Hot off from winning Hard Rock Hell’s “Blues Artist of the Year” award and following hot on the heals of his recent singles Come On, Gasoline, and Sweet Carolina, Troy Redfern will release the fourth single Mercy from his critically acclaimed album The Wings of Salvation on Wednesday November 16, 2022.
The new single can be streamed, and the new album The Wings of Salvation can be ordered digitally, on CD or limited edition yellow & red splatter vinyl from https://linktr.ee/TroyRedfern.
The album is available on CD and limited edition yellow and red splatter vinyl formats, plus various bundles from the official Troy Redfern shop – https://troyredfern.com/shop.
Kicking off with a vintage slide riff that sounds like it came straight off a beat-up 45 rpm single, Mercy explodes into a Technicolor soundscape of rock ‘n’ roll euphoria.
“Mercy” is expertly laid down by drummer Paul Stewart (The Feeling) and bass guitarist Dave Marks, creating a pulverizing backdrop for Troy’s grinding, Les Paul guitar fretboard fireworks. Themes of love gone bad permeates this haunting blues rocker, building up to one of Troy’s most explosively intricate guitar solos to date.
“My goal was to make a record that was a true representation of where I am right now as an artist,” says Redfern. “I wanted to create something in the spirit of the old school classic rock albums that I grew up listening to.”
“I felt like the time was right to head back into the studio as the creative juices were flowing,” says Redfern. “On the new album, I wanted to approach the recording process by starting with a completely clean slate.”
Hard Rock Legends UFO’s “No Heavy Petting” Remastered Deluxe Edition 2CD and 3LP 180g Clear Vinyl Available January 20, 2023
British rockers UFO’s 5th studio album, 3rd with Michael Schenker on guitar. No Heavy Petting would be the lone UFO to feature keyboard player Danny Peyronel (ex Heavy Metal Kids), a classic album that would be a good indicator of what was to come over the next few years. Peyronel may have only been around for this album, but he did contribute the classic track “Highway Lady”, as well as co-writing “Can You Roll Her” – which makes a nice opening track on the added live show to this package. No Heavy Petting is a favorite amongst UFO fans, including me, as it includes such UFO favorites as “Natural Thing”, “I’m A Loser”, “On With The Action”, and the ballad “Belladonna”. Disc one also includes 6 ‘bonus’ tracks, most of which were issued years ago. It is the 2nd disc here that makes this package so much worth getting — UFO Live at The Roundhouse, although previously released on CD, in the 90s, this is finally being issued on vinyl. I hadn’t heard this show previously, but it sounds amazing here! Featuring 12 tracks, mostly from the band’s then-new album, and the previous 2, shows how many great songs the band had already, with half of this set eventually making it to the band’s iconic Strangers In The Night double-live album in ’79. Danny Peyronel would be replaced by Paul Raymond (RIP), and the ‘classic’ line-up of UFO featuring Raymond, Phil Mogg, Pete Way (RIP), Andy Parker, and Schenker would go on to greater success for the rest of the decade, but UFO’s great run of albums had already begun, with No Heavy Petting being one of the band’s best, sitting right in the middle of the Michael Schenker era.
* For more info and ordering, check out the press release & tracklisting below.
Hard Rock Legends UFO’s “No Heavy Petting” Remastered Deluxe Edition 2CD and 3LP 180g Clear Vinyl will be available January 20, 2023! Originally released in 1975, “No Heavy Petting” is UFO’s fifth studio album and the last to be produced by Ten Years After’s Leo Lyons. Stepping up from the rawer sound of “Force It,” the album was their first to feature a permanent keyboard player in the band and gave a nod to what was to come. The album includes a number of tracks that were to become staples of their live set for many years, including “Natural Thing” and “I’m A Loser.”
The newly remastered 2CD digipak with an O card deluxe version includes 5 bonus tracks (one previously unreleased), a poster booklet, and features the Roundhouse 1976 live set. The newly remastered clear vinyl 3LP gatefold deluxe version includes the Roundhouse 1976 live set previously unavailable on vinyl.
TRACK-LISTING:
2CD DISC ONE 1. Natural Thing 2. I’m A Loser 3. Can You Roll Her 4. Belladonna 5. Reasons Love 6. Highway Lady 7. On With The Action 8. A Fool In Love 9. Martian Landscape 10. All Or Nothing (Bonus Track) 11. French Kisses (Bonus Track) 12. Have You Seen Me Lately Joan? (Bonus Track) 13. Tonight Tonight (Bonus Track) 14. All The Strings (Bonus Track) 15. Have You Seen Me Lately Joan? (Acoustic) – (Bonus Track) previously unreleased
DISC TWO 1. Can You Roll Her – Live At The Roundhouse, London 1976 2. Doctor Doctor – Live At The Roundhouse, London 1976 3. Oh My – Live At The Roundhouse, London 1976 4. Out In The Street – Live At The Roundhouse, London 1976 5. Highway Lady – Live At The Roundhouse, London 1976 6. I’m A Loser – Live At The Roundhouse, London 1976 7. Let It Roll – Live At The Roundhouse, London 1976 8. This Kid’s – Live At The Roundhouse, London 1976 9. Shoot Shoot – Live At The Roundhouse, London 1976 10. Rock Bottom – Live At The Roundhouse, London 1976 11. C’mon Everybody – Live At The Roundhouse, London 1976 12. Boogie For George – Live At The Roundhouse, London 1976
3LP SIDE ONE 1. Natural Thing 2. I’m A Loser 3. Can You Roll Her 4. Belladonna 5. Reasons Love
SIDE TWO 1. Highway Lady 2. On With The Action 3. A Fool In Love 4. Martian Landscape
SIDE THREE 1. Can You Roll Her – Live At The Roundhouse, London 1976 2. Doctor Doctor – Live At The Roundhouse, London 1976 3. Oh My – Live At The Roundhouse, London 1976 4. Out In The Street – Live At The Roundhouse, London 1976
SIDE FOUR 5. Highway Lady – Live At The Roundhouse, London 1976 6. I’m A Loser – Live At The Roundhouse, London 1976 7. Let It Roll – Live At The Roundhouse, London 1976
SIDE FIVE 1. This Kid’s – Live At The Roundhouse, London 1976 2. Shoot Shoot – Live At The Roundhouse, London 1976 3. Rock Bottom – Live At The Roundhouse, London 1976
SIDE SIX 1. C’mon Everybody – Live At The Roundhouse, London 1976 2. Boogie For George – Live At The Roundhouse, London 1976
Canada’s The Wring is gearing up to release a third album Spectra next month, which promises to be an assertive mix of different styles including hard rock, jazz, metal, classical, 80’s rock, 70’s rock, and probably a few other things. Solo artist Don Dewulf had the idea and with the help of accomplished musicians, the project has been brought to life. The next piece they are sharing is the single “Stiletto” ft. Marco Minnemann, which Dewulf outlines:
“This song is about the debilitating need for social media attention and validation. The blade goes in and you never even feel it, then you slowly bleed out. The verses are in 5/8 and ⅞ creating a somewhat jarring effect, and also speaking to the theme. Chandler does a killer job on the chorus vocal and there is a very peculiar odd-time breakdown before the solo. Very fun song to play.”
