The following comes from a lifelong fan from England, Mark Simnett. Many years ago, in the days of the Uriah Heep Appreciation Society Mark was also a member, who contributed a few articles, whom I corresponded with, and loved the music.
“I first heard the Wonderworld album in about 1975 when I was 13. The first lines of the first lyric still sends shivers down my spine!” – MS
Ken Hensley’s time with us ended on Wednesday November the 4th 2020 at the age of 75. He was best known for his work in the last century with the multi-million selling (albums) band Uriah Heep. He also worked musically with Blackfoot, Wasp and Glenn Hughes; whilst maintaining a solo career throughout and, more latterly, his own band Live Fire. A musical warrior if ever there was one! And with a physical presence that made him more Alpha than Beta …..an early school photo shows a big lad in the centre of the cricket team….. Ken the Captain. A talented footballer too; although Luton Town FC passed on their opportunity; the world of popular music could, should, or must deliver? Driven he was and larger than life in so many ways. There is evidence of his playing in teenage bands; but that aside, we can say that his professional music career spanned some 55 years with a new completed album to be released next February.
And what a life to celebrate – if anyone of us could have created a body of work that has brought so much joy and happiness (and possibly ‘reason’) into people’s lives we would surely be grateful? He had so much talent and skill, it must have been hard to work out exactly what to do with it all. Apart from his physical presence/looks/vocal/instrumental and compositional skills there are also some contextual things to mention. 1945 is a good year to be born from a historical point of view…. certainly if you want to be big in 20th century popular music…. as your creative youth crosses perfectly with the economic boom years of the ’60’s and ’70’s; developments in the media and the ability of affluent youth to spend and define themselves (on you and with you!). He also had exposure to his mother’s classical piano playing and a father who had served in the Royal Navy. A humble start in South East London – but an early move to Stevenage – more aspirational? On the money? He was certainly destined to travel.
When you reflect on the the big three bands of those times (Zeppelin, Sabbath, Purple) we marvel at their greatness and yet wonder if any of them had a ‘Ken Hensley’ type in them? He could do it all in from one seat: lyrics, chords, vocals and multi instrumental skills which extended from guitar to keyboards – for which he is best known. Describing himself firstly – as a poet, he suggested on more than one occasion that he used ‘thought’ first to compose; and then to color those thoughts with sound textures/instruments. And whether we like the idea or not; Ken was prolific. He did write, arguably, the best (and most of) Uriah Heep’s songs. He was the secret weapon; the engine that worked so well in the UH vehicle; bringing them immense worldwide success, and in some territories outplaying their bigger name counterparts.
Although heralded as one of the masters of rock Hammond keyboards, he was a musical softy, loving the melodic side of music. As early as 1971 he declared that the ‘rock thing’ was at times too heavy; and so as the ’70’s progressed he veered more and more towards ballad wizardry as a preference to hard rock composition. And it was in this form that he could sell….. millions! The sales of ‘Free Me’ and ‘Lady in Black’ littered the charts across Europe…. including No.1’s in Germany. In 1976 the High and Mighty album was in musical form a Ken Hensley solo album packaged as a Uriah Heep album; showing more clearly where his musical heart was…. with lighter arrangements given to shorter songs with ‘hooks’? As an album this failed to inspire the traditional fanbase and problems within the band intensified with Ken flying home during an American tour. Four years later he would leave for good.
We should be happy for Ken that his life seemed to work out so well for him. And happy for ourselves as we have all benefitted from his musical journey in life. His legacy and music will surely live forever. …. with the classic album Demons and Wizards and the singles success of Lady in Black and Free Me – which in Germany were taught in school music lessons. Folk songs from the 20th Century?
In one of his songs on ‘Rare and timeless’ [“Mine”], his lyric states that he ‘will find his way to paradise’; on a material level he also seemed to have a happy and fulfilled life (more than most?); and we are also left with loads of music and musical memories to treasure. Yes, there were elements of shock and sadness; and yet I am sure he has arrived safely to where he was aiming to be. Our thoughts and sadness should surely be with his family and those who have experienced a direct loss.
As a huge fan of Ken Hensley’s recordings, I [like everyone] was shocked and saddened by his sudden passing, at the age of 75. Ken left behind a humongous catalogue of classic rock music. Ken was best known as the keyboard player / slide guitarist / backing vocalist in Uriah Heep during the ’70s, who also wrote the majority of the band’s classics – especially during the period of 1972-’75 when they were a huge concert draw with a string of big selling albums. It would be easy to simply put down a list of Ken Hensley’s Best Heep songs, or biggest hits with Heep, but Ken did more before And after Heep in a career that spanned about 55+ years! I kept it to a dozen songs that I think were major moments in his career. thanks for the music, RIP.
Garage Man [The Gods] – This is where it all started, really. Though Ken had a few semi-pro bands prior to The Gods, this single, and this B-side was his first composition released. A 1967 single from The Gods [the A side being “Come On Down To My Boat”, penned by 2 American record producers / writers, and also recorded by Every Mother’s Son in ’67, as well]. The Gods originally also included Mick Taylor [later of The Rolling Stones], and Brian & John Glasscock [John, later of Jethro Tull, RIP]. Ken sings lead and organ, alongside Taylor’s bluesy guitar, a lengthy organ solo. Even then Ken could pen a tale, this one about a guy getting ripped of by a ‘Garage Man’ by buying a broken down vehicle – “I never had a chauffeur, but I sure was took for a ride”.
