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!
In the late 60s to early 70s a handful of German musicians were responsible for a number of obscure albums released under the Europa label. Many of these albums consisted largely of cover versions, with band recording them within a day or 2 , as hired by the producer. The musicians that wound up on so many of these Europa budget releases (many would wind up in grocery stores or gas stations at a discounted price) were the same guys that would make up the (now) legendary Lucifer’s Friend, minus singer John Lawton. One such project were 2 albums released under the name ELECTRIC FOOD, which, besides Peter Hesslein, Peter Hecht, Joachim Rietenbach, and Dieter Horns, along with Greek singer George Mavros (aka Monro. see ASTERIX). Electric Food was released in 1970 and Flash in ’71.
Many of the songs on these 2 albums would be co-written by Hesslein & Mavros, probably in the studio, within days. But there are some notable covers on each.Electric Food features what may possibly be the first Led Zeppelin cover, as the album’s lead off track was “Whole Lotta Love“. It also featured an excellent take of “House Of The Rising Sun“, as well as a cover of Wilbert Harrison’s “Let’s Work Together” (which would be a hit for Canned Heat soon after). The second LP, Flash featured 2 covers – “All Right Now” (Free) and “Love Like A Man” (Ten Years After).
Though made not long before the Asterix and first Lucifer’s Friend albums, Electric Food also leaned towards a heavier blues based and psychedelic rock sound, mixing heavy guitar and Hammond organ, not nearly as ‘proto metal’ as the first Lucifer’s Friend. These are good listening albums for LF fans, but don’t have that impact that the debut LF had.
Electric Food also had 2 further songs included on the Europa compilation Born On The Road: Easy Rider. This 1971 LP release featured 5 Electric Food tracks, notably covers of “Born To Be Wild” and “Up Around The Bend” (CCR); neither of which were on the EF albums. The cassette version of Born On The Road included 9 EF tracks. Another Europa compilation titled My Sweet Lord, would feature 4 Electric Food tracks, though none of these were non-LP recordings.
The band, minus George Mavros (Monro) would go on to record many other projects, as well as many Lucifer’s Friend albums. Mavros would go on to record solo singles under the ‘Monro’ and Mavros name throughout the 70s. He still performs to this day. with his band ‘New Comix’. Peter Hesslein is preparing a fourth solo album, The Last Journey, for possible release in the spring.
Both Electric Food albums were reissued on as a 2 on 1 CD on 2004, as well as vinyl reissues in 2018 (Long Hair Records), which included inserts with historical liner notes.
9CD BOXSET FEATURING THE CLASSIC ALBUMS RITCHIE BLACKMORE’S RAINBOW, RISING, THREE FULL LIVE SHOWS ALONG WITH UNRELEASED TRACKS & RARE RECORDINGS
RAINBOW – THE TEMPLE OF THE KING 1975 – 1976 is the most comprehensive collection of the opening phase of Rainbow’s career to date, and is the first in a series of anthology sets covering the career of legendary guitarist Ritchie Blackmore. The 9-CD set, newly mastered by Andy Pearce & Matt Wortham, is housed in Deluxe 7” packaging featuring a 24-page booklet featuring memorabilia, photos and sleeve notes by music writer Rich Davenport.
The set spans the band’s first two years and includes their debut album, Ritchie Blackmore’s Rainbow; their breakthrough record, Rising and the extended German concerts that were compiled as part of the double live album On Stage.
The final two discs comprise rare recordings, many of which are featured on CD for the first time, including band rehearsals, single edits, and rough mixes.
Rainbow was initially formed as a Ritchie Blackmore solo project in the early months of 1975, after a Deep Purple tour of the previous year. On that tour, they were supported by the American band Elf. The singer of Elf, Ronnie James Dio, left an impression on the already legendary guitarist Blackmore. Blackmore asked him to sing on a cover of the song Black Sheep Of The Family. The sessions went so well that a full album began to take shape, with Blackmore and Dio collaborating on original songs. Blackmore had such foresight in this project, he solely financially funded the work and thus began the mystical musical world of Rainbow. The resulting record, Ritchie Blackmore’s Rainbow, was recorded between February and March 1975 at Musicland Studios in Munich, Germany. With Blackmore’s composing prowess and Dio’s mystical lyrics, the band was set to take fans to a new level.
