Martin’s latest book is this 325 page in-depth read on American ’70s rockers Angel. Damn excited to get this, as I remember Martin talking about possibly doing this earlier this year -And here it is! Happy to have played a part in it as well.
An interesting read the early years on the band, and the different [and sometimes clashing] recalls on how the band got signed to management and then to Casablanca [depending on the bandmember] , and then the name…. plus the various pre-Angel bands that connected the original bandmembers together. This is the usual great in-depth analysis on the band’s albums, and the personnel issues, from Martin. And with Angel, and what Angel fans will want to read is the various reasons of why these guys didn’t make it big, and sorta got cast as that underrated [and unsuccessful] 2nd fiddle to labelmate’s Kiss, as well as the management issues, the struggle to get a hit and become bigger and carrying on in to the ’80s. The ’80s [IMO] is the decade these guys would’ve been huge, given their image / outfits, and more mainstream pop-hard rock direction of their last few albums. So – many questions are answered here, regarding the band’s eventual collapse at the end of the decade with an awesome album – Sinful, an ill-timed and under promoted double live album, a ditched movie, and a movie role that would end up being a cameo and 2 new [and last] tracks [Foxes]. From there, there is a look at the bandmember’s post-Angel days, the few attempts to resurrect the band with a few members, and then on to the return of Punky Meadows & Frank Dimino, and the excellent new album Risen in 2019.
Most of this book is put together from Martin’s own interviews, particularly with Felix Robinson, Frank Dimino, and Punky Meadows [and a number of other former associates, management…]; others like Gregg Giuffria are represented in the story through plenty of press articles from the ’70s & ’80s. A full discography on the band, as well as short set of pertinent related releases. There’s a few sections of cool color shots of the band [promo and live shots], all making for an awesome package for Angel fans.
For more info / ordering, check out http://www.martinpopoff.com . Don’t hesitate if you’re interested, as these books are usually limited and go fast. *Martin also has upcoming books on Uriah Heep [A Visual History] another in his series on Rush [Driven] , and is finishing off a bio on Sweet [looking forward to that one!].
For anyone not familiar with this album, it is a ‘must have’ for Uriah Heep fans. The album once mysterious and extremely rare & sought after by fans who knew it’s Heep connections [w/ original pressings being very costly], is a heavy album of psych rock featuring Ken & Lee, with Ken singing, and his guitar and Hammond sound. Very heavy in places on gems like “You Must Come With Me” and the title track, as well as a few softer moments such as “The Girl Who Loved, The Girl Who Loved”. Fave cut for me is “The First Time”, with it’s lengthy organ riff intro and harmonies – this would’ve made a fine Heep track. If you’re not familiar with this, but love the early Uriah Heep stuff – you will surely love this album, forgotten for decades, and finally given a proper re-issue, thanks to producer David Paramor.
For Immediate Release:
Long Forgotten Pre-Uriah Heep Album Head Machine’s Orgasm featuring Ken Hensley and Lee Kerslake Re-Released Officially for the First Time Since the 1970s!
Head Machine’s Orgasm Receives Definitive 50th Anniversary Edition Re-Master – OUT NOW!
Head Machine’s Orgasm album was recorded in 1969 and this is the FIRST OFFICIAL RE-RELEASE of the album since 1971. Every other re-release since then has been a counterfeit.
The album features four members of The Gods: Ken Hensley (also of Uriah Heep, credited here as Ken Leslie), Lee Kerslake (also of Uriah Heep, credited here as Lee Poole), John Glascock (also of Jethro Tull, credited here as John Leadhen) and Brian Glascock (credited here as Brian Poole).
This 50th Anniversary Edition has been given a 2020 re-mastering and its better sound quality than any previous edition. The packaging is a 6-panel digipack and the booklet features new liner notes by David Paramor plus exclusive comments from Ken Hensley, Lee Kerslake and Brian Glascock.
Work on this re-release was completed in early 2020, for a May release which was the 50th Anniversary month of it’s first release. The Covid-19 pandemic delayed that plan and then the publicity was held, when Lee Kerslake and then Ken Hensley passed away, to ensure the painstaking work undertaken on this re-release wouldn’t be mistaken for a cash in.