Real Love Guaranteed [The Gods] – This band went through a number of personnel changes [with Joe Konas replacing Taylor, and bass players Paul Newton and Greg Lake both being in the band at different times, and Lee Kerslake joining as well. By that time the band was signed to a record deal, and would release 2 albums, but they also released a number of singles, with the times a hit single would be needed to break big, so the band [w/ producer David Paramor] recorded a cover of The Beatles “Hey Bulldog”; but it was the B-side to that single that is probably my favorite and most ‘Heep-like’ song the band produced. Co-written by Konas & Hensley, this one features all those early Heep elements – heavy guitar, organ, backing vocals, and solid drumming. Just a great production, even featured harmonica. I get that a lot of bands got a break back then by covering Beatles’ songs, but to me “Real Love Guaranteed” was the best thing the band ever recorded, including any covers.
Lady In Black [UH] – Recorded for the Salisbury album, “Lady In Black” was a simple acoustic number, but poetic, and it featured a chorus with no words! Not a hit upon it’s release in 1971, but it would become a huge hit single in Germany in 1977, upon it’s release as a single then [while Heep had a few songs in the charts in various Euro countries during the time]. It would seem to become far more popular as a highlight of both Heep’s and Ken’s live shows, with an opportunity to lighten things up and for the crowds to sing along.
July Morning [UH] – Ken had said before [and I’m generalizing] that part of Heep’s magic in the early days was that he could bring in a song simply done on the acoustic guitar and by the end of the day it would become something great, once the band got involved. This is probably the best example of that ‘band’ magic. A song that would become [possibly] Heep’s greatest epic track, it was a ballad, it was heavy, and it lasted for 10 minutes. A song that [like a few here] would go on to be permanent in the band’s live show. For Heep fans, it was their answer to Led Zeppelin’s “Stairway To Heaven” or Deep Purple’s “Child In Time”.
Easy Livin‘ [UH] – Ken & Heep’s biggest hit. The song that opened many doors, being the band’s first big single and big radio hit, especially in North America. It was from the first album featuring what became known as the ‘classic’ line-up of Hensley, Byron, Box, as well as Gary Thain & Lee Kerslake – who both joined on this album. The song, and the album Demons And Wizards, took the band to bigger audiences, as headliners. It was a heavy Hammond and guitar fuzz driven rocker, that Ken apparently wrote in 15 minutes as a reaction to the perception that people had about rock stars having an easy time. Another permanent classic in the band’s live set.
Circle of Hands [UH] – My own favorite Heep song, also from Demons And Wizards. When I first heard this, I had to play it a few more times. Ken not only wrote this, but he started it with that amazing Hammond organ intro, and he closed it out with his soaring slide solo. A fan favorite not only for the music, but for the lyrics that many UH fans quote regularly. “Today is only yesterday’s tomorrow.”
Stealin’ [UH] – This should’ve been Heep’s next biggest single in North America, but a line “I done the rancher’s daughter” had this song pulled from many radio stations at the time. It was 1973’s Sweet Freedom, the band’s first for Warner Brothers. Ironically, it would go on to be a huge fan favorite, and one of the few Heep songs that still gets radio play on classic rock stations in North America. The song tells a story about a guy running away from a guy who’s daughter he just had his fun with; it was purely a tale from Ken’s imagination, and David Byron delivered a vocal like he was living the story himself, as he did with many of Ken’s songs.
The Easy Road [UH] – Ken wrote so many great ballads over the years – either for Heep or on his solo albums. I love this one, from Wonderworld, an album I’m not crazy about. But such a soft ballad, sweet lyrics, David’s vocals, and orchestra added by Michael Gibbs. I always thought it was strange that this never became a hit [at all], while a year later Kiss recorded a short piano ballad with orchestra and had a huge hit single – “Beth”. Again, Ken wrote so many great ballads, but this one really stood out.
Free Me [UH] – Well after the end of the ‘classic’ line up, the band continued with John Lawton at the mic. John was [is] an incredible singer, but Heep was far from the epic pieces and heaviness of their classic era albums. This is from 1977’s Innocent Victim, not an album I’m a big fan of, but it did include this song Ken brought in at the last minute. It’s a straight forward pop song, but features a great chorus, acoustic guitars, nice harmonies…. and it became a hit in various parts of Europe and Australia. Sadly, it didn’t catch on in North America. So well written. The band would try to recapture that acoustic guitar / singalong – pop thing on Fallen Angel with songs like “Love Or Nothing”, but it really only divided the band musically. Free Me was a one-off pop gem!
Send Me An Angel [Blackfoot] – Well after Ken had left Heep, had put out a solo album [that, like his album with Heep – never got a North American release], he then joined US Southern Rock band Blackfoot. The band – fronted by early Lynyrd Skynyrd drummer Rickey Medlocke, wanted to add Ken on keyboards to bring their sound in to the ’80s. Well, it worked for 1 album – 1983’s Siogo. This track was co-written with Ken’s American friend [and songwriter] Jack Williams, who also wrote & co-wrote a few Heep tunes during the Lawton era. It kicked off the album with a cool and modern keyboard intro from Ken; a great rocker that was also issued as a single. Siogo was a great album that Ken made quite an impact on. Unfortunately, the follow up album was a massive pile of slop, and Ken would leave after that [citing David Byron’s passing as a reason to quit touring]. The song was later rerecorded from a whole new fresh angle for Ken’s 2005 album Cold Autumn Sunday.