The album’s unusual stylistic blend of hard rock and classical music was partly inspired by Blackmore taking up the cello to help him break free of the confines of conventional guitar chord progressions. Ritchie Blackmore’s Rainbow was a top 15 hit in the UK and top 30 in the US, and was such a positive experience that in the Summer of 1975, that Blackmore left Deep Purple to commit himself fully to Rainbow.
Recruiting bassist Jimmy Bain, keyboard player Tony Carey and ex-Jeff Beck Group drummer Cozy Powell, Ritchie Blackmore’s Rainbow undertook their first tour. By 1976, the band’s name had been shortened to Rainbow, and a second album, Rising, was recorded in February of that year once again at Musicland. Rising, with its iconic sleeve of a fist holding a rainbow in a mystical scene, only features six tracks, including two epic compositions on side two, one of which, Stargazer, is widely regarded as a Rainbow classic and a landmark in hard rock. The original musical stylings are often touted as the 1st neo-classical metal band. It was the perfect melding of Ritchie’s guitar wizardry and Ronnie’s soaring powerful vocals.
Taking the album on the road in 1976, the band added Deep Purple’s Mistreated to their setlist, and song lengths were stretched to include improvisational sections. The band recorded shows in Germany and Japan, which were edited and compiled as the live album On Stage, released in the summer of 1977. Three of the German shows from Cologne, Düsseldorf, and Nürnberg are being released together for the first time outside of Japan on The Temple Of The King 1975 – 1976.
By the end of 1976, Rainbow had established itself as one of the cornerstones of British rock, and, under the leadership of the never-predictable but ever-astonishing guitarist Ritchie Blackmore, would become synonymous with some of the most loved and popular Rock songs of the seventies and eighties. To be continued….
TRACKLISTING
CD ONE: Ritchie Blackmore’s Rainbow Man On The Silver Mountain Self Portrait Black Sheep Of The Family Catch The Rainbow Snake Charmer The Temple Of The King If You Don’t Like Rock ‘n’ Roll Sixteenth Century Greensleeves Still I’m Sad
CD TWO: Rising Tarot Woman Run With The Wolf Starstruck Do You Close Your Eyes Stargazer A Light In The Black
CD THREE: Ritchie Blackmore’s Rainbow Live In Köln 1976 – Kölner Sport Halle 25.9.1976 – Part 1 Kill The King Mistreated Sixteenth Century Greensleeves Catch The Rainbow Man On The Silver Mountain
CD FOUR: Ritchie Blackmore’s Rainbow Live In Köln 1976 – Kölner Sport Halle 25.9.1976 – Part 2 Stargazer Still I’m Sad Do You Close Your Eyes
CD FIVE: Ritchie Blackmore’s Rainbow Live in Düsseldorf 1976 – Düsseldorf Philips Halle 27.9.1976 – Part 1 Kill The King Mistreated Sixteenth Century Greensleeves Catch The Rainbow
CD SIX: Ritchie Blackmore’s Rainbow Live in Düsseldorf 1976 – Düsseldorf Philips Halle 27.9.1976 – Part 2 Man On The Silver Mountain Stargazer Still I’m Sad
CD SEVEN: Ritchie Blackmore’s Rainbow Live in Nurnberg 1976 – Nurnberg Messezentrum Halle 28.9.1976 – Part 1 Kill The King Mistreated Sixteenth Century Greensleeves Catch The Rainbow Man On The Silver Mountain
CD EIGHT: Ritchie Blackmore’s Rainbow Live in Nurnberg 1976 – Nurnberg Messezentrum Halle 28.9.1976 – Part 2 + Rarities Stargazer – Live in Nurnberg 1976 Still I’m Sad – Live in Nurnberg 1976 Do You Close Your Eyes – Live in Nurnberg 1976 Getaway (Kill The King) – Studio Rehearsals for 1976 World Tour* Mistreated – Studio Rehearsals for 1976 World Tour* Sixteenth Century Greensleeves – Studio Rehearsals for 1976 World Tour* Catch The Rainbow – Studio Rehearsals for 1976 World Tour*
CD NINE: Rarities The Temple Of The King – Bolivian Mono Mix Man On The Silver Mountain – Mono Edit Man On The Silver Mountain – Stereo Edit Tarot Woman – Rough Mix Run With The Wolf – Rough Mix Starstruck – Rough Mix Do You Close Your Eyes – Rough Mix Stargazer – Rough Mix A Light In The Black – Rough Mix Stargazer – Pirate Sound Tour Rehearsal Starstruck – Mono Edit Starstruck – Stereo Edit
*Previously unreleased.
