Following the massive success of 1984’s Signs Of Life, Billy’s next album was Enough Is Enough. I was a huge fan of Billy’s albums, but Enough Is Enough was a bit of a let down at the time (even worse now). It seemed to be a step back after the controversial video for “Rock Me Tonight” (which despite so, was his highest charting single). Enough Is Enough featured a darker, simpler cover, less ‘artistic’, as the Andy Warhol Emotions In Motion cover or the colorful Signs Of Life cover. And although SOL was a bit more keyboard/pop driven (w/ Jim Steinman co-producing), it still featured plenty of great songs and hit singles. Enough Is Enough, produced by Peter Collins was marred in ’80s pop production, stripping back much of the guitar hook driven pop-rock Squier was known for. But Squier, as well as the label weren’t blameless is the album being a flop – frankly, there just wasn’t as strong material through EIE. A bit of filler (at least), and not to mention the Freddie Mercury vocal intro to “Love Is The Hero” being left off the album (finally being included on 1996’s Reach For The Sky compilation). I didn’t like much of anything Queen did in the 80s, but they were still a huge international band who made hit singles, and surely having Freddie Mercury’s voice and name attached to (perhaps the album’s strongest track) could’ve helped the album’s sales!? Regardless, between the creepy video for “Rock Me Tonite”, and a bit of a lackluster follow-up album, my interest in Squier was less enthusiastic, and although I would still get his next few albums, I was never in a rush. But in retrospect, it is his 1989 album Hear & Now that would’ve made for a far better ‘next’ album to Signs Of Life.
First improvement is the cover – a black & white shot of Squier, but with a bit of color added for the bigger titles, making it stand out a lot more.
Co-produced by Godfrey Diamond & Squier, Hear & Now included longtime keyboard player Alan St John, as well as bass player Mark Clarke – who’d played on Don’t Say No (ex Uriah Heep, Colosseum, Tempest, Mountain…), drummers Anton Fig (Kiss, Frehley’s Comet), and longtime drummer Bobby Chouinard, longtime guitarist Jeff Golub, and in-demand guitarist John McCurry (who’s lengthy list of credits include Cher, John Waite, Julian Lennon, Alice Cooper). This album really went back to Squier’s Don’t Say No sound – with more focus on guitars, a harder edge, and great catchy songs. “Don’t Say You Love Me” was an excellent single, got a lot of radio air-play, and would be the last Billy Squier single to hit the top 100. This album really has no duff tracks, with classic Squier rock tunes like “Stronger”, “Tied Up” (a radio hit), “G.O.D”., “The Work Song”,… Favorite tunes have to be side 2 opener “(I Put A) Spell On You” – this one sounds like it would’ve fit perfectly on Don’t Say No, and would’ve been an outstanding choice for a single here.
Other favorite track is 2nd single “Don’t Let Me Down”, somewhat of a ballad, great chorus, love the use of mandolin on this song as well; this one should’ve been a big hit. Solid production on this album, which also features plenty of backing singers, saxophone, horns .. all the while making this album more rockin’ and memorable.
Although I really enjoyed Signs Of Life, Hear & Now is just as good, and possibly the best album Squier did since Don’t Say No. Godrey Diamond (best known for his work with Lou Reed), would go on to produce the follow-up album – 1991’s Creature Of Habit. Despite 2 decent follow up albums Hear & Now wouldn’t turn Squier’s fortunes around at the time, but for me (and many fans) it is an underrated classic in Squier’s catalogue that should’ve done better.
I hope to write more on Billy Squier’s albums in the future; a great catalogue of work dating back to the mid 70s with New York band Piper. Rock Candy magazine (UK) recently did a major feature on Squier’s career, well worth checking out. A shame Billy Squier retired from the music industry and that he’s no longer making music, the guy wrote great memorable tunes throughout the ’80s & into the ’90s, and put together a superb list of hit singles and a number of classic albums. It would also be most welcomed if someone would reissue Squier’s catalogue – in full, along with anything else (live recordings, outtakes..) – because aside from a few, most of his CDs are either hard to find online – or at a sane price.
Another song title widely used in rock n roll. I’m sure there’s more by the title of “All Night Long”, but these are 8 classics, all very different, cool tracks. Drop me a note, let us know of any others I missed!