He also comments thatSpectra is a bit like a 1970’s King Crimson album, but without any ethereal soliloquies and certainly with a more significant hard rock/metal influence. Compared to last year’s full-length “Project Cipher”, this new offering carries on in the same tradition and headspace, but the songs are fuller and cohesive.
The album got its name because Dewulf feels that it really touches on a wide range of musical styles and themes. The mixes are very layered with a lot of detail; you can listen to it many times and still continue to pick out intricacies and small details each time.
Dewulf is writing constantly as he always has a lot of ideas to flesh out and bring to the ears of listeners around the world. He has no intentions of stopping soon, so fans of Spectra should keep an eye out for new music. The Wring is recommended for fans of King Crimson, Dream Theater, and Opeth.
The music video for“Stiletto” ft. Marco Minnemann can be seen and heard via its premiere on BravewordsHERE.
Track Listing: 1. Stiletto 4:40 2. Stones & Bones 4:58 3. The Prince 3.54 4. The Wolf 5:00 5. Tin Man 5:25 6. From Mars 4:43 7. Sins 4:43 8. Fallen 5:05
Album Recording Line Up: Don Dewulf – Guitars Marco Minnemann – Drums Chandler Mogel – Vocals Reggie Hache – Bass & Keyboards Isamu McGregor – Keyboards
New Robeone Album Dream Suite. All Sales Go to the Bob Moog Foundation to Help Educate Children
Robeone, “the Patron Saint for the Bob Moog Foundation” is releasing a new album, Dream Suite, on Transglobal Records / Orchard/Sony. He’s making it available only through the Moog Foundation’s website at bobmoogfoundation.myshopify.com/collections/music. Note well that 100% of all the album’s sales will go to the Bob Moog Foundation.
“I wanted to pay tribute to my biggest musical influences–Keith Emerson, Jon Lord and Brian Auger and other creative masters,” says Robeone, whose real name is Robert Schindler.
The album, Dream Suite defines Robeone’s style that grows from dynamic musical genres as wide-ranging a mix of progressive rock, new age, jazz fusion, and cinematic genres. “Hollow,” with its Keith Emerson soaring synth, was inspired by “great film scores.” “All That Razz” sounds like Gershwin fell in love with artsy electric string players and was influenced by both Robert’s father (who loved jazz) and his favorite contemporary electric violinist Joe Deninzon. The late Swedish Hammond organist/guitarist Bo Hansson inspired the flowing “Levels.”
“M is for Moog” is Robert’s “tribute to Moog and all Bob Moog gave to the world. The composition is all Moog synthesizer,” Robeone says, and he cites the late Japanese synthesist Isao Tomita, a Moog devotee, for influence on the recording. Brian Auger and Keith Emerson influence the frisky “Jazzmorphis.” The album ends with an epic musical journey, “Dream Suite,” with moving symphonic organ parts inspired by Deep Purple’s Jon Lord.
In addition to the Moog, Robeone uses a range of only keyboards on the Dream Suite album– Mellotron, Kurzweil, Yamaha, Roland, Korg, Ensonic Roli Seaboard, EMU, and the Ashun Sound Machine.
Robeone/Robert has been recording since the early 1970s. He’s worked with notables Ronnie Spector and for Johnny Nash when “I Can See Clearly Now” was a hit. He played with progressive rockers Mayson on Bearsville Records, pop rock acts The States on Chrysalis and Boardwalk Records. He’s in the progressive rock group ZOOM with Paul Landry on New Age Music Planet Records. Recently he recorded with two different Melodic Revolution Records’ artists Tony Romero’s Vortex and Joe Mac’s American Garage. He’s played live at a number of Festivals—most recently ProgStock and RosFest. Robert also worked on the award-winning soundtrack to “The Fiery Narrows – Following the Path of John Charles Fremont.”
Located in Asheville, North Carolina, The Bob Moog Foundation is an independent 501 (c)(3) non-profit organization dedicated to preserving the legacy of Bob Moog by inspiring others through science, music, and innovation. The Foundation is providing much needed innovative and effective educational opportunities to children — youth who will become tomorrow’s generation of thinkers and problem solvers.
Michael Inns is a British rock photographer, album designer, and illustrator, who has worked on many great albums and with many legendary musicians over the past few decades. He has also been a part of a number of album art projects with Roger Dean. Along with Karen Gladwell, Mike began Mixed Images Ltd – creating cover art, album layouts, press photos… In this exchange Michael details the beginnings of his career and getting to work with Roger Dean, his work and friendship with the late John Wetton, as well as discuss a number of projects and album covers he created and was a part of. Sadly, Karen Gladwell passed in October of 2019 (RIP), and I’ve included a video Michael created as a tribute to her, set to John Wetton’s classic ballad “After All” – below.