The original producer David Paramor endorsed the re-release saying “This album is a chapter in the history of everyone involved, and in these days of less prudish attitudes, I hope this 50th Anniversary release will bring some of the tracks to a wider audience.“
Another heavy rockin’ trio from Texas has released their third album earlier this year is Jason Kane & The Jive! I recently reviewed the San Antonio band’s album Soggy Noggin, and now present an interview with Jason Kane [via email]. A cool look in to a newer band you got to check out! On their latest album these guys mix up hard-rock, blues, and funk, and come up with a CD full of great tunes. Check ’em out – Jason Kane Official – YouTube
[Jason] Prior to the band you were doing an acoustic show!? Anything become of that? [I saw a cool rendition of “Stealin” on Youtube – never seen it done quite that way.]
JK: Thanks for watching! I’m a big Uriah Heep fan, “Stealin” was one of the first songs I learned for my acoustic act. Before I met Nick Jive I was a solo acoustic act and would play where ever I could – I did not care how funky the show was, didn’t care if I was opening for death metal, country or rap, I was hungry to get out and play! I ended up going on 2 tours opening for a local psycobilly act from Texas to California.
Can you tell me a bit about how the band came together and what sort of lead to or inspired the heavy blues and funk classic rock sound and feel of the band?
JK: I got a call one day for a band looking for a singer, ‘specially a Rock n roll singer! I thought it’s perfect and met up as soon as I could, at that point I had done all I could with acoustic gigs. I ended up crossing paths with Nick Jive, we hit it off and shared a lot of inspirations and a lot of them bled into our music unintentionally. We never sit down and try to emulate anybody, we just try to write what feels natural. Nick brought the funk and I brought the blues.
If not too much – can you guys [each] drop a list of favorite bands or players and albums from your youth?
Jason Kane – Boston’s first album, Grand Funk, Sly and The Family Stone ‘best of’.
Nick Jive – Thin Lizzy, Mountain, Red Hot Chili Peppers, Thomas Chapoy, Pearl Jam, Soundgarden.
Soggy Noggin is your third album. For those of us not familiar can you give us a brief run down on the first 2 albums — approach, highlights, reception…?
JK: It was definitely a different approach. We were a little heavier and recorded everything differently, with Soggy Noggin most of it is live – whole band jammin’ at once, more of an organic feel. My favorite highlights off the first 2 albums are “Courthouse”, “How I Do”, “Crystal Ball”, “Pussyfootin”, & “Titty Boi Rabbit”.
You’ve opened a number of shows for acts such as Ace Frehley, Moxy [great Canadian band!], Y&T, Uli Jon Roth, The Winery Dogs … What are some of your favorite shows you guys have opened up, and any stories from any of those shows?
JK: My favorite show had to be Pat Travers, Starz & Axe. We ended up playing Richie Ranno of Starz’ Birthday the day after the show as a private party. They were the coolest, nicest guyz, everyone. I had a chance to talk to the singer of Starz and mustered up the courage to say in conversation ” No offense but you sound like the guy from Cactus”, come to find out it was Jimmy Kunes of Cactus singing for Starz that tour! Unbelievable night! Later on we ended up meeting up with Pat Travers in Chicago and played a handful more shows together in Texas, another group of incredible players and the nicest guys.
Can you tell me a bit about the ideas behind the title Soggy Noggin and CD cover art, to begin with?
JK: We were originally going to call the album “Wet Brain”, but we thought “Soggy Noggin “was funnier to say [haha]. As far as cover art, I wanted to show homage to my first tour when all we had to eat was this raw spam while we were stuck somewhere in El Paso. Not much has changed! [haha]
How do songs come together for you guys? and where lyrical ideas comes from?
JK: We always tackle the music first and then I’ll add lyrics. Someone starts off with a few riffs and some arrangement ideas and the songs grows from there. As far as the lyrics go, those are all personal experiences or the goofy situations of everyday life. I don’t try to get to deep with the lyrics just something that flows and that sometimes makes sense.