The Last Dance [KH] – When Ken resumed recording solo albums and touring it took a few albums to work out a few bugs, such as using material he’d written years prior. The Last Dance was released in 2003, and was almost all new material, and more so it was well produced, with a solid set of songs. But, it is the album’s title track that is the most epic thing Ken did during his comeback years. It has a story [and I often wondered if or how much of this Ken wrote about himself] that sits nicely alongside Heep classic like “The Wizard” and “Wiseman”. Features acoustic guitar, piano, organ, Ken’s distinctive guitar sound during the solo… And although this got recorded a few times, the best [IMO} is Ken’s first version – with his vocals and no added strings.
Trouble [KH & Live Fire] – From Ken’s 2013 album of he same name, with his band ‘Live Fire’ [Roberto Tiranti, Ken Ingwerson, Tom Arne Fossheim]. This album was Ken’s heaviest in his post Heep years. This song is a reminder of how good Ken was with just everyday words, and creating something poetic or an image or a story with them. This song, just simply based around that one word, and delivered as a kick-ass rock track.
Drop me some feedback on essential songs from Ken that really defined his legacy.
In the ’80s we had a local Dr Disc record shop. it was an awesome store – loads of vinyl and tapes at the time, and in my late teens I regularly dropped in and picked up something. I can recall in those days, looking for something new – a new band [new to me] to pick up on, and I’d regularly spend an hour just flipping through sections of used LPs by bands I wasn’t very familiar with. I did flip through the Uriah Heep section a number of times — so many albums, so many cool covers. I eventually picked up a copy of Demons And Wizards [to start] and from that day on I had a new favorite band, and my enjoyment and collecting of the band [and everything related] became routine. Fast forward a few years, [I wrote Ken a letter where he worked at St Louis Music. He was retired from being a rock star then, and was working with getting endorsements and promoting Ampeg amps. He wrote back, and in turn I sent him a pile of questions on Uriah Heep, and he responded. We exchanged a few Q & As, and a few letters, as well as had few brief phone chats. I received answers to my questions from Ken usually through the post, and usually hand-written. Although his answers were often short, but pretty interesting. On how he’d like to be remembered[?] Ken replied – “As someone who contributed, did his best and made a difference (Of course, by then, I won’t care!]”. (Maybe I’ll share more of these Q&As another time.) Ken was [and til the end] always a busy guy — from having contact with him in the ’90s and seeing his updates on social media, he always had new plans, multiple new recording or writing projects in the works. He was not one for small talk, though occasionally he’d say something that I thought ‘interesting that he’d say that’. In interviews [which I did a few of over the years], Ken always said what was on his mind, even if it’d be regarded as controversial to some or ruffled a few feathers amongst UH fans. He was definitely an interesting person, who was also highly respected by many other rockers [ask Billy Sheehan, Mike Anthony, Blackie Lawless…]. More so, the guy was a major force behind one of England’s biggest hard-rock bands of the early ’70s. He was the main songwriter, keyboard player, slide guitar player, backing vocalist… and penned so many great Heep songs, especially from the period spanning 1971 to 75, when they took off to be such a huge concert draw and recorded about a half dozen big selling albums. As a musician, Ken had his own sound; he was self-taught on keyboards [after taking on keyboards to join a band that didn’t need another guitar player!] Both his Hammond organ and his guitar sounds are quite unmistakable, and this separated him [and Heep’s sound] from many others. His contributions with songs like Lady In Black, Look At Yourself [which he also sang lead on in studio], July Morning, The Wizard, Easy Livin’, Sunrise, and Stealin’ – were huge fan favorites and a few were radio hits, which still get played on classic rock radio today. Those songs would also go on to be important and expected songs in Uriah Heep’s live set, even decades after he left the band, in 1980. In recent years Ken still had plenty of projects on the go, including shows and albums with his band ‘Live Fire’, solo albums, collaborations, and participating and contributing to various Uriah Heep reissue projects, solo reissues, and the new 50th Anniversary box set. I’d given up years ago on getting to see him perform live or meet him, as Ken’s relocating to Spain [and with European countries and places like Russia being his market really], really left no hope for tours in Canada or the USA. Today’s news of his passing came as a shock to anyone; Ken was still active, and always seemed upbeat & positive on social media or in interviews. As a fan, I am grateful for so many great albums that Ken left us, including his albums after he came out of retirement in 1999. His music has left a huge impact on my own life [and many fans lives] since I picked up that amazing Roger Dean cover and took home Demons & Wizards, and played side 1 about 5 times in a row before flipping it over. Thanks, and RIP Ken.
Another little list of great songs that just happen to share the same title. i could only find 4 such rock tracks [worthy] of mentioning here, 3 of which I have in my collection, and the last one I’d like to obtain. Some cool history in each of these acts and recordings. Let me know what you think, And if I happen to be missing any other songs titled “Miss Demeanor”.
The Sweet
For a stretch in the mid 70s The Sweet went from being a bubble-gum pop band, recording and having hits written by others – to putting together 4 albums of solid hard rock of their own. And don’t think there was any other band [line-up] that put out 4 better kick-ass albums from 1974 to 77. This song, written by the band, yet produced by Chinn & Chapman [who wrote the band’s earlier A-side singles] was released in 1975 as a B-side to their massive hit “Fox On The Run”. It’s a classic Sweet rock tune with a solid beat, a tale of getting even with a woman, with a classic Sweet high harmony chorus, and the first time bassist Steve Priest [RIP] took the lead vocal.