Michael Inns, photo- John PriceKaren Gladwell
Can you give me a bit of background as to how you got into the rock end of art and photography?
I was a rather reclusive individual struggling for survival at a boys’ Public School in England. I discovered a small darkroom hidden in the basement of one of the school’s art centers. I was interested in photography, so this was my home for the remaining time at school. Photojournalist Penny Tweedie arrived at the school to cover an assignment, I met her, and she was the ‘coolest’ person on the planet – that’s what I wanted to do. I followed her work, inspired by the art of photojournalism which led on to following the work of Don McCullin.
School really wasn’t the place to be, so I managed to take the opportunity to take up a course in Design / Photography for three years. My roommate greeted me wearing a ‘YES’ tee shirt which introduced me to YES and the work of Roger Dean. Roger was the new inspirational ‘cool’ for me and YES became my favourite band. It was the 70’s and Roger ruled supreme as a guiding light to the world of graphics. I remember ‘Relayer’ coming out and seeing the band play the album live in Leicester with Roger’s stage sets and lighting.
After leaving Art College I lived with like-minded British author Freda Warrington and tried to find a way into album design. I remember sending my portfolio to Kate Bush and Jon Anderson. I carried on working as a designer for a local PR company until I eventually left to start ‘Mixed Images’ with my long-term best friend and business partner Karen Gladwell. Karen has been by my side throughout and is a huge part of everything we achieved as well as giving her loyal support and friendship to all the artists we have worked with.
Katrina LeskanichRobert John GodfreyRod Argent & Colin BlundstoneRod ArgentSteve Stewart
It was at a local ENID gig where I met Robert John Godfrey and Steve Stewart and spent the next few years spending time at their recording studios in Suffolk. I really began my studio photographic sessions with the ENID. It was then that I bumped into Rob Ayling who was at the time managing the band. Rob later introduced me to Dave Stewart, John Wetton and Geoffrey Downes. Around that time Steve Stewart asked me if I could work with Katrina and the Waves on photoshoots, album designs and pop videos. It was a really creative time which developed into a long-term friendship with Katrina and Kimberly Rew. I received a call from promoter Dave Hill soon after to work for Rod Argent and Colin Blunstone.
I had developed a close friendship with John Wetton and Richard Palmer-James. One day John called me and asked me to meet him at a nearby studio owned by Martin Darvill where they were having a meeting to discuss the formation of ‘Qango’ a spinoff of ASIA. I remember arriving with Karen to meet for the first time, Carl Palmer wandering around the car park waiting. The Qango project led me to forging long term friendships with most of the musicians I now currently work with.
Michael w/ Roger Dean, photo- John PriceKaren w/ RogerMartin Darvill, Karen, John W.
My friendship and admiration for Martin Darvill grew. Martin asked me to work on a photoshoot with Martin Turner as well as Sonja Kristina and Focus. I used to pack my entire studio light system and set up in the basements of various theatres for some of the bands. Other times they would come to me at my studio in Hertfordshire or I would set up at Martin’s recording studio in Buckinghamshire.
Martin Darvill is an extremely skillful and highly regarded manager who gave his time and experience to help artists like Martin Turner, Focus and many others in reformation projects. Martin notably managed to succeed in getting Steve Howe, Geoffrey Downes, John Wetton and Carl Palmer around the same table to discuss the reformation of the original ASIA.
I later met up with Dave Roberts – who brought together many great bands for his Cambridge Rock Festivals. I had many wonderful weekends working alongside my inspirational friend and rock photographer John Price.
Martin TurnerSonja KristinaThis Van Leer
Whilst the photoshoots were taking up a huge amount of time, I also worked on producing the artworks the various albums released by Martin’s company QEDG.
Martin asked Roger Dean if he would be happy for me to work on the various ASIA projects. Roger agreed. For me it was the most daunting assignment so far. Whilst I worked with many big names in the music business, I would never be judged on my ability to play. When it came to Roger – he was the person who defined my future path in the world of graphics. Over the years Roger has introduced me to some really great musicians.
I have now spent over 15 years working for Roger – where his generosity of spirit has nurtured my understanding of his techniques and work. Constantly juggling an ever-growing array of projects – Roger seems to me like a man who never sleeps.
You’ve done a lot of work [photos, art, layout…] on a number of Asia, John Wetton [and related] releases. Can you give me a bit of insight into some of your work with John, Geoff, and Asia? (Any details or insight to a few specific covers that you had a hand in via art, layout or photos)
I met John Wetton for the first time on a photoshoot with Phil Manzenera at his Gallery Studios. John was in the final stages of production for “Arkangel” with Billy Liesegang. I wasn’t working on the designs – just a few PR shots for the re-release of two ‘Wetton Manzenera’ albums. It was after ‘Arkangel’ that John asked me to work on all his new studio albums.
At the same time, I also remember I was working with Bill Nelson’s “Noise Candy”, Katrina Leskanich, Gordon Haskell and Dave Stewart / Barbara Gaskin.
I remember that most of the albums I worked on were for John, Geoffrey, Carl and ASIA including photoshoots for albums and PR. For the album artworks – Roger Dean is the default artist for QEDG projects such as ASIA, DBA and FOCUS.
Carl PalmerGeoff DownesJohn WettonSteve Howe
I was already working with Geoffrey Downes before I met John, so I ended up working on every iCon – Wetton Downes project too. We wrote it as iCon because at the time there was a new product on the market called an iPad and thought it might be a more distinctive layout.
John Wetton would just call me to invite me on our next journey together. Another album design. John always knew the direction he wanted to travel but he only knew the destination when we reached it. It was always fun and took us in unexpected directions. John’s dry sense of humor and deep laugh was a constant welcome companion.