You guys take on a few covers – “Burning Ships” [Lucifer’s Friend], and I checked out “Do Ya Think I’m Sexy” [Rod Stewart] — is that one on an actual release? You guys definitely pick a few unexpected songs to cover.
JK: Yes, those are our only covers as of now! We might be doing a few more soon. “Do Ya Think I’m Sexy” was not on an actual release, just a song we have online and a fun little closer we do live. We wanted something nobody would expect! And Lucifer’s Friend was one I just couldn’t pass; such a great song all over, and I’m a huge John Lawton fan!
Can you give a few antedotes or insiration / ideas of some of the tracks on the latest album — like “Machine of Dreams”, “Long Time Comin'”, “Chains”…. ? Any favorites you guys have ?
JK: The biggest thing we wanted on those songs was the live feel. I feel like we really captured that on those tunes. “Machine Of Dreams” was inspired from our trip to Vegas, “Long Time Coming” was just about seeing us live and what it feels like for us. “Chains” was the first song we recorded for Soggy Noggin and it was our first attempt to write with keys and explore another realm and not worry what genre.
“Smooth Operator” kinda reminds me of old Rare Earth – pretty funky, plus the keys, the saxaphone…. Where do some of the production ideas come from on tracks like this – where there’s more than just guitar/bass /drums going on?
JK: When we first started writing for Soggy we really wanted some brass and to capture the funky side of rock. with Spenser Ramzel behind the recording side and Steve Perez on sax we were able to pull it off. Me, Nick & Tom just got to hammer out bongos, hand claps & tambourine after we laid the music down.
Being from Texas, any legendary acts like ZZ Top or Roky Erickson have an influence on you guys?
Billy Gibbon’s slick playing has definitely been an inspiration. But actually, I grew up in Chicago, and that is where I fell in love with blues and that really inspired my playing big time. But some Texas inspiration I’ve found as of late is some of these country finger pickin’ guys out here, pretty insane stuff! Ya don’t get that in Chicago [haha]
How are you guys dealing with the pandemic, surviving?
JK: We’ve been keeping busy as much as we can. Lots of writing, lots of practicing, lots of video shooting, really crossing the T’s and the dotting the I’s and taking care of the legal side of things. but we haven’t stopped for a minute.
Working on any new material or have releases planned?
JK: Yes! We have a brand new album coming out and is currently in the works, 8 or 10 songs new songs! Nothing set for a release just yet! We’ll be waiting for the right time and continue promoting our newest release Soggy Noggin. We still have a few music videos coming out and live studio footage that has yet to be released!
He was often hailed as the best unknown guitarist in the world; a title used in a PBS documentary about him earlier in his career, before signing to Polydor . Buchanan played blues and blues-rock, and could add elements of jazz, country, and rockabilly, and would record a number of albums in the ’70s. He was known also for turning down the Rolling Stones offer to join them after Brian Jones passed. He also allegedly declined an offer to tour with John Lennon. Sadly, Buchanan passed away in 1988, after taking his own life in a jail cell. His albums though are well worth checking out.
His 1978 album You’re Not Alone is where I started, having just picked this up about 2 years ago. Not sure why, perhaps a friend’s recommendation coupled with lengthy versions of a few songs I knew[?] Regardless, I loved this album upon first hearing it. Buchanan played heavy; this is no laid back blues record. The album only features 7 tracks, and the guitarist is accompanied by a great set of players – Willie Weeks on bass [who’s early credits include Gypsy, Rod Stewart, Stevie Wonder, George Harrison…], drummer Andy Newmark [Carly Simon, Sly & The Family Stone], keyboard player [uncredited] Jean Roussel [played on many Cat Stevens albums], and guitarist Ray Gomez [Stanley Clarke, Patrick Moraz…] . There are 2 notable cover here – Joe Walsh’s “Turn To Stone” and Neil Young’s “Down By The River”.
