American metal band SACRED LEATHER will see the release of their second full length studio album next month. These guys remind me more of the British metal acts, somewherez between Judas Priest and Saxon. The first couple of songs are full of power and speed speed, “Spitfire At Night”, and the next one “Phantom Highway”, but it’s not all as heavy and fast as this, Keep The Fire Burning is not all full speed ahead, as noticed with favorites “Wake Me Up”, the single “Fallen Angel”, the heavy ballad “Tear Out My Heart”, and closing piece “Mistress Of The Sun”. Really like the massive guitar sound and production of this. Love the album cover-art, courtesy of Nico Brausch. *Check out the band info below, as well as the 2 videos, and links below.
Forged in the fires of classic heavy metal and baptized in the spirit of rock ‘n’ roll rebellion, Sacred Leather stands as a defiant reminder that true metal never dies. Hailing from the American Midwest, the band delivers an unrelenting assault of twin-guitar fury, thunderous rhythms, and commanding vocals that channel the essence of leather, chains, and midnight highways.
Following their 2017 full-length debut Ultimate Force, which established them as torchbearers of traditional heavy metal’s resurgence, Sacred Leather return with their long-awaited sophomore album Keep the Fire Burning, due December 2025 through King Volume Records and Wise Blood Records. The album is both a declaration and a promise—rekindling the spirit that started it all while pushing their sound into sharper, more melodic, and more anthemic territory.
With Keep the Fire Burning, the band expands on their reputation for electrifying live performances and unflinching authenticity. Drawing from the steel-plated legacy of Judas Priest, Accept, and early W.A.S.P., Sacred Leather blend classic metal tradition with cinematic flair, evoking the neon glow of midnight highways and the danger of the unknown.
Sacred Leather is: Dee Wrathchild – Vocals Lynn St. Michaels – Lead Guitar Magnus Legrand – Bass Don Diamond – Drums Cvon Owens – Rhythmn Guitar
GREYSTONE CANYON, from Australia release their third album in a few weeks. Something Borrowed…. Something New, features 9 tracks, including 5 classic rock covers! The band has 4 originals here, 2 instrumental, most likeable being the acoustic “Friend Of The Fox”. The 2 others are the guitar heavy “Stealing Our Freedom”, and the rockin’ “Drive Us”, which is a good tune, and makes me want to find out more from the band’s previous albums. But for me, it’s the covers here – the choices and performances are excellent. *Check out the press info & bio below, as well as the singles, a cover of Thin Lizzy’s “Suicide”, and UFO’s “Doctor Doctor”.
Australian hard rockers Greystone Canyon return with a powerful new single – a bold rendition of Thin Lizzy’s “Suicide”, available worldwide today, November 7th, 2025. The track is the first glimpse into the band’s forthcoming album “Something Borrowed…Something New,” due out December 5th, 2025, from Rockshots Records, marking their most authentic and organic release to date.
Faithful to the spirit of Phil Lynott and Thin Lizzy’s timeless legacy, Greystone Canyon delivers a warm, punchy, and honest version of “Suicide”, enriched by their signature blend of melodic rock and gritty hard-edged groove. Recorded live with no click tracks or studio trickery, the single captures the raw chemistry of a band feeding off one another in the room – a true celebration of rock ‘n’ roll energy.
Produced by the band and engineered by Joel Taylor at Black Lodge Studio (Melbourne), “Something Borrowed…Something New” represents a turning point in Greystone Canyon’s journey. As the title suggests, it’s a hybrid record – a mix of new original songs and hand-picked classics from the bands that shaped their sound, including Thin Lizzy, Led Zeppelin, ZZ Top, UFO, and Neil Young. The album bridges past and present, combining heartfelt tributes with fresh, road-worn originals such as “Drives Us,” “Friend of the Fox,” and “Stealing Our Freedom”.
Vocalist/guitarist Darren Cherry comments: “This is our most honest record so far – real instruments, real performances, all captured live in one room. We wanted to remind listeners of the warmth and punch that only true rock bands can create together. It’s pure, old-school energy and we had an absolute blast making it.”
Following the success of “Iron & Oak” (2024), which reached #18 on the Australian iTunes Hard Rock chart and earned multiple 10/10 media scores, the band is poised to bring their music to a new global audience with a record that’s equal parts homage and evolution.
Recommended for fans of Led Zeppelin, Thin Lizzy, and ZZ Top, Greystone Canyon‘s new album “Something Borrowed…Something New” is out December 5th, 2025.
Canada’s CONEY HATCH has a brand new 2LP (2 disc) anniversary edition of their classic debut album. The second LP in the set contains the band’s 1982 show at the famous Cleveland Agora, which, along with the added artwork, liner notes, and remastered sound, make this a great package for any 80s hard-rock fans. Dave Ketchum is a founding member of the band, and was a huge part of that debut album, driving classics like “Monkey Bars”, Devil’s Deck”, and the hit “Hey Operator”. The band is performing an acoustic show Friday, November 14 at the Redwood Theater, in Toronto. In this interview Dave talks about the band’s early days, working with Kim Mitchell, thoughts on the other ‘Hatch albums, what he did after he left the band and is up to these days, as well as the band’s upcoming show, and some of his influences and favorite drummers! This was a lot of fun. thanks Dave.
First, I want to talk about this release here (hold up new Coney Hatch anniversary LP), before we go back and talk about the album and the early days. This collects everything from that era that’s known to be out there, with the outtakes and the Cleveland show.
Right. It was Anthem Records idea to do an anniversary edition. It’s got lots of cool stuff in it. You know, they remastered the first album to today’s standards. And then someone found a copy of a show we did at the Agora in Cleveland, Ohio in 82. The cool thing about the Agora was that, because I don’t know whether you know this, but we did the show at noon. And the reason for that is it’s all mic’d up and everything else, and it went out on a radio station to over a million people. So it was kind of cool, because Rush was playing in town that night. So we did the show at noon, and then well, I don’t know about everybody else, I went back to bed for a couple hours. Then we went out and saw the Rush show in Cleveland that night, and went backstage. That’s the first time I got to meet the guys in Rush. It was pretty cool. And we joked that they played to 20-25,000 people at the arena, but we played to a million!
A lot went into the packaging, obviously. I’ve got the CD and the vinyl here. So, the colored vinyl, the gatefold and the inserts and that was all pretty cool. Did you guys have much say in all that, like, where you guys all kind of chipped in on that, or what?
Well, the pictures are mostly from Andy and Carl. They’re obviously all pictures I’ve seen before. Andy works very closely with Anthem, so he kind of had a lot to do with pushing the product through, having it made, and all that. I’ve known about it from the beginning, but I don’t think I personally did a whole lot for it, just kind of check-marked off things when ideas came up and stuff like that.
Did you save much over the years? Like from those days, did you save any like flyers or tapes or stuff like that?
I had a bunch of stuff from way back and it got lost in a house and it got filled with water in the basement, and I lost almost everything from the early days. So, it’s funny because through the years, Andy sent me some stuff, and fans have sent me things. A few years ago, I got a package in the mail and it had a bunch of the little singles. (walks over to collection to grab things) They sent me copies of the first few albums and then sent me a bunch of these little 45s, from the old days.
(*At this point Dave shows me some Coney Hatch promo singles from his collection)
I have a really cool Max Webster one. I don’t know how that got in my, in my collection (laughs).Well, actually, I do know how that got in my collection. Back in the early 80s, when we were with Anthem Records originally, when we were signed to them, and I lived in Toronto, at the time, I’d go down to Anthem Records; they had this closet in their downstairs, and they’d have copies of everything that they produced, all their bands. They’d keep them in there as extras for giveaways or whatever. And I’d go down there. So I have most of the Max Webster collection; I have a pretty good selection of the Rush catalog, and of course, some of the Coney stuff. But yeah.
I’ve got a couple of 12-inch singles. (I show Dave a few 12 inch singles and LPs, including a few he signed backstage at LuLu’s in 1994, and my Japanese edition of the first LP)
I want to go back to the earliest days of the band, you and Andy formed the band in 79 !?
Yep.
I have seen some gig listings that go all the way back to then. So, wondering what kind of shows were you guys started out playing, what you recall of those days as far as what you played, and the other guys in the band?