Blue Cheer
Many have cited US band Blue Cheer as The first ‘heavy metal’ band, with their sound following their version of “Summertime Blues”. The band released 6 albums between 1968 and ’71, but there song with this title of “All Night Long” was only issued as a single in 1969 [along with another non-LP track “Fortune”]. It’s an uptempo rocker featuring piano, a brief organ break, and heavy guitars; penned by keyboard player Ralph Kellogg. A lot of energy packed into 2 minutes! It would later first be included as a bonus track to the 1994 CD reissue of New! Improved! Blue Cheer.
Brownsville Station released 7 albums during the ’70s, as well as a number of singles. They may be best remembered for their hit “Smokin’ In The Boys Room” [later a hit for Motley Crue], but they did record a number of classic rock party tunes and anthems, including this one from 1973’s Yeah! album. Featuring the classic line-up of Cub Koda, Mike Lutz, and Henry ‘H Bomb’ Weck’. “All Night Long” was co-written by Koda & Lutz, and along with “Smokin’ ….” were the only 2 originals on the album. It was used as a B-side to the album’s 2nd single in a few countries, and would’ve made a better A-side.
Brownsville Station hailed from Ann Arbour, Michigan and were managed by Al Nalli, who also handled Blackfoot. Lutz would go on to be a producer, notably Ted Nugent, whom he also toured with in the 90s [saw him in Fort Erie, Ontario, years ago], Weck also went on to engineer and produce albums, including co-producing a few Blackfoot albums. In 2012 Lutz & Weck resurrected Brownsville Station with the album Still Smokin’. Kub Coda released a number of solo albums, wrote liner notes for CD releases and a column in Goldmine, and had his own radio show before passing away in 2000.
Scorpions
One of the first Scorpions albums I got was Tokyo Tapes, the classic double live set from 1978. My uncle gave me this at the time, and I was unfamiliar with their ’70s output, only familiar with their ’80s hard-rock albums. In my opinion Tokyo Tapes capped off the band’s best era. Interestingly, All Night Long only appears as an opener to Tokyo Tapes. It’s an kick-ass fast paced rocker, highlighted by the guitar performance & sound of Uli Roth; co-penned by Roth and singer Klaus Meine. Maybe not in my top few Scorps favorite tracks, but definitely a killer intro and gem from a under-appreciated era for the band. The band went on to huge success in the ’80s, but their most creative and heaviest stuff was songs like this and their ’70s releases.
Rainbow
From the lone Rainbow album Down To Earth, to feature the amazing vocals of Graham Bonnet! Probably my favorite Rainbow album, despite the more commercial approach on this song and album, it was still heavy, and accessible to hard rockers and even pop fans, with the hit single cover of Russ Ballard’s “Since You’ve Been Gone”. This All Night Long, also an album opener, penned by Ritchie Blackmore & Roger Glover [who also produced the album]. Such a great song and performance, memorable chorus, and a strong album. This 1979 line-up also included Don Airey, and Cozy Powell [RIP]. A shame Bonnet never did another, as I think this album is more consistent than the Dio era albums, and simply heavier & better than the Joe Lynn Turner albums that came after.
From the 1980 soundtrack to the movie Urban Cowboy, and a single release. Another party anthem tune, I really liked. Lyrically it’s about working hard all day and stay up partying all night [long], pretty simple, but I dig Walsh’s guitar intro and hooks throughout this, as well as his solo. A top 20 hit at the time; it also was included as part of The Eagles live set and appeared on the Eagles Live album.
Aldo Nova
From Canadian Aldo Nova’s 2nd album Subject, released in ’83. An decent pop rocker, great guitar sound. A tune about wanting to be with someone for endless hours. Aldo’s first 2 albums were fantastic – great songs, production, guitar, keyboards, vocals- and he did most of it himself! Aldo went on for years to write and record for other people, but returned with Aldo Nova 2.0 in 2018.
Billy Squier
I loved my Billy Squier albums back in the 80s; I picked up each one as they came out. This was from his fourth album Signs Of Life, from ’84. A bit more pop sounding on this album, but still a number of great catchy pop-rockers, including his big hit [and disastrous video] “Rock Me Tonite”. Squier’s All Night Long kicks off the album with a great faded in intro, great vocals, harmonies, guitar break…. It was 1 of 4 singles from the album, co-produced by Squier and Jim Steinman, recorded & mixed by Tony Platt.
California rockers Buckcherry released this track as the title song to their 2010 album. A fast paced rocker about just getting out and having a good time. Lots of cool guitar playing, solid hard-rock.