RAINBOW – THE TEMPLE OF THE KING 1975 – 1976 is the most comprehensive collection of the opening phase of Rainbow’s career to date, and is the first in a series of anthology sets covering the career of legendary guitarist Ritchie Blackmore. The 9-CD set, newly mastered by Andy Pearce & Matt Wortham, is housed in Deluxe 7” packaging featuring a 24-page booklet featuring memorabilia, photos and sleeve notes by music writer Rich Davenport.
Denny Somach has released Get The Led Out: How Led Zeppelin Became The Biggest Band In The World‘. I have the 2014 title of this book, which featured artwork by album cover artist Ioannis, who passed away earlier this year. This 2025 edition features a new cover, a forward by legendary drummer Carmine Appice. According to Somach – “This is a new book with over 200 new pages and photos, it does include 10 or so of the best interviews from the original, but being treated as a new book”. See the press info below, and link at the bottom.
In-depth, lushly illustrated coffee-table book. The book starts with a unique day-by-day timeline that reveals quirky insider details, achievements, and exploits. Thirty-plus rare, candid interviews follow, featuring all Zeppelin members and other musicians and industry insiders, including Jason Bonham (drummer and son of legendary Zeppelin drummer John Bonham), Chris Squire (Yes), Joe Perry (Aerosmith), Alice Cooper, Paul Rodgers, and music producers industry legends Eddie Kramer and Ron Nevison, Danny Goldberg (Swan Song Records, Vice President) and Craig Kallman, current Chairman of Atlantic. The book is illustrated throughout with photographs, reproductions of memorabilia from a major private Zeppelin collector, and specially commissioned artworks by noted album cover artist Ioannis. It also features a comprehensive timeline of the band and complete discography including solo projects from each member. Coverage of the reunion concert film in 2012 at the O2 in London, Celebration Day and the presidential Kennedy Center Honors appearance in 2012.
For the first time anywhere from the personal collection of Craig Kallman, a copy of every 45 picture sleeve from around the world. Zeppelin rarely allowed singles to be released, but different countries pressed up singles that were immediately recalled and/or destroyed.
For the first time an interview with Mark Andes, the only living member of Spirit who was involved along with the estate of Randy California in the Stairway to Heaven vs Taurus copyright trial.
Rock icon JOHN CORABI is proud to announce his debut full-length solo album ‘New Day,’ due out on April 24, 2026 via Frontiers Music Srl. To celebrate, JOHN offers fans a first glimpse of the upcoming album with the release of it’s title track, alongside an official music video, available below.
A trip down memory lane with a nostalgic mood, the lead single “New Day” moves from intimate acoustic moments to richly layered rock arrangements. It’s a journey through the heart of rock, infused with soul and blues sensibilities and inspired by the melodic grandeur of early Boston and Queen.
On the title track, JOHN shares: “‘New Day’ is a positive, upbeat song with a message of enjoy life!!! Stop whining and complaining about how unfair life is, and enjoy the ‘little beautiful things, life offers’ and make the changes you need to make your life better!!! Change happens WITHIN…”
‘New Day’ marks JOHN CORABI’s first full-length solo album of original material. Recorded in Nashville during the summer of 2025 and produced by multi-platinum songwriter and producer Marti Frederiksen (Aerosmith, Ozzy Osbourne, Buckcherry), the album fuses classic ’70s rock, soul, and blues influences into a sound that feels both timeless and deeply personal.