Fury
Short-lived UK based Fury actually featured 2 Canadians, singer Jeb Milne [aka Million] and guitarist – Derek O’Neil. Fury released just 1 single, and were openers on Uriah Heep’s 1977 UK tour. They morphed into Blazer Blazer, releasing 1 more single. Co-written by Million & O’Neil, this song starts off quietly, before building up to a catchy chorus, a tale of a woman leaving the guy. O’Neil’s guitar kicks in after the second chorus, as the track picks up before fading out. The B-side was pretty decent too, a slower paced pop tune titled “Stay On Your Feet”. I’d be curious how this single was received at the time. O’Neil, who early on played with and was friends with Pat Travers, later joined Ken Hensley’s Shotgun for a UK tour in 1981 before returning to Canada where he was a touring member of the band Butler [Butler featured future Kim Mitchell bass player Peter Fredette!]. Milne & O’Neil both eventually ended up in Los Angeles, doing separate gigs. O’Neil’s last band was The Heat Brothers. RIP – Derek O’Neil [2007], Jeb Milne [2013] https://blazerblazer-broadwaybrats.webs.com/fury.htm
Kim Mitchell
When Canadian singer/guitarist Kim Mitchell left progressive band Max Webster at the beginning of the ’80s, his first move was to record a mini album of 5 songs, co-produced with the legendary Jack Richardson [The Guess Who, Alice Cooper]. This song, as well as “Kids In Action” got lots of radio air-time around here, particularly Toronto’s Q107, and various other stations around Southern Ontario; it was also issued as a single. It was a solid EP of guitar rock. Co-written with lyricist Pye Dubois, this track features a classic riff to intro into a song written for a woman someone was infatuated with. No big guitar solo, more a softer spacy acoustic break in the midst of one of Kim’s best rockers.
Eyes
Los Angeles based hard-rock group fronted by Jeff Scott Soto. They released 2 albums in ’90 & ’93 [+ a collection of lost tracks in ’94]. This track was from the band’s debut album, on Curb Records, produced by Spencer Proffer [who produced plenty of big ’80s hard rock albums by the likes of Quiet Riot & WASP to Eddie Money, Billy Thorpe, Streetheart…]. A pretty good ’80s hard rocker. Love the production & sound, especially the drums and the big guitar solo. Great vocal from JSS! I gotta find this album [I see the CD & LP version are pretty pricey on Discogs]. Co-written by Soto, with Aldy Damien [drums] and Steve Dougherty [guitar]. An interesting read at > https://www.discogs.com/Eyes-Eyes/master/327612
Lizzy Borden announces ‘Best of Lizzy Borden, Vol. 2‘ – launches cover version of Ramones’ classic“Pet Sematary”. After releasing My Midnight Things (his fifth Top 200 Billboard release) to critical acclaim in 2018, Lizzy Borden has been touring in support of it, joining the likes of Demons & Wizards and Týr on the road in North America last year, plus performing at stages around the world.
Now, Lizzy Borden has announced a new greatest hits collection for fans: Best of Lizzy Borden, Vol. 2. Available digitally on November 13th, Best of Lizzy Borden, Vol. 2 picks up where 1994’s Best of Lizzy Borden leaves off, containing 12 tracks that showcase the Deal with the Devil (2000), Appointment with Death (2007) and My Midnight Things (2018) albums.
Additionally, the collection features 2 new cover songs recorded in the summer of 2020 (the first recordings by Lizzy’s latest live show line-up!): Blue Oyster Cult’s “Burnin’ for You” and The Ramones’ “Pet Sematary” – both mixed by Jay Ruston (Anthrax, Steel Panther, Stone Sour). Digitally re-mastered by Tom Baker (David Bowie, Rob Zombie, Marilyn Manson, Tom Petty)!
1. My Midnight Things 2. Long May They Haunt Us 3. Tomorrow Never Comes 4. Obsessed with You 5. (This Ain’t) The Summer of Love* 6. Under Your Skin 7. Lovin’ You Is Murder 8. The Scar Across My Heart 9. There Will Be Blood Tonight 10. We Only Come Out at Night 11. Abnormal 12. Live Forever 13. Pet Sematary + 14. Burnin’ for You*
Over the past decade Stan- W Decker has become one of heavy metal’s most seen album cover artists. He’s designed well over 100 covers with a growing list of big name bands, in the world of hard rock & heavy metal. In the past 2 years alone he’s created covers for such acts as Stryper, Last In Line, Jorn [Lande], Black Swan, and most notably and recently – Blue Oyster Cult. It was the eye catching cover for the new fantastic BOC album that had me look him up, and realized just how many albums I have that he designed, including all the live releases from BOC over 2020! Stan answers questions on his career, his art, and his recent works on latest 5 BOC album releases.
What did you start out doing and how did you get in to making album covers? What else do you do, aside from album covers as a graphic designer?
SD- After studying advertising and studying fine arts, I was hired in a well-known communication agency where I started as a graphic designer and then art director. I stayed 12 years in this job. At the same time, I designed demos and albums for my friends’ bands, then for friends of friends, then for national bands. I was spotted by an Italian Metal magazine to do the cover of one of their publications and I was put in contact with a big label thanks to all this. It’s been my only activity for 8 years now. I also make some logos, designs, posters, T-shirts and other communication tools related to the world of Rock/Metal music.
Are you a big heavy metal fan? [as many of your album covers are from this genre] Any favorite bands or albums to listen to regularly?