Lee Kerslake was the drummer and important member in the success of the bands Uriah Heep, and Ozzy Osbourne’s Blizzard of Ozz . He would also write and contribute backing vocals & melodies to a number of huge classic albums. His passed on Saturday having lived beyond the short period doctors had given him in 2018 when diagnosed with cancer. The man was determined to make the most of his last few years – including a documentary on his life & career, a solo album [both yet to be released], and generally trying to stay positive and productive, despite knowing the end was near.
As a pre-teen when I first heard the 2 Blizzard Of Ozz albums, and owning them soon after, I loved them – played them repeatedly, and still take them out regularly. Back then I was a fan of these albums [and followed Ozzy during the 80s], I hadn’t yet discovered Uriah Heep, but I knew Lee Kerslake’s name – it was on 2 of my favorite albums! I didn’t discover Heep for a few years, or understand why Lee [and Bob] were no longer in Ozzy’s band, aside from one mention in an interview where Ozzy claimed Lee went back to rejoin Heep. Discovering Lee’s work with Heep and all his related recordings was a game changer for me.
From Bournemouth, England, Lee’s first break came when he became the drummer for London based The Gods, a band perhaps better known for the bandmembers that passed through it than the 2 albums, and numerous singles they’d released in the latter half of the 60s. At the time of recording the band also consisted of Ken Hensley, Joe Konas, John Glascock, with former members including Paul Newton, Mick Taylor, Brian Glascock, and Greg Lake. Lee played, wrote, and sang back-up on both of the band’s albums – 1968’s Genesis and 1969’s To Samuel A Son. From the first album [the better of the pair, IMO] he co-wrote 3 songs with guitarist / singer Joe Konas – “Misleading Colors”, “You’re My Life” and “Time And Eternity” – with the first one being one of the heavier songs the band did. On the band’s second album, Lee wrote 2 tracks – “Lovely Anita” and “Eight O’Clock In The Morning”, the latter being a favorite, and reminds me of Heep’s “Circle Of Hands”. The Gods joined Cliff Bennett and became Toe Fat, with Lee playing on the first Toe Fat album, as well as joining Ken Hensley for the recording of Head Machine’s Orgasm LP. He then joined The Business, who became National Head Band, and issued their lone LP Albert 1 in 1971. This also included keyboard player Jan Schelhaas [pre Caravan, Camel], guitarist Neil Ford, and bass player Dave Paull [who would later join Lee on Ken Hensley’s first solo album]. The album would be a fine blend of pop, folk & country rock, progressive… but it didn’t go anywhere and the band split up, with Lee joining Uriah Heep in late ’71. Lee joined Uriah Heep for the band’s most successful album – Demons And Wizards. The album was the band’s 4th, and it would be the one that featured such radio hits and classics – “Easy Livin” and “The Wizard”. Lee’s would jump right in co-writing on 3 tracks. The album’s success is often put down to the new line-up with Kerslake, Hensley, David Byron, Mick Box, and then-new bass player Gary Thain all jelling so well. This would become what is known as the “classic” line up of Heep for the next few years, and include the albums The Magician’s Birthday, Live January 1973, Sweet Freedom, and Wonderworld. The epic title track to The Magician’s Birthday, would feature a lengthy guitar & drum section, perhaps Lee’s most famous contribution to Heep’s legacy as a co-writer and for his performance. Following the departure [and passing] of Gary Thain following Wonderworld, it was Lee who would help bring in bassist John Wetton for the next few albums, as a friend from the same region in England. The band would see further changes, with a another bass player [Trevor Bolder] and new frontman [John Lawton], within a couple of years. Lee would continue to write and shine on the band’s albums in the latter half of the 70s, contributing the songs “Who Needs Me”, from Firefly [which featured in the band’s live set during the era] and “Come Back To Me”, a ballad and single from Fallen Angel. Lee had also played on the debut solo albums by Hensley and Byron. Lee left the band prior to the next album being completed. He went on to start his own project , and worked on material with Pete Cox [pre Go West]. But before long he was contacted to audition for Ozzy Osbourne’s new band, or as Lee would say “I auditioned them.” He was an instant hit with bassist Bob Daisley and guitarist Randy Rhoads, and joined what was known as Blizzard Of Ozz. The band recorded 2 albums, and 2 albums that are sacred to most Osbourne fans, with such classics as “I Don’t Know”, “Crazy Train”, “Mr. Crowley”, Flying High Again”, “Believer”… with the heavy performances of Lee & Bob, and the spectacular new guitar sound and skills of a young Randy Rhoads – Blizzard Of Ozz could’ve been one of the greatest bands of all time, but after