You’re Not Alone opens with a quiet 2 minute piano & synth piece, credited to Jean Roussel. It seems a bit futuristic, with a slow pace, and slight build up til the end. “Turn To Stone” is the next track, and as much as I love Joe Walsh’s original, this really floored me upon getting this. Kinda odd hearing it without the vocals, but Buchanan’s sound during the verses is superb, and he kills the the riff; there’s also some organ soloing in there, funky bass lines, and piano. “Fly…Night Bird” opens with some sea sounds, quiet synths, and Buchanan coming in softly, a great atmospheric piece, that is very reminiscent of Pink Floyd’s Dark Side Of The Moon. The song picks up just after 3 minutes with rhythm section kicking in; it’s still a slow paced bluesy number, but Buchanan playing and piling on notes that, I wonder, if he was trying to make it sound a bit like birds[?] Side one ends with the rocking “1841 Shuffle”; a straight forward heavy blues rock tune. Buchanan had played “Down By The River” as far back as 1971 [it’s in his PBS TV special], so here he lays down an epic 8 and a half minute take of the Neil Young classic. It’s the only track here to feature vocals, and the singer is Gary St Clair [look him up!], a nice quiet vocal here that suits this perfectly, and accompanied by a small choir on the chorus line as the song plays out .
“Spurnova” [the shortest guitar track here], is a heavy and fast paced number that has a bit of ’50s influence, but it really is a hard rocker; love the rhythm section on this tune, as well as the piano. Last up is the 8 minute title track. It’s another futuristic synth intro [pretty cool for 1978], with the band coming in slow-paced after a minute. This one rides on the synths and bass for a while, with organ in the mix; [again] a bit of a Pink Floyd feel here, until Buchanan comes in after 2 minutes, and belts it out. I gotta wonder if David Gilmour ever heard this guy much!? There’s another keyboard segue 2-thirds through, then the guitar comes in heavier and faster. The bass and drums suit this so well; nothing too over the top, just a steady groove.
This was Roy Buchanan’s last album of the ’70s, released in April of ’78, and like most of his albums in that decade, didn’t break the Billboard Top 100. After 1980’s My Babe [released on smaller labels in North America], Buchanan would take 5 years before his signing with Alligator Records for another 3 albums, before his passing. If you’re not familiar with Roy Buchanan, I’d recommend You’re Not Alone, great blues-rock.
Jason Kane & The Jive is a power trio from San Antonio, Texas, consisting of Jason Kane [guitar/keyboards/vocals], Nick Jive [bass], and Jules Flores [drums]. Soggy Noggin is the band’s third independantly released album, from earlier this year. I’ll admit – I don’t check out a lot of newer bands, and mainly newer acts I check out have some connection to the ’70s [be it personnel or covers], so I stumbled upon these guys while checking out the internet for Lucifer’s Friend covers. And lo and behold Soggy Noggin came up, as the band does an awesome version of it here.
But that is just one highlight here, as this album is full of heavy blues, funk, soul, classic rock. A very live and big heavy sound on this disc, with a wide range songs. very ’70s influenced, this album’s not stuck in the past or forced, with these guys coming off as the real deal of a band carrying on the feel from the likes of Grand Funk, Rare Earth, James Gang, Trapeze …. Kane even sporting that mid ’70s Neil Peart mustache! Lots of funk and groove, and great songs such as “Smooth Operator” – with added organ, backing vocals, and saxaphone [courtesy of Steven Perez], and Kane’s vocal [reminiscent a bit between Glenn Hughes & Peter Hoorelbeke] make me think this track would’ve fit nicely on an early Rare Earth album!
Twelve tracks here, including a re-record of “Bossman”, from their previous album, as well as opening heavy funk rock of “Machine Of Dreams”, “Long Time Comin” [a bit slower paced throughout, but heavy, with a bit of 70s Rush sound, IMO], and the bluesy “Rising Smoke” [the intro here reminding me of Zeppelin’s “No Quarter”]. Jason & The Jive has a pile of great clips on youtube, including a few non-album cuts, like their killer version of Rod Stewart’s “Do Ya Think I’m Sexy?”.
Soggy Noggin is a great production for a 3 piece [credit to producer/mixer Spencer Ramzel], and I’d be curious how they pull off some of the stuff that has added keys or saxaphone. “Burning Ships” [again] is a cool version, with Kane doing a good take on John Lawton’s original vocal; added acoustic guitar from Jim Martinelli [Burnt Offering].