Yes, I’m a big fan of Heavy Metal, but my tastes in music are very eclectic. I listen to grindcore as well as 70’ prog’ and film scores. I have a collection of CDs and vinyl LPs (about 1700 CDs and 800 vinyl LPs), 95% are Rock/Metal and progressive, the 5% are pop/rock which I consider of good quality. I’m a fan of Faith No More, Maiden, Depressive Age, Coroner, BOC, Megadeth, Love/Hate and so many others… I just named the first ones I could think of!
Right now, I’m listening a lot to Riot City’s album and the first Eternal Champion’s album.
Were you a fan of album artwork prior to getting in to it? And who would be some of your favorite album cover artists?
It was the Maiden Killers cover art I saw on a neighbor’s T-shirt that blew my mind. I was very young but I remember it very well. A little later, I saw Somewhere in Time’s poster and I was blown away again! So it’s easy to say that the first artist who influenced me was Derek Riggs. But, I must not forget Roger Dean (Yes and Psygnosis game covers), Dave McKean (Shades of God from Paradise Lost, for example), Paul Romano (Mastodon), Giger…
What is the process you go through when given an album project to design – from the time you get the album title to time it is turned in for use?
There are no specific rules. Sometimes it’s a directive brief, sometimes it’s just a line. I don’t always get the title of the album before I start work. Sometimes I validate a simple sketch – ugly but effective. Sometimes I push the concept and show a black and white illustration to validate. Sometimes, I present an illustration that I consider to be definitive and keep my fingers crossed.
In designing covers, would you normally meet the band [or any members] to discuss an idea or get to hear some of the music ahead of time?
I’m in contact by e-mail 99% of the time. I discuss with the management, the label or the artist to define the directions to take. These exchanges are very often essential to understand the goal to be reached, more than the music itself (for confidentiality reasons, I very rarely have sound to listen to…).
I realized while going through your list of covers that i have a number of these. Could you share a few stories or any recollections on a few of these covers – Sweet & Lynch [1st], Last In Line [1st], Blackmore’s Night [Dancer And The Moon], Jorn Lande & Trond Holter [Dracula], Black Swan ? Any personal favorite covers you’ve designed?
Sweet & Lynch: I had worked with Stryper in the past and have a good friendly relationship with Michael Sweet.
Blackmore’s Night [Dancer And The Moon]: I especially have a great memory of receiving the email asking me if I wanted to work for Blackmore’s Night. It was my 3rd or 4th big project.
Jorn Lande & Trond Holter [Dracula]: I strangely designed this illustration very quickly, certainly because the concept was clear.
Black Swan: Some people didn’t understand the concept of the Black Swan cover (inspired by the movie, the hidden dark side). On the other hand Mister Mc Auley loved it and it seems to me that the artwork is hung (in large) in his living room.
… and I don’t really have favorites. I find it hard to judge my own work.
As for Blue Oyster Cult – This has been a huge year for BOC releases, and you designed all 4 live album covers, as well as the brand new album “The Symbol Remains”. How did that whole offer of designing 5 covers come to you?
I work very regularly for Frontiers Records and they knew I love Blue Öyster Cult. They simply proposed to me to make 1 or 2 live covers, then the album, then 3 more live covers (another one has just been announced 😉 ). I must say that I thought I was dreaming when I was offered to work for them.
I’m familiar with BÖC’s universe, it’s Hermeticism, and I played with the band’s symbols. However, I kept in mind the fact that we are in 2020 and that the band did not want to remain stuck at the end of the 20th century. I had to find a balance and also find the resources not to propose artworks that looked alike. I have to say that it was not very easy and that I was stressed (I’m a human, I think, haha, maybe not).
How familiar with BOC were you prior to the album covers coming up? Any favorite BOC records or album covers from the 70s?
Yes, I’ve been listening to Blue Öyster Cult since 1992. Before that, I was too young to appreciate and especially understand this kind of music (was listening to Heavy, Thrash and “in your face” music). BÖC needs to be tamed and you need to listen to several albums before diving into their universe.
Cultosaurus Erectus was a beautiful cover but I think Fire of Unknown Origin remains my favorite even if the graphics of the first 2 albums are superb and intriguing. I almost forgot Extraterrestrial Live !!!
Regarding the 4 live BOC album covers – how did you approach those, were they your own ideas, or did you get suggestions and feedback from the band?
I was given carte blanche to design these album covers. Of course, I did ask the management if they had any special requests, but I was mostly inspired by the tracklistings for the live shows and the concepts for the concerts.
Can you give me a line or 2 about each of the 4 BOC live album covers – what you drew ideas from and how you put it down?
– Hard Rock Live : Cleveland 2014 : I was especially inspired by Tyranny And Mutation to create this artwork. It’s the first design I made for the band and I preferred to make it a simple artwork.
– 45th Anniversary – Live in London : Of course, it’s a tribute to the first album. The doors of perception are here replaced by the escalators of the London “Tube”, archetypes in bowler hats being spectators of the BÖC. My first version was in black and white and I was asked to add a bit of color.
– iHeartRadio Theater – New York City 2012 : Well, for this one, there’s another version (which I keep preciously) that features Godzilla instead of the astronaut but I was a bit stupid to think that there wouldn’t be copyright problems, haha! This illustration was used as a front page for the French edition of ROCK HARD.
– 40Th Anniversary – Agents Of Fortune – Live 2016 : The concept was already found and I tried to go back to the original illustration to make a kind of sequel, as if the scene had been captured a few seconds later. It wasn’t very easy to copy the style of the original and bring something new but I’m proud of the result.
– The fifth one is in the pipes 😀
The Symbol Remains is a very catchy and bold cover, I really like it. [Again] , was this your own concept or did you get ideas from anyone else?