The record features the previously released singles “Così Bella (So Beautiful)” (2021) and “Your Own Worst Enemy” (2022), now presented as part of a rich collection of tracks that spotlight his commanding vocals, heartfelt lyrics, and masterful songwriting. Throughout the album, CORABI is joined by Marti Frederiksen, who adds backing vocals, guitars, piano, and percussion; Evan Frederiksen on drums, bass, B3 organ, electric guitar, mandolin, and programming; Richard Fortus (Guns N’ Roses) on lead guitar; Paul Taylor (Winger, Steve Perry) contributing piano, organ, and clavinet, as well as Charlie Starr (Blackberry Smoke) offering guitar solos. Together, they create an organic, instrument-driven sound built on real performances, melodic interplay, and soulful energy. With a European tour planned for February/March 2026 and additional shows running through late spring and summer, CORABI is poised to bring this new music directly to fans, delivering both powerful live energy and genuine emotional resonance.
More than just a solo debut, ‘New Day’ serves as CORABI’s personal testament to rock’s enduring spirit—an exploration of melody, soul, and authenticity, played with passion and conviction at every turn. JOHN shares: “I’m very excited for everybody to hear this new collection of songs! I wanted to put together an album of eclectic, organic songs that are reminiscent of the music I grew up listening to, and I truly believe the mission was accomplished! This is a 60’s-70’s sounding classic rock and roll record…Turn it up, and enjoy!!!”
These guys were a short lived band, labelled as a “supergroup” at the time. The album has been a highly sought after classic hard hard release. Though the band didn’t last long beyond it’s original release, Armageddon made an impact. Love the songs, sound, and cover. Check out the press release below, ordering info, and a few clips.
LONG LOST CULT CLASSIC BY ARMAGEDDON IS CELEBRATING ITS 50TH ANNIVERSARY AND IS BEING REISSUED THROUGH DEKO ENTERTAINMENT. REMASTERED AND REPACAKGED ON 180G “ATOMIC RED” VINYL WITH BUNDLES SIGNED BY ALL THREE SURVIVING MEMBERS
Armageddon was formed in 1974, and their self-titled debut, ‘Armageddon’, released in 1975, was recorded in England and released in the United States on A&M Records. The albums’ original liner notes use the term “supergroup”, as their personnel were drummer Bobby Caldwell (previously a member of Captain Beyond), singer Keith Relf (who had fronted the band the Yardbirds and was a co-founder of Renaissance), guitarist Martin Pugh (from Steamhammer), and bassist Louis Cennamo (also formerly of Renaissance and Steamhammer).
This classic has now been remastered and repackaged in a beautiful gatefold on 180G Atomic Red Vinyl with additional photos and credits to celebrate the 50th Anniversary. There is a Limited (100 copies) signed bundle that comes with a 10×10 print signed by all three-surviving members (Bobby Caldwell, Louis Cennamo, Martin Pugh). As Caldwell states, “Hello! It was a great pleasure to have written and worked on the Armageddon album with the late Keith Relf, Martin Pugh, and Louis Cenamo, some of the finest players in England! We had a lot of fun, and we are delighted to see the album being re-issued by Deko Entertainment. We hope you enjoy it. Many thanks! Best Wishes.
Pugh continues, “I am thrilled that Deko is recognizing the 50th anniversary of Armageddon with this timely release of the vinyl. Keith, Louis and myself flew out from London following a dream, when we arrived in Hollywood, met and jammed with Bobby, the dream came true.” Cennamo concludes, “Armageddon, our supergroup that nearly was and now just might always be!”
*Armageddon is a limited pressing of 500 copies and continues in the tradition of Deko Entertainments mission to bring lost classics back to life and sometimes for the first time ever on vinyl. Recent releases have included Trapeze, Angel, Dokken, Warrant, Slaughter, Stevie Salas, and others.
Tracklist: SIDE A 1. Buzzard 2. Silver Tightrope 3. Paths and Planes and Future Gains
SIDE B 4. Last Stand Before 5. Basking in the White of the Midnight Sun a) Warning Coming On b) Basking in the White of the Midnight Sun c) Brother Ego d) Basking in the White of the Midnight Sun (Reprise)
HEAVY PETTIN’ released 3 albums of hard rock back in the ’80s. In recent years the band from Scotland has been brought back to life via singer Stephen Hayman, and in October released their first full length album since 1989. Rock Generation features a fun set of hard rockers and anthems, and I like the sound (big guitars and even those 80s backing gang vocals at times). Fave cuts include “X-Rated”, “Brother Sister”, and “This Life”. The band has been busy playing live to support this album, more recently as support for Uriah Heep, (and) with April Wine in Europe.