I had been playing in a band with a guy named Mark VanRemortel, guitar player-singer, that band broke up. And he had told me, “Oh, I got a guy I went to school with named Andy Curran. So, we got together and then they had another friend of theirs, whose name escapes me at the moment; and he also played guitar. We got together in… I want to say September of 79, and rehearsed a bit, and did some 8 x 10s – shots of the band, because that’s how you used to get gigs. Back in that day, you’d send out 8 x 10s. And then just before the first gig, the original guitar player, he decided that he didn’t want to go on the road; so he quit. I had played back in 75, with a band. Now I was still in high school then, but I played in this band, And the guitar player from that band, a guy named Eddie Godlewski; he was lead guitarist in that band. It was called ‘Back Alley’, I think.
Anyway, so I gave him a call and he came along, and technically, he would probably be the very first guitar player for Coney Hatch, for maybe the first, )I don’t know..) six months or something like that. And then he, he decided he was going to go. So we put an ad in the paper, in the Toronto Star, because again, they used to have a category for musicians and stuff like that back in those days. And that’s when we got Steve Shelski, who, of course, is on all the albums. We carried on like that for almost a year. Then Paul VanRemortel was going to go back to college or school or something, and that’s when we put another ad in, and that’s when we got Carl Dixon.
What sort of stuff did you play in those earliest days? And what of the original songs from the first album were the kind of the earliest ones that you remember?
Well, we were young, and we weren’t sure what direction the band was really going to go in. We played a lot of like ACDC, Bon Scott, ACDC stuff. But then we’d go and play like The Police. We used to do this great song called “Drugs In My Pocket” (The Monks). And we’d play some Cars. So I mean, we were all over the road, when it came to what we were doing musically.
But as things started to kind of carry on….and I should say that back in those days, you played six nights a week. We had a manager, and he would get us gigs. We played every week. I think in 1980, we probably played 50 weeks of that year. And every week in a different place. Well, we’d repeat places, but it was mostly in northern Quebec and northern Ontario and not this far north, but Timmins, Sudbury, that kind of stuff. And yeah, we played six nights a week. So, you’d start to play on Monday, Monday to Saturday. Sometimes you had to do a matinee on Saturday. So, something, at noon kind of thing. And, then Sunday was your travel date to your next destination.
The cool part about that was, again, you played every day, and you played every day with a band, and in front of people, and you could get real feedback for what was working and what wasn’t working. And it was, obviously, a great way to learn our craft; it was a great way to learn your instrument. You just played so much. And it was great! In the 80s we were in our early 20s. We had an amazing time.
Really early ‘Hatch stuff… I want to say that “Monkey Bars” was a very early song. And, I think “Devil’s Deck”, I think those were the two very first songs that we did. And then we added things in afterwards, The funny part is, there were some songs that started off differently, very differently, and then eventually became what they were. There was one of the songs that we did that was called “I’m Lazy”. And I believe that became, “I’ll Do The Talking”, maybe. Anyway, we were starting to play these songs a few years before we actually recorded them, and things changed as they went along. I think “Stand Up” started off faster than it ended up being. When we actually got into the studio with Kim Mitchell, he did a lot of stuff with that; changing tempo and stuff like that.
There’s obviously some outtakes from that album. Do you remember a song called “Car Stares”?
Yes.
I’ve seen that listed before. I’m sure I’ve seen it on a bootleg or something. But I don’t recall hearing it.
It was from our era where we were still hadn’t decided whether we were going to be like a rock band or, or, because it’s almost punky in sound. It’s really fast. That was an Andy song. He was the guy, mostly that was just in love with kind of the tail end of new wave – kind of punky stuff; and so some of his writing was like that at first. And, they’re songs that we either just never did, or songs that got rearranged later on and stuff like that.
I always found, especially on the first album, that dynamic of having the two singers and they’re being from two different influences, like two very different.
Yeah, absolutely. Carl’s more like, mainstream, I guess, maybe would be the…whereas Andy’s got a very different voice; I think, a little bit less mainstream and a little bit more unique. And he went for kind of the rockier, more melodic stuff, if that makes sense.
On that first album, you guys all had credits on that. What were a couple of the songs that you had the most hand in?
Well, again, I’d say the two that I get credit for is “We Got The Night”, and then “Stand Up”, I believe those are the two that I have credit on. Again, it had a lot to do with Kim, to be honest. He’d sit with me and we’d go through a few things. The drum intro to “We Got The Night” was something that I’d been messing around with, and Kim really liked it, and wanted to add it to the beginning of the song, basically. Originally, the song didn’t have that drum intro. And like I said, Kim really liked it, he was like,” No, no, this is great! Let’s put this at the beginning”. And with “Stand Up”, again, tempo-wise, feel-wise, that’s kind of what I brought to those songs.
And the other songs that I really liked that were around… There was “Dreamland” and “Where I Draw The Line”, which was the one that got dropped for “Hey Operator”.
Yeah, it’s funny, “Hey Operator” came in right at the tail end. When you record an album, you put the bed-tracks, down for 15 songs, if you know, to have nine released, or whatever it is!? So, there’s always stuff in the can, so to speak, that can be used, or don’t ever get used or whatever. And, some of the fourth album that we did was stuff that hung around. That was done in 2013, but some of those things were ideas from the 80s.
I got to be honest, I really like “Dreamland”. I thought it was a great song, and I thought it fit in really well with the album. Of course, it was not on the original release, it’s on the anniversary release. But again, a lot of those decisions were between not just the band, but the band and Kim and the band, Kim and the record label. So, you’re looking at that time, and I guess they fit. And obviously, adding “Hey Operator” was a good idea. I just thought it was kind of a shame that that we didn’t somehow add in “Dreamland”.
And we just, only a couple of years ago, actually, we did a show where we played the first album from beginning to end, and that included “Dreamland” and “Where I Draw The Line” We have not played “Sin After Sin” since the since the early 80s. And we’re going to do something kind of similar to that on November 14th in Toronto, at the Redwood Theatre.
We’re once again, going to get to play some of these songs that were never released for the first 40 years of our career. And, then now have been again. So, I think that’s kind of cool.
You guys went on to the second album, you had Max Norman brought in, and it kind of changed things a lot. Obviously, the first album had that flow of energy and the bit of rawness and all, that kind of went from song to song. And the second album seemed to be a little more of an attempt at more radio mainstream, with the production?
Yeah. You know, by that time, the record label was making a lot of decisions for us. Max Norman had had had a name in the business. The band wanted Kim to do to do the second album, and the record label talked us out of it. And, they wanted to use Max, Max had a history with doing the Ozzy Osbourne stuff. So Max was brought in. You know, if I’m being honest, it wasn’t as much fun for me. I loved working with Kim. Kim understood the band, Kim was almost the fifth member of the band. At least that’s how it felt. Whereas Max was much more of a engineer than he was a producer. Kim got into the songs with us better, Max just kind of barked out orders (haha). And don’t get me wrong, I listen to the second album now, and it’s definitely different than the first one. I agree with you on that. I’ve grown to like it more, like now than I did then. I think it’s got some pretty quirky things on there, and some very interesting things that we did. But yeah, it definitely was a very different experience than making the first album.
The second album, I always found it odd; there’s nine songs, and with the five on the first side…it took me a long time to get into the second side as much until I saw you guys last year when you did the whole album. It kind of made a little more sense for me, especially the last track, that everything kind of went together a little better, I think, hearing the whole album in its entirety live.
And that’s what I’m talking about. It took me a really long time to kind of get into the feel of it as well, to kind of really enjoy it. It’s funny when back in those days, because when you recorded everything live, like live on to track to make an album, it’s not like now with click tracks and all this other stuff. I can listen to those albums now and really enjoy them. At the time all I could hear were the really, really minor mistakes and it used to drive me crazy. But yeah, when we rehearsed it, was it last year…to do the second album, and play it live from beginning to end, it was really refreshing. It was like, “Oh, okay”. And playing it all together, just like you said, playing it all together – it made it a lot more sense. I got a new appreciation for the second album that I never really had before. And actually, I really quite enjoy it now.
Do you have any favorites from that album as far as playing live?
I love the last song, “Music Of The Night”. The feel of it…
It has a very late-night radio…something you want to hear after hours.
It’s funny because “Music Of The Night” started off as just a jam. We were just horsing around, and we got into this really cool groove. All the music was done, and then Carl came up with the lyrics for it later. It wasn’t one of those songs that either Carl or Andy just brought in half done; it was literally made from scratch. That was fun.