the 2 second album Diary Of A Madman, Lee & Bob were left off the album photo and out of the band before Ozzy went to tour North America with their replacements. Lee also co-wrote on most of Diary, but it also his performances on these albums, and in particular his intros to “Over The Mountain” & “Little Dolls”, as well as the tracks “I Dont Know”, “Steal Away [The Night]”, and the title track to Diary of A Madman that made Lee Kerslake such a crucial part of the band and a legend to many new fans of these albums for decades to come. On the last few Uriah Heep albums Lee had been on were been less of the ‘eavy, but with these 2 Blizzard albums Lee was playing like he hadn’t played in years, with new and exciting energy. Upon being let go from Blizzard Of Ozz, Lee was key in helping Mick Box reassemble Uriah Heep, by bringing with him Bob Daisley, and having been friends with John Sinclair [keyboard player] to help bring him in to the band. The ’80s Heep was off and running, [along with singer Peter Goalby], and released a trio of albums, most notably 1982’s Abominog. The new Heep sound was up to date, more Americanized hard-rock, with heavy guitar, various keyboards, harmonies; Heep was more like Foreigner – but heavier, and I think some of this new sound had to do with the energy that Lee [and Bob] brought with them from their previous recordings with Ozzy. After more changes in ’86 & ’87, Heep would be stable for the next few decades. Although, there was less albums, Lee was still a big part of the band’s sound and shone on 1995’s Sea Of Light, and 1998’s Sonic Origami. The latter would be Lee’s last studio album with the band [though a number of live albums & DVDs followed]. He was forced to retire in 2007 due to health issues, mainly arthritis. There was the short-lived supergroup Living Loud in the early 2000’s, who Lee – along with Bob Daisley, Steve Morse, Don Airey, and Jimmy Barnes recorded an album that featured half originals and 6 remakes of tracks from the Blizzard Of Ozz albums. In 2014 Lee Kerslake returned again for a one-off album with guitarist/singer Stefan Berggren. Their album The Sun Has Gone Hazy, was an excellent return for Lee as a performer & songwriter. This was a solid release of classic rock that would appeal to any fan of Lee or Heep. It would prove to be Lee’s final album to promote [though a solo album has been recorded titled Eleventeen] , and I was happy to interview him during this period. I thought it was a great album with songs like “Walk Tall”, the Heep resembling “Super Sonic Dream”, and “As Time Goes By”. Upon being diagnosed with cancer, Lee’s final years would include being inducted in to the Heavy Metal Hall Of Fame, as well as finally receiving his Platinum LP Awards for his 2 albums recorded with Blizzard of Ozz [via the Osbournes]. He also kept in contact via social media with his fans. And despite all the legal issues with the Osbournes over the years , he was quick to forgive and forget in the press and thankful for his awards. A man who was happy for being recognized for his achievements, his fans, and proud of his career. Will be missed, but left behind an amazing legacy of music to check out and enjoy.
A LOOK AT LEE’S CAREER IN SONGS
Here’s 20I classic tracks that Lee wrote (or co-wrote) and/or performed on:
Joe Bouchard’s newest album is “Strange Legends”. You can check out my review elsewhere on Outsiderrock, as well as order it at Joe’s site, and check out tracks on Joe’s youtube page. Strange Legends has gotten great reviews, Joe has done tons of press for it [check out numerous interviews on youtube], and a few songs are still in the charts in Holland! Here, Joe answers my questions pertaining to his great new album, dealing with pandemic, and his former band Blue Oyster Cult’s recent releases.
First – how are you surviving the pandemic? Doing more writing or recording projects without the live shows? [Any other recordings on the go?]
I’ve been okay with the pandemic. It has it’s low days. I miss playing live shows and crowds singing along with the songs. I do like the extra time to practice my guitar and I can write music, edit videos, and think of concepts for new projects. I was pretty freaked out back in March and April. I was thinking that panic would set into the food delivery chain. I started hoarding food. Got food poisoning three times! That will make you think you got the bad virus. I was stressed and not sleeping well, so I decided to stop drinking coffee. I went cold turkey and I got sick as a dog. The caffeine withdrawal was more intense than the food poisoning! It just about killed me, but now I sleep better at night. My health is better and I’m excited about the reaction to the new solo album. Things are great now.
Most noticeable upon hearing this CD is the production and the use of a live drummer – Mickey Curry. Did having a drummer change anything about your approach and how was it working with MC? [He has a huge list of legendary credits!]