Actually, there were several proposals, 4 in all, which were all really very different. 2 were following a concept proposed by the management and in consultation with the band, the 2 others were extrapolated by me from the album title. Everything was done in parallel and one of these extrapolations was chosen by the management and the label.
Can you explain a bit about the concept of the Symbol Remains front cover? as well as the tablet design on the back cover?
You have to look at it in 2 senses. It seems that many people see the cross of Cronos crushing ruins. To have the real interpretation, you have to own the album. The symbol is in fact exhumed and mutated into an extraterrestrial bright hologram. I still want the interpretation to leave a part of imagination and for everyone to see the signs they want to see (thanks M. Night Shyamalan!).
About the tablet, it’s actually a reinterpretation of the other concept I had proposed. Some musicians liked the initial idea, so I integrated it in a different way.
The initial idea was to make the symbol look like a work of art, so it had it’s place in a museum. In addition to the main cover, which would have been a painting of the symbol exhibited in a museum of modern art, I had made several paintings of the symbol in different styles in order to display them in the pages of the booklet.
So the idea is that the symbol exists in different forms but always remains.
I assume you’ve heard the album – any thoughts or favorite songs on it? 🙂
Well, I must say I haven’t! I still watched and loved the singles released on Youtube but I haven’t received my copies yet and I’m looking forward to discovering the tracks from the album in tracklisting order, quietly, with great sound quality. This album is a great event that must be respected and I don’t want to spoil my pleasure.
What other covers are you currently working on [if you can share names or details]?
For confidentiality reasons, I can’t give names but I have some great opportunities for bands I’m also a fan of.
Do you have an online shop where people might be able to buy any prints of album covers?
No, I don’t have an online shop. Above all, I wish to devote myself to bands and to the job of illustrator devoted to the cause of Rock!. I know it’s a bit presumptuous but I’m still a dreamer and collaborating with legendary artists is the greatest satisfaction. For the moment, I manage to live this way… I still have in mind to exhibit different personal works but this remains one of my many projects!
After Magnum’s rescheduled tour dates were recently postponed til later in 2021, in support of the band’s latest album The Serpent Rings, fans will have, at least, a new release from the band to look forward to, early in the new year.
It’s been three years since Magnum brought out The Valley Of Tears – The Ballads, a compilation that focused on the British rock act’s quiet, more otherworldly and dreamy side. Three years during which the idea matured to follow this successful release (top 100 of the German album charts) with a companion piece. Dance Of The Black Tattoo has turned into exactly that: a collection of songs that present Magnum exclusively as tough-as-nails rocking and extremely vibrant musicians. What makes this album, available from 8 January 2021 on Steamhammer/SPV on CD, double LP and for digital download, so special is the fact that Magnum have gone through their impressive archive, looking for rare live cuts and outstanding radio versions and have come up with spirited live recordings and edits that concentrate on the essential components of some of their most accomplished rock numbers. Naturally, guitarist and band mastermind Tony Clarkin has used this opportunity to remaster and update all 14 tracks so that they comply with the state-of-the-art of (sound) technology. Says Clarkin: “There have always been two aspects to Magnum: a slightly more tender and lyrical facet, but first and foremost of course our powerful, rocking side. And that’s the element that Dance Of The Black Tattoo documents impressively.”
The album kicks off with live versions of ‘Black Skies’ and ‘Freedom Day’, previously available exclusively as DVD bonus tracks on Escape From The Shadow Garden. – “The perfect launch of this compilation because they present Magnum musically and lyrically from our familiar raw side. The subsequent ‘All My Bridges’ is a little different in that the music is still heavy, but the lyrics are more poetic,” explains Clarkin, whose dynamic guitar style has harmonized perfectly with Magnum vocalist Bob Catley’s warm and charismatic voice for almost fifty (!) years. ‘On A Storyteller’s Night’, the title track of their 1985 masterpiece, and ‘Dance Of The Black Tattoo’ are another two rare live tracks from the bonus section of Escape From The Shadow Garden, followed by radio edits of their seasonal anti-war number ‘On Christmas Day’ and the fan favorite ‘Born To Be King’ off their classic Goodnight L.A., previously only available on vinyl or for digital download, followed by ‘Phantom Of Paradise Circus’ and ‘No God Or Saviour’ – both bonus tracks from Sacred Blood – Divine Lies. Clarkin: “To be honest, when I started going through those old masters, I didn’t even have ‘Phantom Of Paradise Circus’ on my radar. I usually start working on new material about four weeks after the release of an album, so occasionally a song may sink into oblivion although it has a lot of substance and class. Such as ‘Phantom Of Paradise Circus’. I really love that number and am happy that it is getting the attention it deserves at last.”
‘Your Dreams Won’t Die’ and ‘Twelve Men Wise And Just’ are two live bonus tracks which first featured on Lost On The Road To Eternity, before ‘Show Me Your Hands’, ‘Not Forgiven’ and ‘Madman Or Messiah’ – three previously unreleased radio edits from the still topical studio recordings Lost On The Road To Eternity (2018) and The Serpent Rings (2020) – round off the new release. “Sometimes it’s not easy to shorten a carefully balanced composition for the radio, but in these three cases it worked really well,” reckons Clarkin. Talking of working well: Naturally the artwork of Dance Of The Black Tattoo was designed by Magnum‘s tried-and-tested cover artist Rodney Matthews, who always succeeds in translating the special ambience of the British rock group’s albums into atmospheric images and colors. Clarkin: “This time it was easy really: I called Rodney, told him the album title and he sent me this absolutely fascinating artwork. I bet our fans will love his little masterpiece.” Having said that, Clarkin is sure to win this kind of bet for the whole of Dance Of The Black Tattoo.