You weren’t around for Friction, and I don’t need to go into what happened…
My wife and I had children. So, for a brief time there I didn’t want to do the travelling. And I could see that our American record label had started to lose some interest in the band. So, I just thought ‘maybe I’ll get off this ride now’ , and let them carry on. That’s the biggest reason for it. And of course, Barry Connors came in and did the third album. I think they toured for about 6 months after that (I’m kind of throwing out numbers), and then the band broke up. And once we put it back together again a few years later, I was ready to start playing again and have fun with the boys. So really, I was really only absent from the band for less than a year, total.
You guys recently played the Friction album in it’s entirety, overseas. Did any of those songs have a beginning with you? Were you around for any of the ideas of what became songs on the album?
None. Again, once we decided to put the band back together in the later 80s… It was supposed to be a ‘one off’ show at Rock N Roll Heaven. A friend of the band’s had died of meningitis, and he was English, and the family didn’t have the money to get him home. So we were going to do this one show to make up the funds to have the body sent back to his family in England. The response from the show was amazing, and that’s when we thought ‘OK, maybe we can do this a bit more’. And the late 80s into the very early 90s we played lots! Lots of festivals in the area and playing weekends in the local bars and stuff like that.
And that’s eventually that turned into doing the fourth album, in 2013. We had an Italian record label (Frontiers) contact us and convince us to do another Coney Hatch album.
What did you think of Four? Were you happy with that?
Oh, I think it’s the best Coney Hatch album there is! It’s my favorite. That was done by us. Andy takes the producing credit on that album, but that was an album that was literally the four of us. And obviously, many years after the original albums, and time to grow as people, and grow instrumentally. I wish the fourth album had gotten more distribution…because it’s my favorite Coney Hatch album.
For me it’s the closest to the first one; it has that energy and raw edge to it…
Exactly. I couldn’t agree with you more. It is a modern version of the first album. I can only imagine, if it had been the second album, I think Coney Hatch would’ve been a much bigger band. There’s some really good radio friendly songs on there, and there’s some great groove stuff that the four of us get into. Great album! Again, absolutely my favorite album!
So, are you retired now?
Well, I am retired from my day job. I have a degree in child and youth work. And for 22 years, I worked at a secure custody young offenders’ facility in Thunder Bay. So basically, kids under the age of 19. But, you know, everything from murderers to gang kids to whatever. I retired from that in 2021, I believe. So, I think it’s been about four years that I retired from that job. And then, of course, immediately went out and joined a bunch of local bands around the Thunder Bay area, to keep myself amused. So, between Coney and three bands up here. I play in a 50s band, with an 81-year-old saxophone player. It’s just an amazing band; it’s so much fun. They’re very well known up here in northern Ontario. And then I play in sometimes three piece, sometimes four-piece rock band that does 70s, 80s, 90s, rock, and with about a 70% Canadian content – including a Coney Hatch song, we do “Monkey Bars”. And then my wife is also a musician, a phenomenal singer. And she has a country band that I was sequestered into probably about five, six years ago. She’s an amazing singer, and she plays guitar, and then she plays bass as well. She is the basically the full-time bass player in this country band. Yeah, fun stuff. It keeps me amused.
You sound busy!
Yeah, busy enough – rehearsals and shows, and trying to keep down the repertoires for four different bands. Yeah, it’s a bit of a thing, but…I am retired, so, yeah, it’s fun. And then throw in, I don’t know, the two and a half to three weeks of summer here in Northern Ontario (I’m, of course joking), but I also like to get out and play golf a couple times a week. So yeah, it keeps me busy.
Well, the corrections thing, is that something you got into after when you left Coney?
No, that was something after I had moved up here to the north. We actually left Toronto, my wife and myself and our two kids. We left Toronto in 91 and came up here because my wife Bonnie is from Thunder Bay, and had a lot of family up here; whereas, at that time, my parents were living in Tennessee, so I only had a brother there. And he took over the house that we were all living in, and we came up here to be around a whole whack of family. It was great for the kids, because, you know, lots of lots of camping….If you’ve ever been to Northern Ontario, as someone who’s been around a lot of this planet, for the four months, especially, of good weather, I will put Northern Ontario up against just about any place on the planet as far as being just beautiful. It just has so much going for it, hundreds, if maybe thousands of inland, beautiful lakes, and just great camping and fishing. And of course, for those who partake, I do not, but there’s great hunting up here.
Yeah, it’s a beautiful place to live. It was great for the kids to grow up, up here. It’s, especially, going back 30 years, it was a very safe place to live. Not that it’s not now. But It was a great move for our family.
And, just from then on, I just log in a lot of air miles, flying back and forth whenever I need to. It’s a quick…. between an hour and a half – two hour flight. And, I have family down there in Toronto. My brother is there, and his whole family, who also look after our mom, they live in the East End. My oldest son was in Vancouver for many years, and then he came back, …maybe almost two years ago, and is working in Toronto. So as an example, when I come down to do the Coney Hatch show, I’ll stay with my oldest boy, and him and I have a great time.
In the years after Coney Hatch, did you do anything like as far as recording, session work, or do you have any offers to do joining bands or anything?
I did. But I was so kind of, I guess, for lack of a better term, I was just burnt out, by the end of 84. I got some kind of interesting offers and stuff; but you know, we had just had our first son…. And, just didn’t want to travel anymore for a while. I had done it for a bunch of years. I just wanted to give that a rest. And I believe it or not, I drove a cab in Toronto for a while; it didn’t go all that well, but I did it for a little bit and then and then just got into… I worked for Ford, in their glass division for a while, and then ended up getting a truck license. And then I drove a crane truck for about the remainder of my time in Toronto before we came up to Thunder Bay. And, then I got into logging up here for a while. Now, still doing Coney Hatch stuff, once we resumed near the end of the 80s. I think 87 is when I think we started back. So, I was still in Toronto for that. And then when I moved up, I just kind of carried on where we were. We became weekend warriors’ kind of kind of thing. I mean, there was a time period there when my second son was born in 88, there was a time period there where Coney was working almost every weekend, at least three out of the four weekends, and, honestly, I didn’t need a job, so I stayed home and played Mr. Mom and looked after our youngest when he was a baby and, and my wife continued working. And then, and then like I said, when we came up to came up to Thunder Bay, I did some log hauling for a while and ended up getting hurt doing that. And then that’s when I went to college. And that’s how I got my child and youth work diploma.
Did you see the band? Like, after Carl left the band, they had a couple other singers in for a bit for a year.
Never saw any of the other parts of Coney except when it was Andy, Steve and Carl, and then they used Barry Connors from Toronto. I saw that; I think one show, just wanted to come out and say Hi to the guys. And again, I was still in Toronto, and saw them once, it was kind of short lived before it started to go into all these other variations of Coney Hatch.
And, of course, both Carl and Andy at different points, going off to do solo stuff. So yeah, no, never saw any of the other versions. And then, like I said, it completely stopped. I don’t know exactly when because I wasn’t involved and then started back up in 87. And, and I’ve been involved ever since.
(A discussion about the amount of shows the band did when it restarted in 87 ensues, with me not be able to read CD covers and Dave trying to recall the 5-city tour for the Best Of release. Dave estimates the band did about 100+ shows from 87 to 91.I show Dave the front page of the local Niagara entertainment rag with Coney Hatch on the front from 1992).
I was at the show in Toronto, where you did the first album. And I was at the show last year, where you guys did all of Outa Hand. I seem to recall you guys went into the studio while you were in town. (I think somebody posted that).
We went in and did the basically the bed tracks. We did two more songs. And they are, to my understanding, close to being done. We just kind of put them in the can and put them away for a little bit just till we kind of needed them. And I know that the boys started.
They did some studio work, the three of them, they didn’t need me because my part’s done. I want to say early fall. So just recently, they’ve gone in and did a lot of the stuff. I’m not sure if the vocals are done yet on them. But anyway, they’re really close. So two more songs. And we haven’t decided yet what to do with them. The last time we had a couple of extra songs, “It’s About a Girl” and an Andy song, “Heaven’s On The Other Side”, and they were put on with the live album. So, again, we have two more songs. Andy’s song is called “R…..”,. and Carl’s is still untitled because as of the last time that we spoke about it, anyway, it was I don’t know if he had settled on lyrics yet… But we haven’t decided yet what to do with those two, whether we’re going to do another eight, nine, 10 songs and actually put out a new album. We have been in discussions to do that, or whether we will put it out with something else. Hard to say. I do know, I believe we are going to record this show, the Unplugged one. And so I guess the two songs could go out with that. Just so you know, just so we keep the fans happy and give them stuff that they want to hear and want to listen to and …just keep putting out some new stuff every once in a while, that so that it makes sense to continue to come out and see us. (haha)
Will the Unplugged show will be like just the specific album or will be a crossover of everything?