Most of our collaborations were driven by John’s spark of imagination. The cover art was the most important to get right. John would send me the lyrics and a stack of images that defined the essence of each track. I remember seeing a mobile phone for “Finger On The Trigger” and hadn’t realized the track was about a war of love and sending a text message.
I remember the cover of “Rock Of Faith” – we were sitting in Clive Nolan’s studio in Virginia Water with Martin Darvill – I gave John my notebook for his page-by-page notes. He was overdubbing the bass on “Take Me To The Waterline” at the time so there were a series of squiggles to denote the pages. When I got back to the studio, I thought the squiggle for the cover had a Star Trek feel and had something going for it – so I drew it up. I noticed later John had a silver pendant made up with shape of the cover image.
Because of Martin Darvill’s heavy involvement with Roger Dean, the ‘Downes Braide Association’ engaged with Roger to work on ‘DBA – “Skyscraper Souls”.
We were in Bournemouth on a cold February day I was with Karen – I remember Roger Dean showing me the proposed cover painting for “Skyscraper Souls” which was in the boot of his car. The painting was wonderful – It was a truly sad day – we were attending John Wetton’s funeral.
Can you give me some insight and stories in to some of the covers you created an or had a hand in – Bernie Shaw / Dale Collins – Too Much Information (where did the album’s image[s] come from? And who came up with the cover concept?)
I had a call from QEDG and asked if I could work on Bernie Shaw / Dale Collins – “Too Much Information”. I think it was Bernie who had already chosen the cover image of a solitary metal sculpture on a snowy mountain. I only had the one image to work with so I tried to find more sculpture images that would help me to create the rest of the artworks.
I found “The Statue of Love” by Tamara Kvesitadze that commemorates the 1937 novel “Ali and Nino” about the love of a Muslim Azerbaijani boy and Christian Georgian princess. The remarkable moving statue became the narrative throughout the booklet.
Another project that we felt required a narrative throughout was a project for Tony Kaye called “End Of Innocence”. Roger Dean had already created a unique cover painting. The album was a personal reflection on 9-11. It was an amazing concept with the piece starting the night before the attacks and follows the events through the following day and on to the aftermath.
We decided to colorize Roger’s painting for the interior taking the narrative from the calm blues of ‘innocence’ to the reds and blacks of the disaster through to warm yellows representing a ‘new beginning’.
Peter Goalby – Easy With The Heartaches, I Will Come Runnin’ (where did these cover ideas come from? were you familiar with Peter’s work? and was it any different creating cover art for an archived release where there may be no artist photos, or the artist is no longer active?)
I had already been working for Uriah Heep, Phil Lanzon and Ken Hensley on new projects and releases, so I knew of Peter Goalby but had never heard Peter’s solo work. I was asked if I could create a cover for Peter’s re-release of solo albums. The brief was that this should be four completely different covers that could be combined together to create one single image. The concept was difficult enough without even beginning to visualize the production. I decided to use very bold abstract images for each of the individual releases and blend them together to create a single landscape image. I then added more layers across the whole images which were depictions that represented ‘sound’ waves.
If I have a project that is a completely blank canvas with no logo, no images and no music to work from – the only way forward is to create something that is interesting and bold.
Arc Of Life album, featuring YES members
“Arc of Life” for me started with a call from Martin Darvill. Billy Sherwood had got a band together during the Pandemic. These days there is such a long lead time on some of the production processes most artists get very little notice for these urgent projects. Billy was really specific and had a clear idea about what he wanted to see on the cover and for that matter the back cover too. It was a very clear and clever idea with the cover and back cover portraying the same scene – the cover daytime and the back cover night-time reflecting the ‘Arc of Life’.
Although I have worked with most of the members of YES over the years as well as Roger, I don’t actually work on any current YES projects other than maybe the admats for the tours. The ‘go to’ designers (other than Roger) are the well respected, Doug and Glenn Gottlieb who have a history with YES dating back to the 70’s.
Alan Simon’s Excalibur IV [from 2017] (and Did you happen to create Alan Simon’s Excalibur V cover that came out late last year? (if so, any insight on that?)
I created the cover for Excalibur IV as well as the latest Excalibur V. In all I think I have created around seven album artworks for Alan and a series of rereleases. Alan is very clear about what he wants to achieve from concept to production. It is a very similar working relationship to working with John Wetton. Alan sends me a whole batch of his own photographic images which we use throughout the artworks. Alan is a very talented artist, photographer, composer, musician and film maker. Another individual that never sleeps.
The cover for “The Dark Age of the Dragon” evolved from the existing artworks in the Excalibur series. The circle is always a key element. Although “Excalibur V” visually doesn’t immediately stand out as a circle – the subject actually is a stone circle. The original concept for the cover came from a rough sketch Alan sent me a few years ago.
What would be a couple of your own favorite projects you’ve been a part of?
Each project has it’s own charm.
I have created all the album artworks for Dave Stewart and Barbara Gaskin over the past 20 years. Dave sets the bar on creativity and constantly raises it a notch every time we exchange thoughts. Like with Roger, the initial brief is always achievable – but is constantly evolving to a higher level and just when you think you’ve made it . . . those are probably the best projects to work on.
I worked with Gordon Haskell on “Harry’s Bar” from which the single “How Wonderful You Are” was released and became the Christmas number 2 in 2001. The cover image of the album came about in February 2001 when Gordon turned up at my home by surprise along with a studio copy of “Harrys Bar”. We played the first track but Gordon was dissatisfied with the quality, abandoned the CD and proceeded to pick up one of my guitars and perform some of the tracks ‘live’. Gordon wanted an idea of the style of cover photograph he should have on the cover of the album. We were sitting in my dinning room at the time – I had about ten frames left on my film camera – so I took a series of ideas and sent them to him. One of the shots became the cover image.
Working with Katrina and the Waves was another interesting period. I had been working with Katrina for a few years – helping produce album artworks and pop videos. I was asked to work on a version of ‘Walking on Sunshine’ for GMTV. Soon after I got a call to work on a new single “Love Shine A Light” written and produced by Kimberley Rew. The song was put forward for the “Great British Song Contest” and went on win Eurovision 1997. The cover was actually created from a cartoon sketch supplied by Kimberley.