*Check out the press info below, as well as the videos and links at the bottom,
The Scottish rock warriors Heavy Pettin release the title track and video from the brand-new studio album Rock Generation, which is set for release on on October 24th via Silver Lining Music. Pre-orders available now at this location.
Vocalist and founding member, Stephen “Hamie” Hayman comments: “Heavy Pettin are back!!!! Rock Generation is a celebration for all rock fans around the world… Made to ROCK ur Soul.”
Back in the ‘80s, Scottish rock ‘n’ roll warriors Heavy Pettin strode stages worldwide whilst their debut album, 1983’s Lettin Loose, threatened to break the rock world apart. They were seen as the natural ascendants to rock’s highest echelons, touring internationally alongside the likes of Ozzy Osbourne and Motley Crüe as wild Glaswegian whippersnappers. Then life happened and Heavy Pettin went on a triple decade hiatus.
Listening to Heavy Pettin’s first new studio album since 1989 – Rock Generation – feels more like a 30 week’ hiatus augmented by a supreme confidence. Led by founding frontman Stephen “Hamie” Hayman, featuring Dave “Davo” Aitken and Richie “St. James” Dews on guitars and backing vocals, plus David “Boycee” Boyce on bass and Mick “The Wizard” Ivory on drums, Rock Generation is a sonically-superb, classic song-strong rock ‘n’ roll return to that glorious slipstream between Def Leppard, Whitesnake and Thin Lizzy. The ten cuts bristle with full-frontal attitude and powerful melodies. Take the title track, with its hip swinging anthemic swagger, there’s “Oblivion” with guest vocals from Roni Lee which carries a true Celtic swing in its groove plus an addictive singalong chorus, while “X-Rated” fuses the attitude of Glasgow’s Sauchiehall Street with the punch and panache of the Sunset Strip.
Made in Glasgow at Morsecode Studios and produced with a timeless sheen by Ciarán O’Shea, make no mistake, Rock Generation is only interested in bringing you on a thrill-ride through the carefree sweat and leather landscape of cut-loose heavy rock ‘n’ roll. It’s a mission which will demand -and receive- your willing acquiescence.
This past year was a busy year for APRIL WINE, having toured the UK with Uriah Heep and Tyketto, then Canada with BTO and the Headpins, and then over to Europe to (again) join Uriah Heep and Heavy Pettin’. And 2026 looks like they’ll be on another bigger tour, supporting Triumph! Check out the press release, tour dates, and links below!
(From left to right. Roy Nichol, Richard Lanthier, Brian Greenway, Marc Parent Photo Credit: Taylor Jones)
Fans of classic Canadian rock n’ roll must be overjoyed with not only the announcement of Triumph’s first North American tour in decades, but that they will have another one of the Great White North’s top rock bands supporting these spring dates: April Wine. Running from April 22nd through June 6th, the tour will hit all the spots that both Triumph and April Wine amassed legions of fans over the years; Toronto, Edmonton, Calgary, St. Louis, San Antonio, New York, etc.
Comprised of members Brian Greenway (guitar), Richard Lanthier (bass), Roy Nichol (drums), and Marc Parent (lead vocals, guitar), this will not be the first time April Wine and Triumph have shared the stage before. Longtime fans may recall a show at the Municipal Auditorium in San Antonio, Texas on February 18, 1977, which served as Triumph’s major American debut and a significant breakthrough for the band. Also, in San Antonio during March 1978, as part of a run of five shows in Texas for promoter JAM Productions. One fan recalled the lineup for this show as April Wine, Crack the Sky, and headliner Triumph. Both bands have a strong history with the state, as San Antonio radio station KISS-FM was an early supporter of Canadian hard rock acts, helping both bands gain a significant U.S. following.