Dance Of The Black Tattoo will be released January 08th, 2021 through Steamhammer/SPV as CD digipak, 2LP gatefold version (w/ printed inner sleeves, 140g, magenta transparent vinyl) , special CD/LP bundle with shirt (only at the Steamhammer shop), download and stream: https://Magnum.lnk.to/DanceOfTheBlackTattoo
From Sweden, Eclipse is based around founding members Erik Mårtensson [vocals, guitar] and Magnus Henriksson [lead guitar], and after a few line up changes, currently include Philip Crusner [drums] and Victor Crusner [bass]. Viva La Victouria [clever] is the band’s first live album to top off their first decade.
The band’s latest studio album – Paradigm, from last year was my introduction to these guys, one of my favorite hard-rock discs of 2019, which saw plenty of play in the car CD player! A solid album, full of energetic hard-rockers, and melodies, with an ’80s influence, and a number of stand-out rockers like “Viva La Victoria’, “Mary Leigh”, “Blood Wants Blood” and “Delirious” — all of which feature in this live set. A few other Paradigm songs are here as well, notably “United”, “Shelter Me”, and ballad “Take Me Home”. The rest of the band’s live set draws material from their previous 6 albums [7 studio albums in a decade – pretty impressive nowadays!]. Frankly, I’ve still got a lot to catch up on with the band’s catalogue, but their older albums seem damn hard to find, and fetch ridiculous prices on Discogs. [Someone needs to reissue them]. Am looking foward to the 3 LP [red, white & blue vinyl] box set. I love live albums like this; great performances and sound, loads of energy from the band and crowd, and [for anyone not familiar] – a brilliant document of Eclipse after 10 years. Viva La Victouria is loaded with more than just the show in Gothenburg, from December of last year. Due out November 6 on Frontiers – CD, LP, DVD, Blue-Ray.
*Bonus material on the CD and LP versions include the studio track “Driving One Of Your Cars” (a Lisa Miskovsky cover), acoustic versions of ‘The Downfall Of Eden’ and “When The Winter Ends’, as well as three live tracks from the band’s Live from the Quarantine pay-per-view special, which was recorded at Studio Grondahl in Stockholm, Sweden on April 1, 2010. The LP version also includes the exclusive bonus tracks ‘Hurt’ and ‘Mary Leigh’.
*Bonus footage on the DVD and Blu-ray will feature interviews with the band around the creation of Paradigm and Viva La VicTOURia, additional footage from the Paradigm Tour (backstage, tour bus, behind the scenes, etc.), and some interviews with the band around the development of Eclipse, from the early days up until now, including some historic footage will be included.
Tracklist:
Viva La Victoria Mary Leigh Blood Wants Blood The Storm Vertigo Jaded Shelter Me United The Downfall Of Eden When The Winter Ends Take Me Home Battlegrounds
Black Rain Blood Enemies Stand On Your Feet Runaways I Don’t Wanna Say I’m Sorry Never Look Back Driving One Of Your Cars (Studio Version) The Downfall Of Eden (Acoustic Version) When The Winter Ends (Acoustic Version) Battlegrounds (Quarantine Live) Driving One Of Your Cars (Quarantine Live) Delirious (Quarantine Live)
Throughout the ’70s German band Scorpions remained fairly unknown in North America, but in the ’80s they’d become a big attraction, with signing to Mercury Records (previously with RCA), and releasing breakthrough classic albums Lovedrive [’79] and Animal Magnetism [’80]. Then came huge success with the album Blackout, featuring the hit “No One Like You”, and followed up that album with the album Love At First Sting, featuring the hit “Rock You Like A Hurricane” . The band softened up on 1988’s Savage Amusement, and would go on to record their biggest hit, the ballad “Winds Of Change” (I hate this song!), and subsequent albums really lost my interest, though there were a few good moments, like “Wild Child” from 1996’s Pure Instinct. For me, the first 2 Scorpions’ album I ever owned were Tokyo Tapes and Taken By Force. I received these albums, and a few other ’70s Scorps releases (compilations) from an uncle way back when I was about 12/13, and just in to the ’80s hard-rock at the time. With the success of the band in the ’80s, much of their ’70s catalogue probably saw re-issues and compilation releases. Although I liked much of their Mercury releases (the first 2 albums were their best of the era IMO), I was never a Huge fan, and their ballads from 1990 onward pretty much turned me off.
Anyway, they had a solid string of albums in the ’70s, and had a great guitarist / writer in Uli Jon Roth. Roth had replaced Michael Schenker, who had played on the band’s debut LP Lonesome Crow and then left to join UFO. He would also add the occasional lead vocal. I find the songs from this era heavier musically, and far more interesting than what came in the ’80s.
In Trance is the 3rd studio album,- second with Uli Jon Roth, and their best, IMO. Also here are founding members Klaus Meine and Rudolf Schenker (rhythm guitar), as well as Francis Buchholz (who came along with Roth) for the band’s 2nd album Fly To The Rainbow, and (drummer) Rudy Lenners, who would feature on the next Scorps’ album as well. The first in a long string of the band’s albums produced by Dieter Derks, who would also go on to produce plenty of metal albums including such bands as Accept and Twisted Sister. In Trance would be the first Scorprions’ album to include their logo (used for years to come), as well as the first of many controversial cover photos (this one showing the model on the front with breast exposed).