It is in line with the anniversary edition of the first album. So, it’s going to be the full first album, and I believe two of the tracks that were like “Dreamland” and “Where I Draw The Line”. I don’t think we’re going to do the third one because it was never actually completely done. So, I believe that’s what we’re going to be doing is mainly doing the first album.
And again, we’re doing it Unplugged. I was starting off where I was just going to use bongos and now I’m going to use a real drum kit. But I doubt I’ll be using like real drumsticks. I’ll use variations. There’s a drumstick that you can get that have a bunch of bamboo rods in it. It makes it a lot quieter. So that’s plan A for me. But we’ll see where it ends up going. But the guys…I believe Carl is going completely on an acoustic. Andy is going to play acoustic bass, but I think he’s also going to play a couple of songs on an electric bass. And Sean is, from the last time we talked, is going to play kind of a halfway in between, if you will, an acoustic and an electric guitar, which will, still make it, I think, again, in this drummer’s opinion, a little easier for him to do solos and stuff like that. But still, it kind of sounds like an acoustic. That’s my understanding of the instrument he’s looking to play.
Do you keep in touch with Steve at all?
I don’t; but I don’t live in Toronto anymore. You know what I mean? So, I don’t really get an opportunity to see Steve. I know Andy and Steve were always really good friends. And I do believe they kind of keep in touch to a point. Last time I saw him would have been whatever the last show was. What did what did Tony’s East and West, what did they turn into whatever they’re called now(?) We played those two after we recorded the fourth album. So probably around 2014 would have been probably the last time that I saw Steve.
I saw you guys in 2014 in the Falls and I think Sean was playing then.
OK. So maybe it was 2013 because, again, that was the release date of Four. Maybe that was the shows that we did. That’s also very likely.
What did you grow up on as far as favorite bands, drummers and albums?
Well, I would say for me, Zeppelin – find me a drummer that doesn’t say John Bonham, right!? Ian Paice, Deep Purple, they were big for me. As a matter of fact, my earlier style, I would say mirrored Ian Paice a lot more than it did John Bonham. And then for me, bands that I loved, Aerosmith, again before they got sober (haha). I liked all that stuff. I saw them, I think, two or three times. And matter of fact, my youngest son – his second name is Tyler. And it’s purposely after Steve Tyler. And then again, just from learning to play, we were playing so much AC/DC, that there are times when we are putting our own stuff together, and Andy will literally say to me “Start off doing a Rudd!”, which is Phil Rudd, the early drummer for AC/DC. And that is just a pure and heavy 2 and 4, between the snare and the kick. And there’s others… I remember going to see Missing Persons, Andy and I, in the late 80s. We went to see Missing Persons in Buffalo, at this bar that Coney would play every once in a while, one of our favorite places to play. Missing Persons, which was Terry Bozzio’s band, and he was originally Frank Zappa’s drummer, and his wife at the time was the singer, and then some side guys (I apologize to them, I don’t know who they are). I remember standing there in this bar, watching Terry Bozzio play drums, and I leaned over to Andy and said “I don’t think Terry Bozzio and I play the same instrument!” He was doing stuff that completely, so far out of my league. A different style of music of course, but he was doing stuff that made my jaw drop. And of course, being on the same label as Rush, there was a couple of different times that we got to go see Rush. And I had gone and seen Rush as a fan back in the early days. I’d seen Rush a bunch of times. And again, what drummer isn’t going to say that Neil Peart wasn’t one of the best of all time, right!? My dad played drums, so when I took up the sport…the sport of drumming , I think was in grade 5.. Anyway, he took me to see Buddy Rich once, and then I went to see him another time. And this was a guy doing stuff with a pretty small kit but just doing stuff that was unworldly. It was just amazing to watch. I would love to say Buddy Rich was an influence, but he was more of a hero than an influence. I just couldn’t do what he did. But as far as what I wanted to be as a drummer, yeah there’s some Bonham in there, and Ian Paice, and throw in a sprinkle of Phil Rudd, I think you’d come close to what I ended up with.
Did you ever go and see some of the early Canadian bands such as April Wine with Jerry Mercer, or Lighthouse with Skip Prokop?
You know what, Lighthouse played my High School! It would’ve been 74, 75, somewhere in there. I was a kid, and I remember it was really cool, great band. And I got to see Max Webster that way too; again – played my high school. Kim and I had a great laugh over that. You probably know that Carl got to play in April Wine for a couple of years. And actually, my oldest son roadied for them for a summer, while he was in high school. Him and Jerry became best of buddies because both my boys play drums, and my oldest one, he’s an incredible drummer, they both are! But seeing Jerry, the guy was like a machine. He was a phenomenal drummer, and some of the stuff he did, some of the off-time stuff that April Wine would do … They were one of those bands that should’ve been SO much bigger than they are. As much as they are in Canada – they’re legendary, but as far as the world goes, I am always shocked that April Wine was not a bigger band than they were. And Jerry was a big part of that. He was just a powerhouse. And again, even in his later years… I think in ’06 Coney Hatch got to play the Sweden Rock Festival, and April Wine was there, and I got to talk to Myles, and he absolutely remembered my son. And the connection between many Canadian bands, I mean we’ve done many shows with Goddo, we did a bunch of shows with The Headpins, we’ve done shows with Lee Aaron. Yeah, the Canadian market, when you kind of get to that level, it’s all kind of one big happy family. It’s always so fun to do festivals in Canada because it’s like Homecoming, you get to see all these guys and girls that you’ve known for years; all these bands that have done well in Canada, and beyond, of course.
One of the first shows I saw was April Wine in ’84, and Jerry’s solos were a highlight of their shows.
Yeah, absolutely. And he did them right up until… and I went and saw them, I think this is when my son got hired, and Carl was playing in the band at the time. I think it was Jerry’s 65th (?) birthday, and his solo was as good as it was 30 years earlier! The guy was doing drum solos right up until the day he retired from April Wine.
He was something to see, with the whistle going and everything…
Like I said, the man was a machine. I don’t consider him underrated – he IS underrated. I think he should be talked about in the same way that Neil Peart is spoken about; I really believe that. He did great stuff and is a cool guy.
(We end things with me showing Dave a few more things from my collection ;-))
Canada’s LIGHTHOUSE mixed pop, rock, along with orchestra instruments, making for a unique sound in the day. Released in July, 1971, One Fine Morning was the band’s fourth album. At that time the band had signed to Evolution/GRT, and added lead singer Bob McBride, along to a core of members that included drummer Skip Prokop, guitarist Ralph Cole, and keyboard player Paul Hoffert.
One Fine Morning was the band’s first big success, featuring the hit singles “One Fine Morning” and “Hats Off To The Stranger”, both top 10 in Canada. The title track also hit #24 on the US Billboard chart, and was a minor hit in the Netherlands. The album also featured favorites like “Little Kind Words” and “1849”, and was the first of many produced by Jimmy Ienner (who also produced The Raspberries, Grand Funk, Three Dog Night…). One Fine Morning was the first Lighthouse album to make the top 20 on the album charts (#14)
The colorful cover-art was the first of two Lighthouse covers by Brad Johannsen. In Germany, the UK, and Italy One Fine Morning came in a gatefold cover done by Roger Dean! That same cover art (by Dean) would be used later for the Best Of Lighthouse, released on GRT, in 1974.
One Fine Morning is being reissued as a 2LP (gatefold)/ 2CD set, through Anthem Records, remastered. The second disc consists of demos, an outtake, and a live track. The vinyl comes in 2 different colors (each LP). *See links below.
Lighthouse, Canada Gold NEW YORK – Canadian Stereo Dimension recording group Lighthouse has been awarded the Maple Leaf, Canada’s equivalent to the gold record, for their “One Fine Morning” LP. The album was produced by Jimmy Ienner of CA-M.-U.S.A. (Cash Box – December 4, 1971)
In recently interviewing guitarist MICK MASHBIR on his new album Stungout On Strings, I threw in some last minute requests for Mick’s thoughts on the bonus tracks that make up the second disc of the Muscle Of Love deluxe version. It is well known that Mick played on both Billion Dollar Babies and MOL, as well as the accompanying tours. In my 2013 interview with Mick, he discussed this more in-depth, along with his first solo album, Keepin’ The Vibe Alive. So, below are some words from Mick on the Muscle Of Love alternates and demos from 2024.