Bill NelsonBen Poole
Recent projects include – photoshoots for Blues Guitarist Ben Poole and two album projects from QEDG for Nathan James, Inglorious.
Uriah Heep have released the first single & video from their forthcoming 25th studio album – Chaos & Colour – to be released in January of the new year! Details, ordering links, track-listing below.
November 8, 2022 – British hard rock legends and progenitors Uriah Heep announce the release of their 25th studio album, Chaos & Colour, set for release January 27th, 2023 via Silver Lining Music. Pre-orders available from November 8th on this site https://lnk.to/ChaosandColour
“Save Me Tonight” is another powerful melodic rock track which we have chosen to be the first single as well as the opening track of the album,” says Mick Box, Uriah Heep’s venerable and effervescent founding member, “it is made for rock radio and will surely be included on our new set list in 2023.”
Chaos & Colour is an album which bristles with explosive classic rock guitars, supreme harmonies, and Heep’s famously generous keyboard foundation. It is, unsurprisingly, an album that found its extra thrust during the COVID-19 pandemic, which was as bizarre for Uriah Heep as it was for humanity in general. “The album title reflects that we were in chaotic times with being locked down, tours being cancelled, businesses folding, and all the chaos that was thrown into the world,” explains Box, “and as far as I could see it, the only colour people had was through music. It helped so many people get through those difficult years, using that strength and power which music has, to make those bad times not quite so bad.” There were still the looming spectre of protocols and rules to follow in the middle of 2021, as the world tried to find its feet. Heep slowly found their way into Chapel Studios in London during the summer of 2021 as restrictions were tentatively lifted, working once again with Jay Ruston (Anthrax, Corey Taylor, Black Star Riders). “Jay was completely on board with what we are trying to achieve in the studio,” says Box. “We’re a band that has a fantastic heritage and to carry on that tradition it was vitally important that the band recorded in the studio all playing at the same time. Jay understood that and he pulled out the best of us as a band, as well as individual players, while getting us some amazing sounds.” Led by Box, it is no surprise that themes of light, love and, ultimately, positivity are constant through the album eleven tracks. “One Nation, One Sun” is a journey of soaring balladic contemplation, “Fly Like An Eagle” takes the listener on a journey of meditation, whilst “Closer To Your Dreams” is a battle cry for all rockers to get out there and do it, with Shaw imploring that “So many have tried but slipped away/Now it’s time for you to have your say.” During the entire album, Bernie Shaw’s timeless vocals sit expertly beside the band’s phenomenal artistry (Mick Box – guitar, Phil Lanzon – keyboard, Russell Gilbrook – drums, Dave Rimmer – bass), rounding out exceptional performances throughout. Produced by Jay Ruston, and engineered by Pieter Rietkerk, Chaos & Colour is a superb album of quality hard rock from the pioneers of the genre who continue to create top class material. Old fans will be reinvigorated whilst new fans will surely find Chaos & Colour an exceptional discovery.
Following the intense disruption to live music caused by the pandemic, the band are ecstatic to be back on the road and continue to bring their live show across Europe this winter. For a full list of confirmed dates, tickets, and additional information visit this this location – http://www.uriah-heep.com/2020Site/Index.html
Tour Dates:
12 November – Nürnberg, Germany – Löwensaal*
14 November – Vilnius, Lithuania – Compensa Concert Hall
15 November – Tallinn, Estonia – Alexela Concert Hall
17 November – Helsinki, Finland – Helsinki Ice Hall
19 November – Turku, Finland – Konserttitalo
20 November – Oulu, Finland – Madetojan Sali
22 November – Umeå, Sweden – Idun
23 November – Stockholm, Sweden – Göta Lejon
24 November – Oslo, Norway – Sentrum Scene
26 November – Kristiansand, Norway – Kilden Performing Arts Centre
27 November – Stavanger, Norway – Stavanger Kuppelhallen
28 November – Bergen, Norway – USF Verftet
29 November – Trondheim, Norway – Olavshallen
1 December – Sundsvall, Sweden – Tonhallen
2 December – Gothenburg, Sweden – Gothenburg Studios
3 December – Randers, Denmark – Vaerket Teatre & Musikhus
4 December – Copenhagen, Denmark – Docken Koncerter
5 December – Malmö, Sweden – Slagthuset Teater
7 December – Stuttgart, Germany – Liederhalle*
8 December – Dresden, Germany – Culture Palace*
9 December – Suhl, Germany – Congress Centrum Suhl*
10 December – Prague, Czech Republic – Forum Karlin
11 December – Budapest, Hungary – Hungexpo Hall C
13 December – Sofia, Bulgaria – National Palace of Culture, Hall 1
14 December – Thessaloníki, Greece*
15 December – Athens, Greece* (*Celebrating 50 years of Uriah Heep)
Chaos & Colour will be available to pre-order from November 8, in Black and Coloured Vinyl configurations, as a standard CD Digipak, a Deluxe CD packaged in a hardcover book with Uriah Heep’s Chaos & Colour signature patch and in digital formats.
“Save Me Tonight” is the first single from the upcoming album Chaos & Colour. Available to pre-order from November 9th here: https://lnk.to/ChaosandColour, Out via Silver Lining Music on January 27th, 2023.
The buoyant, blistering single “Save Me Tonight”, feels at once like a cry for lost love and an expression of COVID era pain. “I think that’s the beauty of a good lyric,” smiles founding member Mick Box. “A good lyric means that you can interpret it in many ways, and it’s so important to me when writing a lyric that it has those avenues to go in.” enthuses Box.