For the longest time I’d always favored Taken By Force as the best of this period, but after sitting through them all for a few days, I have to go with In Trance due (first) the performance of Uli Jon Roth & Klause Meine, and (second) the amount of great material — there is no filler on this album; just a solid set of 10 excellent songs. Though, for me – standouts have to be (1) “Dark Lady” (penned by Roth) which opens the album, with the guitar and then drums come blazing in. It’s fast paced with a lead vocal by Uli Roth, with Meine singing back-up and adding plenty of screams; kinda reminds me of Purple in their early Gillan era mixed with Lucifer’s Friend (see “Ride The Sky”). This must’ve been a great live track. (2) The album’s title track (penned by Meine & Schenker) is one of my favorites from the band’s ’70s period, along with “We’ll Burn The Sky” from Taken By Force, the Scorpions had a way of starting with a soft acoustic ballad and then changing the pace and feel with a very heavy & powerful chorus. This song would also be the band’s first single, released in a few countries. And (3) “Top Of The Bill”, a song about a rock n roll star; cool opening riff, and it’s Meine’s hard-edged vocal and Roth’s lead guitar that soars over top that really stand out.
Plenty of other great tracks here, from the rockin’ “Robot Man”, and the pair of heavy, semi-ballads – “Life’s Like A River” and “Living And Dying”, both about living and aging, with slower parts, a bit of organ in the background, and killer solos from Roth. This was Uli Roth’s most productive time with the band as well, having written or co-written on 6 tracks. Roth was also heavily influenced by Jimi Hendrix; a very melodic and emotive player, who could make for those very cool ’70s atmospheric solos and songs. Much of side 2 of In Trance belongs to Roth, with those type of atmospheric numbers in the slower paced “Evening Wind” (great vocal from Meine), and the instrumental “Night Lights”, with a nice use of keyboards for extra feel on this one (courtesy of Achim Kirschning). The latter also features solid cuts in “Sun In My Hand”, a bluesy slow-mid tempo number, featuring Roth on vocals and the more mainstream rock of “Longing For Fire” (co-written by the band’s 2 guitarists); love the bass on this tune. Such a good listen straight through this album, with no filler tunes, and really not too bad lyrically (compared to some later Scorps’ tunes). Four songs from this album would go on to feature on the classic Tokyo Tapes. Too bad Roth would depart the band after the Tokyo Tapes; but he’d go on to record a number of albums with his Electric Sun project, and in more recent years has been returning to his Scorpions days with such albums as Scorpions Revisited and Tokyo Tapes Revisited. Roth was briefly replaced by Michael Schenker, who started work on the band’s next album, before the band would settle on Matthias Jabs as a permanent replacement.
It’s been 19 years since BOC’s last studio album [Curse Of The Hidden Mirror], and it’s an album I didn’t get at the time, in part because I didn’t dig the previous album [Heaven Forbid] a few years earlier. Though Heaven Forbid has grown on me, I’ve yet to get in to COTHM yet. So, with that all said – I didn’t expect too much, I guess from The Symbol Remains. Initially I did love the title when I read it, and I love the artwork, and I thought the first track released [“That Was Me”] was good, [not my favorite here], but hard hitting and to the point musically & lyrically. After hearing the full album though, this is far better than I’d imagined. Frankly, it kicks ass, and I’m digging it more than I thought I might with every listen. BOC 2020 consists of founding members Donald Roeser [aka Buck Dharma & Eric Bloom, as well as longtime members Richie Castellano [guitar, keys, vocals], Danny Miranda [bass], and Jules Radino [drums, percussion].
Two things that stand out on this album are the variety of songs – 14 in total, spanning everything BOC in the 70s would’ve covered; so there’s lots to get in to here. The 2nd thing that is noticeable is the contributions of guitarist/keyboard player, and now songwriter, singer, co-producer — Richie Castellano has made; the guy comes up with some of the album’s best material, IMO . Writing and / or co-writing 7 tracks here, as well as singing lead on such standouts as “Tainted Blood”, “The Machine” [Buck’s backing vocal sounds great on this one too] and “The Return Of St Cecilia” [co-written with Richard Meltzer; a sequel to a song the band recorded in 1970 as The Stalk Forrest Group].
Really, every track here is really good to outstanding, and I can see favorites changing daily – whether it’s Buck Dharma’s excellent “Box In My Head”, “Florida Man”, or “Secret Road” [the former co-written w/ Castellano, and both co-credited to John Shirley – for lyrics], a couple of the previously mentioned Castellano tracks, or the heaviest hitting songs sung by Eric Bloom [who sounds just great here] – “That Was Me” [w/ a guest appearance by founding member Albert Bouchard], “Stand And Fight” and “The Alchemist” ; the latter 2 heavy in the Metallica & Maiden sense. BOC was a hugely influential and classic American band in the ’70s, and The Symbol Remains is an impressive return. At a time where many older bands are still putting out excellent material BOC is now front & center in that category. A great year to be a BOC fan, with 4 new live archive albums having been released, a few reissues, a great new album from [founding member] Joe Bouchard, this awesome new album, And a soon to-be-released album from Albert Bouchard! What more could fans ask for!?
*Artwork for The Symbol Remains, as well as the 4 live releases from BOC this year were done by Graphic designer Stan W. Decker, who’s done a ton of great album covers including Blackmore’s Knight, Jorn Lande, Stryper, Night Ranger, and the excellent new Black Swan album! http://www.stanwdartworks.com/
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Outsider Rock 