naval buildings stretching along the river. From this elevated vantage point, I could turn to my left to admire the Royal Observatory situated on its own plateau, next to which was the traditional home of the Astronomer Royal. As much of a magnet for tourists the observatory undoubtedly is, the “prime” reason for people visiting the site is to stand on (and photograph) a metal strip set made of brass and stainless steel set in the ground known as the Prime Meridian (0 degrees longitude) from which all of time is measured.Meridian Man is a melding of myth and reality. Psychologists often refer to mythology to explain the underlying impulses of the human psyche. This is sometimes referred to as the “Heroes Journey”. The man I am versus the man I aspire to be. We all fall short of this. It is called being alive. But still we are inspired by stories of ancient myth and folklore. The story of Meridian Man is told over two CDs. CD 1 is The Myth. And CD 2 is The Man. The mythological Meridian Man (The Myth) is responsible for the sun’s movement across the sky and comes armed with a sword and is prepared to use it if necessary. He is a man of honour and duty. He knows great loneliness and sometimes wishes he could party. But to him, “Life is a meditation, practice and dedication, it’s just the way it’s got to be, there is no other way for me.” When a woman urges him to come away with her, he replies “But who would mind the sun when the day is done?”  He is fundamental to our existence, yet nobody knows he exists. And that is just how he wants it to be. He is as mysterious as the meridians in Chinese medicine – or the arcane signs and symbols which adorn our reality. He knows all and sees all while at the same time being both unknowable and invisible.    The human Meridian Man (The Man) is based on the three decades I spent living close to the Prime Meridian. Like my mythological counterpart, I too existed in anonymity while aspiring to something better both artistically and spiritually. For seventeen years, initially as a coping strategy for dealing with the stresses of the artistic life, I immersed myself in the world of Tai Chi, learning hand forms and that of sword, spear and sabre. I have spent much of my adult life in search of a deeper meaning to this existence of ours. And on the rare occasion, I have caught a glimpse of it only for it to vanish like tracks in the snow. But just as the mythological Meridian Man will continue to carry the sun across the sky, so I, the mortal Meridian Man will continue to search for a deeper meaning to this thing we call LIFE.   (JS)

PAUL LAINE to release ‘The Long Road Back’

PAUL LAINE : “THE LONG ROAD BACK”
OUT ON SEPTEMBER 25, 2026
VIA FRONTIERS MUSIC SRL

PRE-ORDER 
HERE

The renowned Canadian singer Paul Laine announced that his new studio album, The Long Road Back, will be released on September 25, 2026, via Frontiers Music Srl.

The first single, “Love Me Or Leave Me”, came with an official visualizer. Laine commented: “I’m so happy to launch a new era in my solo career with my new single “Love Me Or Leave Me”. I feel like I finally got a chance to pick up where I left off all those years ago, when I finished making “Stick It In Your Ear”. Come join me on my new musical journey with “The Long Road Back” album. See y’all out on the Road in 2027.”

The second single, “Don’t Let Me Go Tonite” is now available. Laine commented: “I’m excited to share the release of my next single, ‘Don’t Let Me Go Tonite.’ This song is another chapter in the soundtrack of my life – a look back at love, loss, memories, and all those moments when you can’t help but wonder what could’ve been. I hope this one finds a place with you the way it found a place with me. See y’all out on the road in 2027! ❤️

A masterclass in melodic rock, Paul Laine’s new album delivers soaring hooks, heartfelt ballads, and arena-ready anthems that traverse the full spectrum of the genre. From the driving energy of “Love Me Or Leave Me”, to the intimate vulnerability of “Someday” (co-written with Andrew Oye), every track is meticulously crafted, showcasing Laine’s signature vocal power and melodic sensibility. “Don’t Let Me Go Tonite” comes alive with a striking video that complements its infectious energy.

Laine stated: “Ever since I released my first solo album, I’ve wondered when I’d finally have the chance to make a follow-up. Life – and music – have a way of taking you places you never expect. Looking back, every chapter of my career has led me down a different road, and each one has shaped me as both a songwriter and a person”.

“I’ve been incredibly fortunate to make records with Danger Danger, Darkhorse, The Defiants, Shugaazer, and Jetset Junkies. Every one of those experiences taught me something and gave me memories I’ll always carry with me. But somewhere in the back of my mind, I always knew the road would eventually lead me home – to where it all started. Just a kid with a guitar, trying to make sense of love, life, loss, hope, and everything in between through songs”, he added.

“The Long Road Back” is exactly that. It’s a musical journey back to my roots, but it’s also a reflection of every mile I’ve travelled to get here. Every song carries a piece of the life I’ve lived, the people I’ve met, and the lessons I’ve learned along the way. In many ways, this record feels like coming full circle. After all these years, I’m grateful to finally share this chapter with everyone who’s been waiting for it. I hope these songs find a place in your story, just as they’ve become part of mine”, Laine concluded.

Joining Laine in the studio are longtime collaborators Bruno Ravel (his bandmate in The Defiants and also in Danger Danger – bass, producer), Scotty “Hooch” Taylor (drums), Andrew Oye (lead guitar), with production handled by Laine and Ravel. The album features standout singles like “Love Me Or Leave Me”, the video-driven “Don’t Let Me Go Tonite”, and the heartfelt “Someday”.

Musically, the record touches every corner of melodic rock, yet the songs sound like they’re coming from the classic era when Bon Jovi dominated the airwaves – both in Laine’s soaring vocals and in the anthemic, hook-laden songwriting. This is an album for fans who crave big choruses, passionate performances, and the kind of timeless melodic rock that only Paul Laine can deliver.

Tracklist:

1.    Love Me Or Leave Me
2.    Don’t Let Me Go Tonite
3.    Someday
4.    Come Back To Me
5.    Save Me Saturday Night
6.    Her Name Is Trouble
7.    Heaven And Earth Collide
8.    Bad Habit
9.    Kiss Me California
10.    The Ones That Got Away
11.    Now That You Don’t Love Me Anymore

Line Up:
Paul Laine
Bruno Ravel
Scotty “Hooch” Taylor
Andrew Oye

Pre-Order “The Long Road Back” 
HERE

photo: Dee Oliver

LINKS:

https://www.facebook.com/paullaineofficial

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