The single was written by bass guitarist Dave Rimmer and Jeff Scott Soto, who has been the vocalist for the likes of Journey and Yngwie Malmsteen. “’Save Me Tonight’ comes from a place of frustration and helplessness living through these unprecedented past couple of years but hanging on to this raging hope that we would all meet again! Once again, collaborating with Jeff Scott Soto has been a natural and very creative experience and the perfect platform for me to express these feelings and to carry on the Heep legacy.” Rimmer comments.
Chaos & Colour Track List:
Save Me Tonight / Silver Sunlight / Hail The Sunrise / Age Of Changes* / Hurricane / One Nation, One Sun / Golden Light / You’ll Never Be Alone / Fly Like An Eagle / Freedom To Be Free / Closer To Your Dreams* / Save Me Tonight (demo)**
*CD and Digital only
**Deluxe CD only
URIAH HEEP:
Mick Box – Lead Guitar / Vocals
Phil Lanzon – Keyboards / Vocals
Bernie Shaw – Lead Vocals
Dave Rimmer – Bass Guitar / Vocals
Russell Gilbrook – Drums & Percussion
Produced by Jay Ruston
Engineered by Pieter Rietkerk
Recorded at Chapel Studios, UK
Mixed by Jay Ruston at TRS West, Sherman Oaks, California
San Antonio rockers Jason Kane & The Jive have a new single out titled “Coming Through”, which is now available on Spotify and Apple Music. The song is a 3-minute great groove rocker from the band’s forthcoming follow up to 2020’s highly recommended Soggy Noggin’, being worked on for 2023. The band recently posted – “Recorded last month at Studio E Recording here at home in SA, we present to you “Coming Through”, a high-energy boogie that’s sure to get you up out of your seat and moving to the beat!” Jason further explains about the song – “The song is about foolin around with someone’s chick, a tip of the hat to ‘Gimmie Three Steps’ Ronnie Van Zandt inspired We still don’t have a name for the new album, but it will be out sometime next year!”
For CD ordering, concert dates, merch and more on Jason Kane & The Jive check out the links below.
Canadian band SPELL has a fantastic new fantastical metal album out now. Tragic Magic being Spell’s 4th album, and I am liking this a lot (see my previous review). I recently sent question to brothers Cam (Messmer) and Al (Lester), who recorded the album as a duo. Below the guys answer my questions and give some great insight in to the band’s brief history, 3 previous albums (which I’ve since picked up), their writing & recording of Tragic Magic, as well as their favorite albums! They also released a single (split with Witch Hazel), which is an awesome cover of The Strawbs’ classic “New World” (available as a 7″ single!). Recently Spell (on Bad Omen Records) also issued a 3rd single/video for the track “Watcher of the Seas”, from the new album – check it out! You can order Tragic Magic at various online sites, in particular via Bandcamp with a limited bundle – including clear vinyl, t-shirt, and patch, Or digital, CD, and vinyl variants. I look forward to hearing more from these guys, as well as seeing them when they eventually go on tour. *Check Spell out at the tracks I’ve included here, as well as the links below!
Can you tell me a bit about how you guys came about to work as SPELL? And how you decided on the name?
Al: Cam and I are brothers so we grew up learning how to play music together. We started our first band together called Stryker in 2007, which eventually became Spell around 2013. We wanted a name that reflected the mysterious “velvet curtain and candelabra” kind of metal we were playing then (and are still playing now). To me, it had the same feeling as cool single word nwobhm band names like SATAN, HELL, DEMON, or VENOM. Imagine seeing any of those names on a print distro-list if you had never heard those bands, and then immediately ordering it (obviously), and the immense anticipation waiting to get the record in the mail, only to have your brain absolutely bashed in by hellish heavy metal once you finally got to hear it! That was the feeling we wanted the name to convey.
Tragic Magic is the band’s 4th album, for those unfamiliar with the band, can you give us a line or 2 on the previous albums, including highlights, and live show highlights (any major festivals or big overseas shows) etc…?
Al: Ok, I’ll give my best brief summary of our previous records and other noteworthy events I can remember…Our first album ‘The Full Moon Sessions’ was basically a compilation of several recordings, from roughly 2009-2011, that didn’t come out until 2014 because the recordings were lost for nearly two years when our studio engineer had a metal breakdown and disappeared with our files and our money. During that time we played a lot of fun, rowdy shows locally in Vancouver with bands like Cauldron, Skull Fist, Funeral Circle. Our second album “For None And All” was our first “real” album recorded in a proper studio (Felix at Little Red Sounds), where we have recorded all our albums since. That album, and our third record “Opulent Decay”, have been described as dreamy, proggy-ish, fantastical heavy metal or hard rock. Our latest album Tragic Magic is certainly a more direct, go-for-the-throat approach than before, but we can’t help still sounding sort of dreamy, proggy, phantasmal, etc. We have been lucky to share the stage with many of our musical icons at festivals and shows all over the continent and in Europe so far, but instead of listing names I’ll just say – hopefully we’ll do more of that!
How did you guys connect with and sign with Bad Omen Records? They seem to get a lot of cool retro 70s-type acts, lots of great releases.
Al: I believe it was Will from Bad Omen who initially contacted Cam about working with Spell. It has really been the perfect label for us, since there is no pressure to do anything, we don’t want to do, and plenty of support for what we do want to do! We love the bands on his label, like Wytch Hazel, who we have been following and loved since their “Surrender” demo, as well as Satan’s Satyrs, another awesome band who were truly in a league of their own. Plus, Will plays bass in Angel Witch, one of our all time favourites, so what could be a better fit!
On Tragic Magic the band is just the 2 of you now, as well as a guest keyboard player(?) How did this change make things easier or more difficult in focusing on and doing a new album?
Al: We spent a lot of time writing and working on this album, and having only two people involved allowed us to be very critical about the process and scrap anything that didn’t serve the songs and album as a whole. We wanted to avoid doing a long-winded or self-indulgent record, and instead tried to write one that you can listen to all the way through without wanting to turn it off. In the studio, we allowed ourselves to be a little bit more indulgent about trying ideas and different parts etc. And we had some help from very talented and gracious friends, like Gabriel, who played a lot of the synths on the album and is now going to be playing guitars and synths live with us as well, which we are excited about.