Big Apple Dreamin’
My guitar is on the left and Mike’s is on the right. We shift roles between lead and rhythm guitar effortlessly. Its great to hear Bob Dolin’s parts so clearly.
Never Been Sold Before
Mike’s guitar is on the left I’m on the right. Mike plays great subtle variations and accents. Neal and Dennis really lock in during the outro with Dennis playing alot of bass runs.
Hard Hearted Alice
Acoustic guitars add feel to the verses. This track really shows off Bob Dolin’s keyboard skills
Crazy Little Child
How a bunch of hard rockers from the desert were able to capture a New Orleans Dixeland feel amazed me.
Working Up A Sweat
Dick Wagner steps in for the solo and kills it. No “Ricky and the Red Balloon” feel on that track!
Muscle Of Love
Mike is on the right and I’m on the left and center until the ride out when Mike moves to the center to solo through the outro. Classic Neal Smith drums.
Man With The Golden Gun
Bob’s Moog and B3 parts contributed a lot of the soundtrack feel to this track.
Teenage Lament
Rented acoustic guitars were delivered to the studio from S.I.R. and Michael’s acoustic part is featured on this track. Alice’s vocal delivery was subtle but really worked well in this context as a troubled teenager.
Woman Machine
This track had a very mechanical feel..as it should. The guitars provided the groove so Neal could play a lot more drum fills during the spoken word outro.
Guitarist / songwriter Klaus Hess was a founding member of German heavy progressive band ‘JANE’ . The band was a major draw in Germany throughout the 70s, beginning in 1970, and releasing their first album in ’72, Together. Hess left the band after their 1982 album, Germania, recorded a few solo albums, then formed ‘MOTHER JANE’ (after the courts settled the case of the name’s use between dissenting bandmembers).
For the most part, JANE remained a mystery and later a highly collectable band in certain parts of the world, as only their albums ‘III’ (1974) and Age Of Madness (1978) were released in Canada and the US. The last release of Jane material with Hess was 2012’s Turn The Page from MOTHER JANE (this was a compilation of ‘lost tracks’ recorded in 1982, featuring Jane members, as well as former Scorpions drummer Jurgen Rosenthal). The band’s favorite albums would include the 1972 debut (Together) and 1976’s classic Fire, Water, Earth & Air (highly recommended!), 1976’s Live, and 1977’s heavier Between Heaven & Hell is also highly recommended. Throughout the band’s career Hess would play more than just guitar on many albums (vocals, keyboards, bass…), produce, mix….Check out the link below for more on the history Klaus Hess and Jane.
from press:
JANE FOUNDING MEMBER KLAUS HESS DIES AT 78
Guitarist Klaus Hess was a founding member of Jane in 1970. Since there was some occupational turbulence in the German rock band already in the seventies, Hess also played bass and took over lead vocal parts. In 1982, the musician was terminated in a bad way, so he briefly tried a solo career and released an LP. In 1992, Klaus Hess was involved in a Jane reunion, but failed after only a short time. This resulted in three different Jane variants going on tour, which, according to the verdict, could only use the name “Jane” in conjunction with another term after a legal dispute. Klaus Hess named his version Mother Jane. Five studio and live albums were released between 2000 and 2012. 31st already Klaus Hess passed away in October at the age of 78, from a chronic lung disease.
Frontiers will release Jimi Jamison’s ‘1998 Live Hits’ on December 12. Jamison fronted SURVIVOR during the 80s, through a pile of hits and a few excellent albums. I always thought this guy was right up there with the likes of Brad Delp and Lou Gramm. His pre-Survivor bands COBRA and TARGET were more hard rock, making the albums he did with those bands highly recommended. But this Live Hits features largely Survivor’s biggest hits, as well as a few from Jamison’s solo catalogue, and a cover of The Doors “Riders On The Storm”. Check out the press info, as well as the bio below, the 2 videos released so far, tracklist…below.
‘1998 Live Hits’ is a powerful time capsule capturing the energy, emotion, and artistry of legendary vocalist JIMI JAMISON at a pivotal point in his post-Survivor career. Recorded across three vibrant shows in Little Rock, AR, Nashville, TN, and Bettendorf, IA, and now to be released by Frontiers Music Srl, this album showcases JAMISON’s electrifying live presence and undeniable vocal prowess as he revisits some of the most iconic songs from his time with Survivor, along with deep cuts, original solo work, and inspired covers. The album will be out on December 12, 2025.
Backing JAMISON is a seasoned and soulful ensemble: longtime collaborators Jeff Adams (bass, vocals) and Hal Butler (keyboards, vocals) were joined by guitarist Chris Adamson, drummer Pete Mendillo, and Memphis-based producer and guitarist Wes Henley, who also supervised these live album recordings. This lineup reflects a strong musical camaraderie built over years of touring, with several members having roots alongside JAMISON that date back to his 1970s band Target.
Now, years later, these recordings allow fans—old and new—to reconnect with a voice and spirit that remains timeless. ‘1998 Live Hits’ is more than a concert album; it’s a tribute to an era, a legacy, and the enduring magic of JIMI JAMISON.
One standout from the set is a haunting performance of “Riders on the Storm” by The Doors — a testament to JAMISON’s ability to tap into a wide range of emotions and his gift for storytelling through song. His delivery brings an atmospheric intensity, drawing the listener deep into the moment.
The track list includes fan favorites such as “Burning Heart,” “High on You,” “I Can’t Hold Back,” “The Search Is Over,” and “Eye of the Tiger,” all songs that defined a generation of melodic rock. Deeper cuts like “Oceans” and “Too Hot to Sleep” reveal the richness of Survivor’s catalog, while JAMISON’s originals, such as “Rock Hard” and “I’m Always Here” (the iconic Baywatch theme), showcase his creative versatility.
Of particular note is the interplay between Chris Adamson and Wes Henley on guitars. Though Henley’s primary role was behind the board, his friendship with JAMISON and passion for the Survivor material often brought him onstage. Together, he and Adamson bring layered, textured performances that do justice to the intricate compositions of Peterik and Sullivan.
Through warm crowd interactions and powerful vocal moments, ‘1998 Live Hits’ highlights JAMISON’s authentic stage presence, Memphis soul, and deep bond with both his band and his audience. As friends and collaborators reflect, this wasn’t just a group of musicians—it was a family.
1. Burning Heart 2. High On You 3. Rebel Son 4. I’m Always Here 5. I See You In Everyone 6. Rock Hard 7. Oceans 8. The Search Is Over 9. Is This Love 10. I Can’t Hold Back 11. Riders On The Storm 12. Too Hot To Sleep 13. Eye Of The Tiger
Line-up: Jimi Jamison – lead vocals Jeff Adams – bass and vocals Chris Adamson – guitars Hal Butler – keyboards and vocals Pete Mendillo – drums Wes Henley – guitars
Photo courtesy of Debbie Jamison
JIMI JAMISON earned recognition as the frontman for hard rock bands Target and Cobra before reaching platinum heights with Survivor, singing the hits “Burning Heart” from the film Rocky IV, “I Can’t Hold Back,” “High on You,” “The Search is Over,” and “Is This Love.” Acclaimed by legendary U.S. disc jockey Casey Kasem as “The Voice,” JIMI JAMISON’s performances are treasured by connoisseurs of AOR and melodic rock who consistently rate him as one of the genre’s Top 5 vocalists of all time.
Raised on R&B, Blues-Rock, and Country music in Memphis, Tennessee, JIMI JAMISON released his first single in 1967 with a band called The Debuts. “If I Cry” was originally intended for fellow Memphis band, The Box Tops, featuring lead singer Alex Chilton. Jamison honed his craft by singing commercial jingles by day and fronting gritty rockers Target by night. His next band, Cobra, with Mandy Meyer on guitar, cut a cult classic in 1983’s First Strike, but that was just a prelude to Jamison’s breakthrough as lead singer of Survivor.
With JIMI JAMISON at the mic, Survivor proved that its earlier success with “Eye of the Tiger” was no fluke. The combination of JAMISON’s emotion-charged vocals with Jim Peterik and Frankie Sullivan’s masterful songwriting and Ron Nevison’s radio-friendly production resulted in 1984’s Platinum-selling ‘Vital Signs’ album. Its hit singles “I Can’t Hold Back,” “High on You,” and “The Search Is Over” were massive hits, later joined by Survivor’s Rocky IV theme, “Burning Heart,” and the further Top 10 hit “Is This Love.” Survivor’s 1980s trilogy featuring JAMISON – ‘Vital Signs’ (1984), ‘When Seconds Count’ (1986), and ‘Too Hot to Sleep’ (1988) – are acclaimed as AOR and melodic rock landmarks. Concurrently, JAMISON’s voice could be heard singing prominent harmony vocals on ZZ Top’s smash ‘Eliminator’ album, most notably on ‘Gimme All Your Lovin’.’