This is a solid album, and I’m looking forward to diving in to the band’s previous 2 albums, as well as their next one [which must be in the works]. Would dig having this on vinyl [anyone?]
Best known as the guitarist in German band Lucifer’s Friend, Peter Hesslein has also had a long career dating back to the ’60s with such bands as The Giants, and The German Bonds, as well as spending years as part of The James Last Orchestra, and plenty of short lived projects [see Electric Food, The Fantastic Pikes, Pink Mice]. His career has touched on numerous styles and sounds, which is why perhaps one shouldn’t be expecting an album of big rock riffs [ala “Ride The Sky”] or even heavy progressive rock. Night Drive is a bit more laid back, with plenty of styles, but not much in the way of ‘hard rock’; heck – not really a rock album [see Peter’s description below]. There is lots of varied guitar performances and musical approaches and sounds via keyboards, creating a lot of atmosphere here. It’s a nice mix of 15 instrumental tracks, with a good flow to many sweet melodies on pieces like “Slow Down A Bit”, “Blinded By The Lights” and “A Beautiful Night”. There’s also a few funkier tunes in “Time For Coffee”, while the upbeat “Close To Midnight” and closing ballad “Falling Asleep” are 2 favorites here . Night Drive is a disc to put on to just chill out to, not to rock out to, and that’s fine by me. [And no, this is not elevator music, plenty of changes in pace from track to track, and great guitar playing throughout].
Photos courtesy of Richard Wagner
The guitarist / songwriter, who had shoulder surgery last year, is taking this time during the global pandemic, at home, working on future projects – “My family and me doing well, we live outside of Hamburg in the countryside. At the moment I have no contact with other musicians. Covid 19 doesn´t make it possible. So I sit alone in the studio and do everything I can do myself.”
Regarding a follow up to Night Drive and the next Lucifer’s Friend album- “I am nearly ready with the recordings of another “Night Drive” album…… The new LF album is complete ready, except John Lawton’s vocal tracks. He told me, he doesn´t want to go in to the studio in these times .He will wait till it’s nearly over with Covid 19. So I used the time and made my solo album. I hope all LF fans will like it. It´s different to LF. It is a bag of R´n B, HipHop, Jazz and Rock (Music to relax, ‘specially when you are driving at night).” [ed – In addition the studio John Lawton normally records closed during this past year]. On his son Simon’s involvement – “Simon did the artwork and producing . The lines on the backlines are a mix of light lines and guitar strings. … Simon is also the producer of “Black Moon, and the upcoming LF album…. After this all I’d like to do a solo album with John. But first he has to do the LF album, which is in this year the 50th anniversary album. But I think in this case, it will come out next year.”
Hesslein also adds that he has a Lucifer’s Friend live recording from Japan that he may work on. That will be further exciting news for LF fans!
For now tho’, check out Peter’s Night Drive; a nice addition to the man’s vast and varied catalogue. Peter Hesslein – Topic – YouTube
There are 2 ‘new’ releases, and 1 reissue to add to the previous pile of BOC live albums for 2020…. Live At Rock Of Ages Festival 2016 [for December], A Long Day’s Night [from 2002], and a Record Store Day release of Live ’83 [go straight to EBay or Discogs to find this one now]. BOC has made up for years of no new releases in 2020, and frankly doing what I wish a few other classic bands would be doing at this stage of their career by giving fans archived live recordings, and a great new studio album! And it’s a major bonus that former [and founding] members [Joe & Albert Bouchard] also have great new solo albums very recently issued! An expensive year to be a BOC fan, but a fun one!
Blue Öyster Cult and Frontiers Music Srl continue their release of archival treasures from the band’s vault with the December 4, 2020 release of “Live At Rock Of Ages Festival 2016” on CD/DVD, Blu-ray, and 2xLP.
BÖC played, as they always do, an inspired set on the second day of the Rock of Ages Festival 2016 in Seebronn, Germany. One of the band’s few appearances on German soil in the past few years, the set is now available for fans to enjoy, both with their ears and eyes, in the comfort of their own home.