Can you explain a bit about What inspires / influences some of the themes and topics in your lyrics? Books, movies, imagination etc…?
Al: We have always had some “literary” themes in Spell, as we’re both avid readers and fans of novels, poetry, philosophy, etc. but I think that mainly we write songs about ideas and thoughts that excite us in some way, whether that is based on a book, dream, imagination, movie, history, etc. Generally we aren’t writing purely about fantasy or fiction without a connection to a larger reality though.
Cam: Lyrically, this album is mostly about real life events or experiences that we’ve had. Hades Embrace is about the Alzheimer’s disease that runs in our family and has taken some of our loved ones. It’s likely I’ll someday inherit this illness, so I wanted to write this song expressing what I would want to say from the depths of dementia, when I can no longer speak for myself. Watcher of the Seas is about a very strange and magical experience I had while wandering in a remote area of Vancouver Island. Fine, I didn’t actually become an arbutus tree at the end, but everything else was very real. A Ruined Garden is simultaneously an environmental and anti-colonial song, about how even after our society destroys itself, there are other societies – animal, and human, many times more ancient than ours – that will rise up once again to return to their former place. For now, they are only sleeping. Cruel Optimism is about the sudden and somewhat unexpected loss of my youth. It happens to everyone, but I think many of us are still surprised by it. Specifically, I’ve spent the last 20 years of my life pretty single mindedly focused on the goal of making the best heavy metal music I can make, at the exclusion of many other goals in my life – starting a family, building a career, etc. I’ve always pursued music with a kind of bull-headed optimism, assuming that my dreams would come true, and everything would work out in the end, but this optimism seems to have been somewhat cruel, as it’s led me away from most of the hallmarks of a successful life, which many of my friends and peers now have. For many of these things, it’s too late for us now. I guess that’s just rock ‘n roll for you.
Can you tell us some of the details of coming of with some of the songs on this album, as far as riffs (Cruel Optimism, Sarcophagus), musical ideas or inspirations. for tracks like Ultraviolet, Fever Dream, Hades Embrace, Watcher Of the Seas, A Ruined Garden…
Cam: yeah, sure! Generally, I’ll come up with the first ideas on my own. Sometimes I think of them late at night when I’m half asleep, and then get up to translate them onto my guitar. But for this album, a lot of them were written right as I come in the door, full of adrenaline or excitement, and pick up my guitar and just start playing without thinking at all. Both processes are similar, I think, in that they are different ways of accessing some part of the subconscious. With things like this, sometimes you don’t want to overthink it, or you’ll become too self conscious and second guess yourself. It’s like a rare bird – if you look directly at it, it will fly away.
Anyhow, after that I’ll bring them down to the rehearsal room and Al and I will work on them together. Sometimes we’ll jump between instruments as our ideas come out. Then, when the song is fully fleshed out, we’ll work really hard to make sure the drums and bass line up perfectly with each other, and compliment the overall riff, and cut away anything unnecessary to make the song succinct and sharp. Every note has its place, nothing extra.
Is there any tour or live shows planned? And have made plans to fill in with other players for upcoming performances?
Cam: Yes, we are planning shows for the first time since 2019, and we’re very excited! We’ve been rehearsing with a new band, and we’re sounding better than ever, especially now that we’ve expanded to a four piece. Our current lineup includes Gabriel on guitar and keys (he plays synth on Tragic Magic) as well as another close friend who might be recognizable to some of you… Very excited to reveal our new form!
Can you (each) provide me with a ‘top 10’ list of favorite albums from your younger years, as well as a few major influences?
Cam:
This is a pretty difficult ask. There are so many bands that have been hugely influential. So, I’m not going to overthink it, I’ll just pick the first ones that come to mind. In no particular order, thinking specifically about my teenage years:
-The Devil’s Blood, Come Reap
-Cauldron, Chained to the Nite
-Iron Maiden, Peace of Mind
-Judas Priest, Painkiller
-Ozzy Osbourne, Blizzard of Oz
–Black Sabbath, Master of Reality
-Thin Lizzy, Black Rose
-Fleetwood Mac, Tusk
-Genesis, Foxtrot
-King Crimson, In the Wake of Posiedon
Al:
Ok, let’s see, trying to think of the most influential albums for me in my teenage years. I’ll only double up on one of Cam’s picks to try keep it interesting, otherwise we would have a bunch of the same choices.
-Iron Maiden – Piece of Mind
-Motorhead – Ace of Spades
-Megadeth – Peace Sells…But Who’s Buying?
-Slayer – Show No Mercy
-Mayhem – De Mysteriis Dom Sathanas
-Dissection – Storm of the Light’s Bane
-The Devil’s Blood – Demo
– Pagan Altar – Volume 1
– King Crimson – Red
– Bathory – Hammerheart
Each of your albums has come out on vinyl, and with pretty awesome artwork. How important is the whole vinyl press and use of good artwork on album covers to you guys? (Are either of you collectors at all?)
Al: Thank you! We definitely consider the artwork, the physical medium, and all other aspects of the release as a whole to be a part of the album itself, as they all inform and dictate how the music will be perceived by the listener. The cover artwork is the first thing people see, so not only should it convey some sense of the sounds and themes in the album, but it also has to be eye-catching otherwise no one will notice it or give it a second look! A great or interesting album cover will make me try listening to albums that turn out to be bad. Boring, derivative, or overly “genre-bound” album covers make me much less likely to listen to something I’m not already familiar with.
As far as being “collectors”, we both have pretty decent record collections because we are lifelong music lovers, but neither of us is at all into what “collecting” generally entails. I don’t care about having complete collections, first presses, multiple versions, different colors, die-hard versions etc. I just want a simple physical copy of the albums I love, and records from the bands who I want to support. Sure, I have a few cool “rare” records, and there are a few very special bands to me who I buy everything from (Like The Devil’s Blood!), but for the most part I don’t like collecting and don’t care for consumer culture of any kind. I want to own less stuff and do more. But hey, if you’re going to collect stuff, make it cool heavy metal records instead of stupid guns or stamps!