Striking out on his own in the 1990s, Jimi Jamison released the solo albums ‘When Love Comes Down’ and ‘Empires.’ His voice and songwriting reached new audiences through “I’m Always Here,” the theme song for Baywatch, the most-watched television series in the world with a weekly audience of over 1.1 billion viewers. But touring became his primary focus throughout the decade, both with all-star projects including Voices of Classic Rock and with his own band. JAMISON’s primarily Memphis-bred group comprised acclaimed musicians including keyboardist Hal Butler; guitarists John Roth, Jerry Riggs, Hal McCormack, and Chris Adamson; bass players Jeff Adams and Barry Dunaway; and drummers Bill Marshall and Pete Mendillo. The most stable lineup of Butler, Adamson, Adams, and Mendillo was captured live in concert in 1998, but the recordings went unreleased.
JAMISON returned to the record racks with a vengeance in the 2000s, with projects including Survivor’s 2006 album, ‘Reach’; the 2008 collaboration with Jim Peterik, ‘Crossroads Moment,’ and its 2010 companion piece ‘Extra Moments’; 2011 duo albums ‘Kimball Jamison’ with his longtime friend, Toto lead vocalist Bobby Kimball, and ‘One Man’s Trash’ with guitarist Fred Zahl; and his final solo album, 2012’s ‘Never Too Late.’ JAMISON’s triumphant first-ever UK appearance at Firefest 2010, backed by a band featuring guitarist Tommy Denander, was memorialized on the CD and DVD Live at Firefest. JAMISON performed his final show just two days before his untimely passing on September 1, 2014.
JIMI JAMISON’s family and friends have worked diligently to keep his memory and music at the forefront. Several all-star “Jam for Jimi” concerts have been staged in Memphis to raise money for JAMISON’s favorite charity, St. Jude Children’s Research Hospital. A stretch of Highland Street in Memphis was named “Jimi Jamison Street” in 2022. That same year, the first of several CD releases from the Jimi Jamison Archives, ‘Rock Hard,’ presented his 1990 solo debut album as it was originally intended. JAMISON was inducted into the Memphis Music Hall of Fame in 2023. Memorabilia, including a fan-funded bronze bust, is on permanent display at the iconic Memphis venue, Lafayette’s Music Room. The tenth anniversary of JAMISON’s passing was acknowledged by Representative Steve Cohen in the United States House of Representatives. Jimi’s shelved 2008 country rock collaboration with Jim Peterik, entitled ‘Jimmy Wayne Jamison,’ was unvaulted at the same time. Members of JAMISON’s solo bands continue to play together in both .38 Special and Starship. A film, Resonating Voices: The Jimi Jamison Documentary, is in the early stages of development.
2025 brings the most exciting Jimi Jamison Archives release yet, one which his fans have been anticipating for 25 years: the never-before-issued live album he recorded in 1998. With a setlist drawn from Survivor, his solo career, and even a cover of The Doors’ “Riders on the Storm,” ‘1998 Live Hits’ ensures that JIMI JAMISON’s strong, clear voice will continue to thrill fans worldwide.
In 2007 MICK MASHBIR released his first solo album, Keepin’ The Vibe Alive. Mashbir, from Phoenix is a guitarist/songwriter, who in the 1970s played on 2 ALICE COOPER albums, as well as accompanying tours (1973-74), as well as Alice Cooper bandmember solo projects, and later with Flo & Eddie, and The Turtles. Mick has a new album out, digitally only (so far), titled Strungout On Strings, which includes a few tracks from his previous album, a few new ones, and some written and recorded in-between. (I’m kinda hoping for a CD (:-)) in the future). You can check out Strungout On Strings on Youtube (see link at the bottom, and give the songs a like).
Can you give me the basics on your new album? (when songs were written and recorded, title…)? I notice a few titles which were previously released as singles.
STRUNGOUT ON STRINGS is a compliation of songs recorded before and after KEEPIN’ THE VIBE ALIVE was released. It is varied in styles because as a guitar player I have played many styles beyond what I did with the ACG. I released “De La Vina”, “Now” and “Bottom Feeders” after KTVA because I wanted them to be available for all to hear. My love for guitar is not about one style. The title says it all. That’s why I’m still playing. The 12 tracks are; NOW, AMERICAN WEIRDO, BOTTOM FEEDERS, POINT DOOM, BORN TO ROCK, FLOAT, HERE IN THE FLESH, DE LA VINA, 1-900-4AGOD, MEMNOCHS BLUES, COMPASSION and HOLD ON.
Are there any special guests on this one?
“Born To Rock” featured my band the YARBLES. It was recorded at the Record Plant in LA. The drums on that track are the only live drums on the album. I programmed all the drums on the other tracks.
Is Bob Dolin (RIP) on any other tracks (aside from “Hold On”)?
Unfortunately no. The upside is that it forced me to upgrade my chops on the keys.
You included “American Weirdo” and “Hold On” from your previous album. I notice that “Hold On” plays out til the end instead of fading out. Is there anything else you altered on either track? Both make great singles btw. I always thought “American Weirdo” would’ve been a cool AC song way back.
“American Weirdo” was remixed, remastered and re-released because I felt it spoke to what is happening in America today. At heart it is a blues song, relevant in the 80’s and still relevant today.
The images in the accompanying video are symbolic of the political, economic, religious and social conflicts we as Americans are experiencing regardless of our race, chosen religion or political affiliation. The video shows it all.
“Hold On” was remixed, remastered and re-released as a tribute to Bob Dolin. His piano part in the coda was cut short by the fade out version on KTVA. I thought it was important for that to be heard in its entirety. His piano in the coda was one take. His overdubs..the cellos, violins and piano took about 3 hours. Funny thing about Bob, he really wanted to be a lead guitar player. The last time I saw him perform he playing lead guitar in a cover band!
“Hold On” is a song of struggle and hope. It helped a couple of friends of mine make it thru their dark and difficult times.
Can you comment on a few of the tracks, such as “Now” (from 2013), “Here In The Flesh”, as well as instrumentals “Point Doom”, “Float” (who’s playing keyboards on this one?)
POINT DOOM is a nod to my first band The Jaguars. We were playing Surf Instrumentals in the Arizona desert. It was written in the 90’s while I was living on Point Dume’ (Doom) in Malibu, California. The video features old school skateboarding.
NOW is auto-biographical history. I had never played a solo using the whammy-bar on my Strat so that is my first attempt. The video reflects the philosophy and reality that NOW is all we really experience in our lives. The video is a psychedelic take on time.
The lyrics of HERE IN THE FLESH were written by Curt Phillips (RIP). When I first met Curt he was in an Alice Cooper cover band so I think that’s what inspired him to write those lyrics. The lead was cut in one take on my Fostek 4 track cassette deck with my 58′ Sunburst.
FLOAT was a track that I created to jam to. I played piano and B3 organ. That guitar was my first take on the first jam. I thought “this works, this is a keeper.” COMPASSION and MEMNOCHS BLUES were both done the same way with the same results.
DE LA VINA was inspired by an Ayahuasca journey in the jungles of Los Angeles. Again, the video gives a little symbolic insight to the experience.
You’ve only put this out on Youtube so far. Will it be available on other streaming services.
It is available on about 35 other streaming services, some not available in the USA. Check out: Amazon, iTUNES, deezer, iHeart Radio, Pandora and Spotify.
Will there be downloadable or physical copies (maybe in the future)?
That all depends on the reaction to the initial YouTube release.
Who created all the videos?
All the videos were created by me. I wanted SOS to be an audio/video experience and that’s why “SOS” was initially released on YouTube. The videos are very symbolic in their nature letting the viewer interpret them as they wish.
Who created the cover art for this?
I created the art as well. It’s a nod to AI. I would never use AI for music, but since I’m not a practiced visual artist, AI is a handy tool.
There’s been a lot of activity from the original Alice Cooper group these last few years, notably the deluxe reissues of albums you played on and a live album from your time with them. I notice you were included in the extended liner notes to Muscle of Love, but didn’t see much in B$Bs. What did you think about these releases?