The band ripped through an extremely solid and memorable performance that kicks off with “This Ain’t The Summer Of Love” and closes with their evergreen hit, “(Don’t Fear) The Reaper”. In between, the band delivers with hot takes on gems like “Burnin’ For You,” “Golden Age Of Leather,” “Then Came The Last Days Of May,” and “Godzilla”.
Another unmissable gem from the band’s vault of excellent archival shows.
Tracklist: This Ain’t The Summer Of Love Golden Age Of Leather Burnin’ For You Od’d On Life Itself Harvest Moon Me 262 Buck’s Boogie Lips In The Hills Then Came The Last Days Of May Godzilla (Don’t Fear) The Reaper
[from http://www.blueoystercult.com] – Recorded live on June 21, 2002 at the Navy Pier / Skyline Stage in Chicago, Blue Öyster Cult’s “A Long Day’s Night” celebrates, at the time, 30+ years of incredible music from the band. This release truly highlights the band’s phenomenal career up until that point in time.
Originally released in 2002 on CD and DVD, “A Long Day’s Night” is now being reissued on CD/DVD, Blu-ray, and Vinyl. The audio appearing on all formats has been completely restored and remastered to achieve a stunning new listening experience. The set will be available from Frontiers Music Srl outside of North and South America.
Tracklist: Stairway To The Stars Burnin’ For You O.D.’d On Life Itself Dance On Stilts Buck’s Boogie Mistress of the Salmon Salt (Quicklime Girl) Harvest Moon Astronomy Cities On Flame With Rock ‘N’ Roll Perfect Water Lips In The Hills Godzilla (Don’t Fear) The Reaper
Line Up: Eric Bloom, Buck Dharma, Allen Lanier, Danny Miranda, Bobby Rondinelli.
Real Gone Music released, for the first time ever in any physical format, the band’s complete July 24, 1983 concert at Perkins Palace in Pasadena, CA. Originally recorded for radio broadcast, this was long regarded as one of the best-sounding BÖC bootlegs, and now it is finally out on authorized physical form, complete with liner notes and rare photos. Gatefold, 2 x LP edition pressed on blue with black swirl vinyl limited to 1500 copies worldwide.
Tracklist:
Stairway to the Stars Harvester of Eyes Workshop of the Telescopes Before the Kiss, A Red Cap Born to Rock Hot Rails to Hell Screaming Dizbusters Cities on Flame with Rock and Roll Burnin’ for You Joan Crawford Born to Be Wild Don’t Fear the Reaper Roadhouse Blues
Line up: Eric Bloom, Buck Dharma, Allen Lanier, Joe Bouchard, Rick Downey .
*Also, check out my recent interview with album artist Stan W. Decker!
Equator was released in the spring of 1985 on Portrait [CBS], from Uriah Heep; it would be the third and final album to feature the keyboards of John Sinclair, the first to include the return of Trevor Bolder on bass [RIP]. and the distinctive vocals of Peter Goalby. The latter frontman had come from Trapeze, another band where he was working as a replacement singer/guitarist, with huge shoes to fill. Equator‘s release was less well received than the band’s previous 2, and over time it’s become the album of choice for Heep fans to dump on as the band’s worst [or close to]. I can’t argue that Equator was one of the band’s best [tho someone else might], but it certainly has some fine moments and excellent songs, that, under different circumstances might’ve been more appreciated than some think.
First, and very important is that unlike it’s 2 predecessors – producer Ashley Howe was not involved with this album; Howe played a major part in the band’s new ’80s sound previously, and influenced the band to to record a number of outside tracks on the previous 2 albums. Second – Equator featured no outside penned tracks; it was all band written material – something that Heep hadn’t done since Conquest [1980] or again until Different World [1991]. For me, where some outside tracks seemed to help Abominog, it is the outside tracks on Head First that let the album down.
But let’s start from the beginning – the album cover. It’s OK, not one of my favorite Heep covers, I like the band logo, but not keen on the big red ball. It was done by Bill Smith, who’s done hundreds of cover designs, notably The Who, Genesis, The Jam, The Cure, and Marillion.