April Wine has been a staple in the rock music scene for over five decades. Known for their powerful ballads and rock anthems, the band has seen several lineup changes but has always stayed true to their roots. April Wine has weathered the storms of the music industry with remarkable resilience and the band continues to captivate audiences with their electrifying performances. Fans are eagerly awaiting the next show, ready to experience the magic that April Wine delivers.
The journey began in 1969, marking the start of a legendary career in rock music. With hits like “Just Between You and Me”, “Sign of the Gypsy Queen”, “Roller”, “I Like To Rock”, “Say Hello”, “Oowatanite”, “Enough Is Enough”, “Rock N Roll Is A Vicious Game” and many more, April Wine has left an indelible mark on the music industry.
Significant milestones include their induction into the Canadian Music Industry Hall of Fame in 2009, the Canadian Music Hall of Fame in 2010 and Canada’s Walk of Fame in 2023. These accolades are a reflection of their hard work, talent, and the significant role they have played in shaping the rock genre. April Wine’s ability to consistently deliver powerful performances and connect with audiences has earned them a place among the greats in rock history.
Today, the band continues to tour, keeping the spirit of rock alive for their dedicated fanbase. And in 2026, they will bring their melodic and anthemic brand of rock once more to North America!
TOUR DATES:
CANADA
April 22 – Sault Ste. Marie, ON | GFL Memorial Gardens April 24 – Toronto, ON | Scotiabank Arena April 25 – Hamilton, ON | TD Coliseum April 28 – Halifax, NS | Scotiabank Centre April 29 – Moncton, NB | Avenir Centre May 1 – Laval, QC | Place Bell (Montreal) May 2 – Ottawa, ON | Canadian Tire Centre May 5 – Winnipeg, MB | Canada Life Centre May 7 – Edmonton, AB | Rogers Place May 8 – Calgary, AB | Scotiabank Saddledome
UNITED STATES
May 13 – Rosemont, IL | Rosemont Theatre (Chicago) May 14 – Milwaukee, WI | Miller High Life Theatre May 16 – Kansas City, MO | Starlight Theatre May 17 – St. Louis, MO | Hollywood Casino Amphitheater May 20 – Irving, TX | The Pavilion at Toyota Music Factory (Dallas) May 21 – San Antonio, TX | Frost Bank Center May 22 – Houston, TX | Smart Financial Center at Sugar Land May 24 – Tampa, FL | MIDFLORIDA Credit Union Amphitheater May 26 – Atlanta, GA | Synovus Bank Amphitheater at Chastain Park May 28 – Camden, NJ | Freedom Mortgage Pavilion (Philadelphia) May 30 – Sterling Heights, MI | Michigan Lottery Amphitheatre at Freedom Hill (Detroit) June 3 – Darien Center, NY | Darien Lake Amphitheater June 5 – Wantagh, NY | Northwell at Jones Beach Theater (New York) June 6 – Boston, MA | Leader Bank Pavilion
It’ll be 2026 soon, and what bands will fans of Canadian rock fan be looking to go see? RUSH….THE GUESS WHO…..APRIL WINE….TRIUMPH! Announced a couple of days ago, TRIUMPH has reunited, added a few players, and added APRIL WINE as the opening act for a 50th Anniversary tour of North America. The band last reunited in 2008, for 2 shows, and before that last toured with Rik Emmett, Mike Levine, and Gil Moore in 1988. Triumph, with Phil X in place of Emmett, was resurrected in ’92 for one more album and tour. Phil X is also involved again for this tour.
For this tour Triumph is adding a few players to help out. To clear things up, the band posted a few days ago – “We want to clear up something that popped up during today’s tour announcement: this is NOT a tribute band tour. This is a Triumph tour. We’re putting in the work to bring our show and our songs back to you, the fans. And to help us deliver a truly world-class show, we’ll be joined on-stage by a few friends – Todd Kerns and Brent Fitz from Slash’s band, and Phil X on loan from the mighty Bon Jovi. Big things ahead. We can’t wait to share it with you. See you on the road!“– Gil, Rik & Mike
(Brent Fitz and Todd Kerns are also part of Canadian band Toque).
Outsider Rock 