I am not familiar with the B$Bs reissue so I can’t really comment. I was not asked to participate so no free copy for me. ..lol
How did your inclusion (interview?) come about for the Muscle of Love release?
That was because Mike Bruce put me in touch with the incredible Jaan Uhelszki (founder/editor of CREEM magazine) who was doing the liner notes. She made sure I received a promo copy. I was impressed with the remastered sound and Alice not singing in character on “Crazy Little Child” isolated vocal…a real crooner.
In the Billion $ Babies release, Michael Bruce mentions your involvement in the early stages of what became “Raped and Freezin”. Do you recall that?
It was the first song we worked on at the first rehearsal…The Latin rave up at the end was our nod to the instrumental “TEQUILA”.
Have you kept in touch with any of the AC guys in recent years?
I saw Mike Bruce about 10 years ago if that counts as recent. He is the only person in the band that made any effort to stay connected.
Have you heard the new AC band album (any thoughts on it)?
I thought the relaxed, not so polished production that killed the feel of most of ACs solo stuff, really made it sound like ACG groups early records. I notice on Wiki there were 5 additional guitar players which dissapointed but didn’t suprise me.
What else are you up to these days? (still play live much?)
I’m writing and recording new material. I no longer gig.
Singer Peter Goalby is mainly known for years during the 80s fronting Uriah Heep, with whom he recorded 3 albums, and prior to that a few years with Trapeze, where he recorded one studio and one live album. But in-between there, very briefly, Peter was chosen to sing for another, bigger band, at the time. His time with Rainbow didn’t last long, and he’s often (if at all) merely mentioned as a footnote as someone who auditioned for the band. Goalby’s story of that time, and his first ever detailed recollection of that period is a very fascinating read. Peter recalled it all to myself and Peter Kerr (Rock Daydream Nation). The 3rd part of this article contains questions (from Peter Kerr & myself), answered by PG.
Please note, Peter has wanted to tell this story for a long time. I know he has a very good memory of his career, and fine details. This is his account being told for the first time. It was a long time ago, and it came at very busy period in his career, while he was still with Trapeze. He would soon record a project later in 1980 under the name ‘Destiny’, followed by Trapeze tours and a live album. By late ’81 he was ready to step into the role of lead singer for Uriah Heep. Ironically, the 1982 album Abominog, a fantastic album, was comparable in direction (that American Hard-rock/AOR) to what Rainbow was also recording during the early 80s with Joe Lynn Turner. So, frankly, I don’t see how Peter wouldn’t have been a good fit for that band, but oh well….On to Peter’s story….
My Audition / Initiation
The day before New Years Eve, sitting in my unfurnished flat (apartment) in Wolverhampton phone rings – “Hello is that Pete?” , I said yes, it is. “Pete this is Ritchie Blackmore “, Fuck off I said, who is this? I thought John Thomas from the band Budgie; he was a prankster.” Pete, its Ritchie really (LOL) “He said I “got your number from…” I can’t remember who he said but I thought, ‘Oh Its Ritchie alright’.
“Would you be interested in joining my band, Rainbow? I have heard a lot of great things about you and your work with Trapeze. Mel Galley is gonna hate me even more if I steal you That will be twice.”
We chatted for a few minutes and then he asked, ‘do I have anything I can play to him?’ I said I have a copy of the new Trapeze album Hold On, “I can play you a track down the Phone(?)” I played him “Don’t Break My Heart Again” (phone to the speaker). It’s 6 minutes long, I thought he will have hung up by the end. “Are you still there?”, I said. “Very much so. Would you like to come to New York? “, I said ‘yes when’. “Tomorrow”, he said.
I was told to arrive at Euston Train station. I would be met and taken to the Airport. I was given a ticket and some money and put on a plane
(In New York) I was detained at the Airport upon arriving and taken to a back room where I was questioned and my luggage searched. They thought I was trying to work in the U.S I said I was there for an audition. I was asked who the band was. I said Rainbow. One of the security guys said Ritchie Blackmore(?), “then re pack your case you can go”.
I was met by a member of the Rainbow crew and taken to the Holiday Inn, Connecticut. I was there on my own for 2 days waiting for someone to greet me. I spent New Years Eve on my own, well me and the barman in the hotel.
Next evening I was in the Bar and who should walk in – Cozy Powell (LOL). Then in walks Don Airey (LOL). WE all got on great from the off. I had met Cozy before.
I said, ‘where is Ritchie?’, I was told he lives next door to the hotel. So, I had been left on my own for 2 days with Ritchie living next door celebrating the New Year. I was starting to get the picture and the way they all spoke of Ritchie, he was the Boss for shit sure.
Ritchie walked in the bar with his then very large breasted girlfriend, and we spent the evening talking – me, Ritchie, Don, and Cozy. I can’t remember when Glover arrived.
We arranged to meet for rehearsals next morning.
Down To Earth (with a Bang) LOL
I arrived at the Geneva; the place was incredible with a Moat and a Drawbridge, WoW.
Don arrived soon after me, we got on so well it was all fantastic. There was a guy called Jack Green there he was the new bass player, as Roger Glover was producing Down To Earth he was not playing – only producing. There was a mobile Recording Studio outside belonging to Jethro Tull. All the band gear was set up in the Dining Hall which was the size of a banquet Hall.
Cozy arrived, he was such a compete gentleman, he was such a complete person he really was great.
We were all there for a couple of days before Ritchie arrived with the girlfriend. He spent a few days in his room only coming out to have meals. We had a Cook living in with us. From time-to-time Ritchie would come out and ask me and Jack to write some lyrics for an idea he would have. Then he would say forget that one. “Can you do some words for this?” That would be another Idea he would be playing. I was finding it frustrating as we did not seem to be doing much at all. I used to have a play on Don’s Hammond organ to pass the time. We were all just waiting for Ritchie. After a few days Ritchie had come up with some riffs. One night about 10.30 to 11pm I was going to bed and was told Richie wants to rehearse now. I foolishly said I was about to go to bed. Never mind. We went down into the Dining Hall They all started jamming led by Ritchie showing them the ideas he had. I was expected to just sing something over them. Something I had never done before. I was used to having a structured song to sing knowing the melody etc. I just looked at Don thinking ‘what the fuck does he want’. So, I started warbling some nonsense. So, we did this for some time. Don was looking at me and encouraging me to sing anything by pretending he was singing. I found this all a bit bizarre. Next morning there was a bad atmosphere from the off. I did not see Ritchie at all. Roger said “can we talk in your room”. I said of course.
Roger said Ritchie is not happy. I said neither am I. I don’t know what he wants I am not used to working like this. Roger said you are fired. I said couldn’t Ritchie face me and Fire me himself.
Roger said I will take you to the airport now. So, I went and told the guys I was fired they were shocked. Ritchie did not even come to say goodbye. He did send me a message through Roger, he said You Know that riff you have been playing on the Hammond could you show Don how it goes before you leave? On the way to the Airport Roger said did I know any good bass players as Ritchie was not happy with Jack Green either
I was given no reason other than Ritchie was not happy.
It later transpired he was not happy with my vocal range he said my top note was an A which is not true as the world can hear on the Heep albums I did.
I did not apply for the job in Rainbow I was invited by Ritchie Blackmore after listening to me singing “Don’t Break My Heart Again” by TRAPEZE I made no claims about my vocal range.
I am very happy to finally tell the true version of my very very brief time in such a great band
Peter Goalby 09-09-2025
Did you talk for a while with Ritchie before having a sing?
It was all quite natural mainly down to Cozy being such a great and honest guy (what a lovely man)
What was he like?
Ritchie enjoyed being Ritchie and enjoying being number uno.
Were there any band members at this first meeting? Describe the rehearsal with the band? What songs did you play? Any of your originals or non-Rainbow songs were played?
A tiny rehearsal room. I was stood facing Cozy when he hit his bass drums My jeans blew back at the ankles LOL, He was making me laugh to make me feel at home. In fact, Don was the same very friendly as if they were relieved, they had got me there.
WE did “Long Live Rock and Roll”, I enjoyed that, not too many words LOL
I think Cozy said “we have this song demo with a girl singer”. He said Ritchie does not like it, but the record company want us to do it as a single. I said it’s a great song. I think. We ran through it. I can not remember what else we did. I kept thinking this is me singing with Rainbow LOL.
Did you get a good vibe as to how things were going?
I got great feedback from the guys they were talking like it was a done deal. Like I said I felt they were relieved they had a singer. Ritchie was very reserved I think that’s how he liked people to see him.