Jared James Nichols is from Wisconsin, a heavy blues/blues-rock player, with his own power-trio. I’ve seen him on a couple of occasions (opening for UFO), and he puts on a killer high energy performance. Definitely influenced by the likes of Cream and Mountain (seen him do a great cover of “Mississippi Queen” – search for a clip on youtube). So, if you get a chance to see this guy, do it! He’s got a brand new single & video out, check it out, along with the press release below.
Jared James Nichols just released his new single “Down The Drain” via Black Hill Records. On the hard-hitting track – produced, engineered, and mixed by Eddie Spear (Zach Bryan, Slash, Rival Sons) – vulnerable vocals snake around melodic guitar in ominous fashion.
Baring its fangs, “Down The Drain” snaps into a chantable chorus punctuated by a wailing lead. Click here to listen to the single, and click here to watch the official music video, directed by Tom Flynn and Mike Watts (Lamb of God, All That Remains).
“If I were to pick just one record to encapsulate my sound it would be ‘Down The Drain,’” shares Nichols. “From a whisper to a scream, this song has it all. Lyrically, it stems from a familiar place that can hit home for all of us, feelings of despair and pain, but constantly searching to find love each day. Musically, ‘Down The Drain’ cuts like a knife and moves like a freight train. This song hits hard and is brutally honest in all aspects. Turn it up and rock it out!”
Nichols, known for his electrifying live performance, teased the release of “Down The Drain” earlier this month in front of a live audience at the Aftershock Festival in Sacramento and again this past Monday night in New York City, where he headlined the Mercury Lounge.
“Down The Drain” follows Nichols’s recent single “Hard Wired.” The hypnotic and hyper-charged song was born from a jam session with Tyler Bryant and Graham Whitford.
Click here to listen to “Hard Wired” and watch the official music video.
With nothing more than a Gibson Les Paul slung over his shoulder, a warm amp turned all the way up, and a hot microphone on and ready, Jared James Nichols churns out the kind of rock that rips, roars, and rolls without filter or apology. The Nashville-based multi-talent, who stands at a staggering 6 foot 5 inches tall, delivers a one-two punch of gritty vocals straight from the gut and incendiary fret fireworks.
Since emerging in 2015, Nichols has racked up millions of streams and acclaim from the likes of American Songwriter, Guitar World, Relix, and many more, and has performed alongside icons such as Slash, Billy Gibbons, Zakk Wylde, Joe Bonamassa, and even the late Leslie West, to name a few.
*More from Jared James Nichols coming soon!
Jared James Nicholls – Tour Dates
Thursday November 10 – Little Rock, AR @ Stickyz Rock’n’Roll Chicken Shack Saturday November 12 – Kyle, Texas @ Skunkfest
More hard-hitting, kick-ass blues based British rock. Plenty of heavy guitar rockers, with harmonica, great riffs and vocals. Check out tracks like “666 At The Crossroads”, “Rebel With A Cause”, …”Jealous Woman”. *Check out the press info and title track below.
CRITICALLY ACCLAIMED HARMONICA PLAYER, WILL WILDE, ANNOUNCES LAUNCH OF NEW BLUES ROCK BAND, BAD LUCK FRIDAY
Bad Luck Friday’s self-titled debut album was released by Wilde Fire Records on Friday 2 September 2022. This is one of the most highly anticipated debut albums from a British rock band in years. The album is available from www.badluckfriday.com
The first single and title track, ‘Bad Luck Friday,’ was released July 1, 2022 and is available to buy and stream HERE.
The band has also just released their 2nd single “Banshee”, which is available to stream on Spotify HERE.
The official music video is available to watch on YouTube
Big guitars, wailing harp and a pounding rhythm section characterize this tune as a total anthem, making it the perfect track for Halloween. Scream if you want to go louder!
The band’s eponymous debut album, available on CD and colored vinyl, is available to order from www.badluckfriday.com.
Don’t be fooled by the harmonica. Bad Luck Friday is not your typical blues rock band. Will Wilde has a reputation in the blues world as a pioneer of the rock harp, but with Bad Luck Friday, he’s taken the music well beyond it’s traditional blues roots.
The band formed during the ashes of the pandemic when live music ground to a halt. Frustrated but still determined and highly creative, Wilde teamed up with guitarist, Steve Brook, and together they journeyed inward and developed their original style before bringing in Alan Taylor and Jack Turnbull to complete the line-up. Their fusion of bluesy classic rock and aggressive, contemporary hard rock encompasses anthemic choruses, catchy riffs, searing vocals, and Wilde’s blistering harmonica solos.
BAND LINE-UP
Will Wilde: Vocals, Harmonica
Steve “The Beak” Brook: Guitar, Backing Vocals
Jack Turnbull: Bass
Alan Taylor: Drums
Recorded at PA Studios and Brighton Road Studios, Brighton
Produced by Steve Brook
BAD LUCK FRIDAY – BIOGRAPHY
Bad Luck Friday is an exciting new rock band from Brighton, England. Formed in 2020, the band features Will Wilde (lead vocals, harmonica), Steve “The Beak” Brook (guitar, backing vocals), Jack Turnbull (bass) and Alan Taylor (drums).
Fronted by singer and world-renowned blues rock harmonica player, Will Wilde, their unique sound draws from an eclectic mix of influences, from classic rock bands such as Led Zeppelin and Free through to more aggressive contemporary bands like Black Stone Cherry, Halestorm and Alter Bridge.
Bad Luck Friday’s debut album is a blend of hard rock riffs and blues-infused melodies, big choruses with strong hooks, and face-melting harmonica solos that owe just as much to Slash or Angus Young as they to do Sonny Boy Williamson or Little Walter.
Outsider Rock 