As I said previously, Ashley Howe who helped to re-establish the band with Abominog, was out, and CBS brought in Tony Platt to produce. Platt had an amazing list of credits by that time, as one who’s mixed albums, engineered, and produced – AC/DC, Billy Squier, Iron Maiden, Gary Moore, Mott The Hoople, Foreigner…. I have to wonder if CBS didn’t bring him for his work with Mutt Lange on such huge albums by Foreigner and AC/DC!? Regardless, the new Heep was going for a more busy techno ’80s sound, sorta in that realm of Def Leppard – post Pyromania thing [and sorry, but I think Leppard after the 3rd album was total shite!]. But really, aside from a few questionable cuts, I think Equator had some good stuff on it; it was far from the classic early ’70s Heep, but good for the time in the mid ’80s when every band – be they metal or prog – trying something different for radio or video play, and making use of new technology of the day.
“Rockarama” was the first single [and album opener], it’s a punchy party pop-rocker aimed at the MTV audience of the time [a few songs seem to follow this MTV-party theme]. Probably one of the band’s most despised tracks by die-hards, but really, it’s not that bad as single on it’s own, though it’s a bit cluttered, and what is a ‘rockarama’ [?]; I thought it was a made up word by Heep, but Nope – there was another band [Highway Chile] who also had a song [and album] called “Rockarama”, out in ’85! I have warmed to it a bit over the years; though it is among the 3 questionables on this album . Another dodgy one being side 2 opener “Party Time” – musically not so bad, but the title and chorus kill it for me, and the over the top gang vocals, uhgg; the 3rd one being “Skool’s Burnin'”, and again it’s not so much the tune, it’s the lyrics & chorus, and the excess backing vocals. But beyond those 3 tracks, it’s not all too bad here. Tracks like “Angel” and “Holding On” are not bad pop-rockers, tho’ a bit generic lyrically, and and not overly memorable for it. “Heartache City” and “Night of The Wolf” are both LP side closers, and both are solid late night driving tunes. The former could use less of the chorus repeats, but the latter has some great organ, a great vibe, cool spooky rocker. “Night of The Wolf”, along with “Bad Blood” [a kick-ass heavy rocker here] sit not too far from the likes of “Too Scared To Run” – as favorite rockers from the Goalby era, for me, The album has 2 ballads, “Lost One Love”, another good song, that might’ve made for a nice single in the ’80s. The album’s finest track tho’ has to be “Poor Little Rich Girl”, which starts out on acoustic and builds up to the chorus, and features a heavy symphonic break, with a big solo from Mick Box.
The band would tour this album for a long time. There was complaints at the time about CBS’ lack of effort in getting it in to shops, as the band would turn up in places where the album couldn’t be found in local shops. It would chart low in the UK, [only], and despite a video for “Rockarama” , neither single would chart. Goalby left at the end of the tour, and the band carried on in late summer of ’86 with American singer Steff Fontaine, still playing Equator songs [which they would until a new studio album was recorded in ’89]. Fontaine would cite the ’80s era of Heep, [in particular Equator] as his favorite material from the band. He would later turn up in a band called ‘Heartache City‘. Sadly, Goalby would not stick around the music business too much longer, but he would write a few songs for others, notably “Blood Red Roses” for Heep’s Raging Silence album! A damn shame because the guy had a great voice, and whether you liked the more commercial ’80s version of Heep or not – Goalby played a huge role is resurrecting the band, and bringing in material to give the band new life.
Equator may not be on many old Heep fans ‘top 10’ list, but it is not their worst IMO, and one that deserves another listen. There’s some forgotten gems on there, and if you are ok with the ’80s production, this album is pretty good. Get the 25th anniversary CD version [on Lemon Recordings], as it includes extended liner notes, and more so – bonus tracks of the single edits for “Rockarama” and “Poor Little Rich Girl”, a live version of “Gypsy”, and the excellent B-side [non LP] “BackStage Girl”.
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.
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Outsider Rock 