What was said at the end of the play through?
All very positive but what was weird is It was as though I was in, but no one said You are our new singer. I was given a plane ticket and told Bruce Payne (manager) would contact me, which he did when I got home. I was put on the payroll. I think it was £2000 per month. Little knowing it was to last only 2 months at that time. Bruce said we were to do a demo of “Since You Been Gone” at Roger Glover’s house, which we did. I remember Ritchie playing the wrong chords when we were recording LOL.
Then the recording date for the album was announced and I went off to Geneva to the chateau.
Did you think you would be offered the role?
Of course. I would have been great in that band
I am curious – Had you told anyone on your side (bandmates, management) that you were off to NY to possibly join Rainbow(?)
I did not have time; I was called and then the next morning I was on a plane. I only told my wife, I don’t think she believed me at first. And Then I told her I got the Job then a couple of months later I told her I was FIRED LOL
What were you up to when Ritchie called? Was there a Trapeze tour being planned or any other recordings?
I was in my apartment (flat) with no furniture I can’t remember what was happening with Trapeze. I had just got the first copy of “Hold On”, the Trapeze album. Thank you, Mel, for writing the song that got me in and out of Rainbow LOL.
Considering Ritchie was concerned about image (i.e. he hated Graham Bonnet’s short hair and choice of clothes). Did any appearance or image stuff come up?
No, he knows a star when he sees one LOL.
Was your audition or time with the band given any press treatment? Ie: photos taken, bios written, or mention in the press?
Only my local town paper; I was on the front cover if I remember correctly.
Did you really get to talk to Ritchie much at all? (Even in the bar) And was it all business?
I did talk to him, yes, I did get on with him socially. But then again, I get on well with everybody.
“And we had a singer called Pete Goalby, who did great things with Uriah Heep, but he didn’t quite get what Ritchie was going on about” – Don Airey (Rolling Stone)
“I was the one who helped talk Ritchie into doing it. His manager Bruce Payne NEEDED A HIT SINGLE. We did a demo at Roger’s house with Jethro Tulls’ Mobile.” – PG
PETER GOALBY & GRAHAM BONNET
There is one song that ironically both Peter Goalby and Graham Bonnet sang, and that is a cover of Paul Bliss’ “That’s The Way That It Is”, which I’ve put below. The song appeared on Bonnet’s 1981 album Line Up, as well as Uriah Heep’s 1982 album Abominog, and released as a single in both cases. Interestingly, Bonnet also covered Argent’s “Liar” (written by Russ Ballard) on that album, while Goalby had sang the song years earlier as a demo for his band Fable! Abominog would instead feature a different Russ Ballard track, “On The Rebound”.
I could not find any songs that both Goalby and Bonnet’s successor in Rainbow – Joe Lynn Turner both sang, but both Heep (w/ Peter Goalby) and Rainbow (w/ JLT) both took a similar direction in the 80s, which is discussed with Martin Popoff in an episode of History In 5 Songs – https://cms.megaphone.fm/channel/history5songs?selected=PAN4285683323
Goalby’s post-Heep solo recordings are also much more in the 80s AOR style that would’ve definitely suited either Foreigner or Rainbow in that decade (Ironically, Goalby’s name came up when Foreigner was looking for a singer when Lou Gramm left the first time, but not bigger discussions or offers came about). But check out tracks like “Take Another Look”, “Waiting For An Angel“, or “It’s Just My Heart Breaking” and “Show Some Emotion” (from his upcoming 3rd album), they would sit comfortably on an 80s Foreigner or Rainbow album, IMO. As for the one ‘new’ song that Goalby sang with Rainbow, “Since You Been Gone”, no recording from those rehearsals exists, but both Bonnet and it’s writer, Russ Ballard, both have new versions of it in 2025.
US heavy metal band WINGS OF STEEL have released their second album, Winds Of Time. The band, which is heavily influenced by 80s LA metal, as well as classic hard rock & metal acts like MSG, Queensryche, Rainbow, Dokken….The band is based around Swedish singer Leo Unnermark and guitarist Parker Halub, who formed the band and write the songs. There’s 3 videos out from Winds Of Time, which you can check out below, including the epic 10 minute+ title track. Order the album at the links below. Band bio and press info below. If you’re missing high energy 80s heavy metal, check these guys out. Bandanas included. Another cool album cover from Spencer Caligiuri.
Los Angeles-based heavy metal powerhouse WINGS OF STEEL returns with their second full-length album, Winds of Time — cementing their status as one of the genre’s most exciting new forces.
Hailed by fans and critics alike as one of 2025’s most anticipated metal releases, Winds of Time builds on the band’s fast-rising legacy with a sound that is both nostalgic and unmistakably fresh. From the first note to the last, the album channels the spirit of a golden era when titans like Judas Priest, Dio, and Queensrÿche ruled the stage — yet it does so with modern intensity and pristine production. Across eight electrifying tracks, Winds of Time delivers soaring vocals, blistering guitar work, and a rhythm section that strikes with the unyielding force of a hammer.
The band comments: “Winds of Time is not just an album; it’s an immersive journey into the heart of heavy metal. It’s boiling with passion, precision, and raw power — a record that will resonate deeply with both new listeners and lifelong metal fans. Every note, every drum hit, every lyric was crafted to capture the essence of what makes heavy metal so timeless”
Formed back in 2019, WINGS OF STEEL is a Los Angeles-based heavy metal/hard rock band rooted in the classic styles of the 70s and 80s. Their sound combines Unnermark’s bluesy, powerful vocals with Halub’s bombastic riffs and expressive soloing, creating a distinctive and massive sound reminiscent of the glory days of heavy metal combined with all the crisp clarity that modern recording techniques have to offer.
After their 2022 debut EP, “Wings of Steel,” they released their critically acclaimed first full-length album, “Gates of Twilight” (2023). In spring 2024, Wings of Steel embarked on their first European tour where they reaffirmed their position as one of the most prominent new bands in Heavy Metal. Wings of Steel continues to be praised for their energetic and captivating live performances, which can be experienced sonically on their live album “Live in France” (2024).
To date Wings of Steel has played numerous shows in the US and Europe, including festivals and venues like Heavy Week-End, Rock Hard Festival, The Whisky-A-Go-Go, Up the Hammers Festival, Keep it True Festival, and more.
Additional information/credits: Recording on the album: Vocals: Leo Unnermark Guitars & Bass: Parker Halub Drums: Damien Rainaud
Tour lineup (as featured on pictures): Vocals: Leo Unnermark Lead guitar: Parker Halub Rhythm guitar: Stefan Bailet Bass: Mathieu Trobec Drums: Marcel Binder
February 9 – Ft. Lauderdale, FL – War Memorial Auditorium February 10 – Tampa, FL – Yuengling Center February 13 – Houston, TX – 713 Music Hall February 14 – Dallas, TX – South Side Ballroom February 15 – San Antonio, TX – Boeing Center at Tech Port February 18 – Phoenix, AZ – Arizona Financial Theatre February 20 – Los Angeles, CA – The Kia Forum February 21 – Wheatland, CA – Hard Rock Live February 24 – Salt Lake City, UT – The Union Event Center February 26 – Loveland, CO – Blue FCU Arena February 27 – Omaha, NE – Steelhouse Omaha February 28 – St. Louis, MO – The Factory March 2 – Des Moines, IA – Vibrant Music Hall March 3 – Minneapolis, MN – The Armory March 4 – Chicago, IL – The Salt Shed March 7 – Cincinnati, OH – The Andrew J Brady Music Center March 8 – Detroit, MI – The Fillmore Detroit March 10 – Pittsburgh, PA – UPMC Events Center March 11 – Philadelphia, PA – The Met March 12 – Boston, MA – MGM Music Hall at Fenway March 14 – Virginia Beach, VA – The Dome March 15 – Washington, DC – The Theater at MGM National Harbor March 17 – Greensboro, NC – Greensboro Event Center March 18 – Atlanta, GA – Coca-Cola Roxy
Canada
April 6 – Halifax, NS – Scotiabank Centre April 9 – Laval, QC – Place Bell April 11 – Toronto, ON – Great Canadian Casino Resort Toronto April 14 – Winnipeg, MB – Burton Cummings Theatre April 17 – Edmonton, AB – Edmonton Convention Centre April 18 – Calgary, AB – Grey Eagle Event Centre April 20 – Vancouver, BC – PNE Forum
Outsider Rock 