I started with some good solid songs, the demos were hot, and I had a great feeling about where the album was going. Adding live drums in a pro studio only made the songs better. It was a the right choice to bring Mickey in to replace my machine drums. He has a great feel that serves the songs. It made all the aspects of the production easier to iron out. Mixing was particularly easy for this one.
You re-worked “Forget About Love” for this album, why that particular song?
John Cook told me many times that I should push that song because it had strong appeal and good repeat views on the internet. He said the song could be a real lively crowd pleaser in a show. He was right and the new version of the song is a winner. It made it to #10 on the charts in Holland!
Including Forget About Love, there are 4 songs written by the late John Elwood Cook. How many of his songs do you still have that he passed on to you? Is there any others left after this album?
John was amazingly prolific. He wrote hundreds of songs. The best I heard live when he’d play them on his front porch over a six-pack of beer. I don’t have the whole archive, but I hope to find more hidden gems down the line.
“Strangely In Love” is such a standout; one of my favorite ballads. Can you tell me a bit about the production of this track?
John gave me Strangely in Love on a CD-R he put together for me about 6 years ago. After he passed away I stumbled on it and was immediately taken with the depth of emotion. I wanted to keep the production of the song fairly simple, mostly acoustic guitar, and brief solo and the tag out. It was easy to record and mix. I did sing the vocal several times and kept working on certain lines to get them right. Glad you like it!
I really like the more rockin energy on this CD. Was there a deliberate effort to make it a more hard rocking album?
Yes, energetic songs were high on my to-do list. It’s so easy for an album production to get bogged down with little details and side trips. I deliberately kept the songs short and snappy. I wanted to cut an album that resembled a classic album from the 70s. I think this album is a good one to lift people’s spirits even if we’re mostly stuck at home.
You have 2 more tracks with John Shirley here – who you’d co-written with on the latest Blue Coupe album. When talking about that album you’d said you’d written a number of songs with John at the time, and had submitted a few to Buck Dharma for the forthcoming BOC album. Are “She’s A Legend” and “Bottom To The Bottomless” 2 from that batch and/or the ones you sent to Buck?
Yes, I sent those two songs to Buck. They decided to pass since they wanted to incorporate more of the current band into their project. I didn’t hear much from them about the songs except Don liked the bridge to Bottom of the Bottomless. Yes, I think it’s pretty cool too. That okay by me. Their loss is my gain. They have a new album out soon called “The Symbol Remains”. I’ve only heard a few of their new songs. They sound very good. For them to put out a new album now, after two decades of nothing new, will only help my album, and Albert’s album when it comes out in November. I think Eric’s vocal on the first single called That Was Me is a standout.
You covered The Kinks “All Day And All Of The Night” – was this something you’d wanted to do for some time? What was special about it?
I’ve always loved the Kinks. I played their songs, including “All Day…” back in my high school band. I didn’t think about it for too long. The Kinks were supposed to reunite and have a tour this summer, but it was canceled. So doing All Day and All of the Night was a last minute addition to the song list. I do like the acoustic intro which deviates from the original. All in all, it was fun to record!
Any anecdotes on a few of tracks, any you’re particularly happy with? [I really like Racing Thru The Desert, as well as Winter, She’s A Legend, Once Upon A Time At The Border]
Racin’ Thru the Desert came out very well. It was mostly a jam I was doing at home. I like having at least one instrumental track on each of my solo albums. It gives me a break from singing and it is a nod to my early days of playing Ventures songs in a rock band. It’s also a homage to the late Dick Dale the king of the surf guitar. Dick Dale also played trumpet which I didn’t know until recently. He would play lead guitar and trumpet in his early shows. I have been obsessed with brass instruments lately. I bought a cornet, trumpet, piccolo trumpet and flugelhorn. They are fun but very demanding to play correctly. I practice more now than I ever did before.
Winter is deeply emotional and is a fitting finale for the album. It is a song with lots of space, like the winter sky in Canada! I love doing melodic guitar solos and that is a good one.
She’s a Legend has a killer chorus. I love the way the harmonies soar and lift. Good guitar solo in that one too.
Once Upon a Time at the Border was the hardest song to record. The lyric relates to my summers long ago playing in clubs on the St. Lawrence River. I had a few girlfriends in those days, and that song relates to those emotional times.
One other thing that I like more with this album is the artwork by Logan Cummings. Was this particular piece drawn specifically for this album?
Logan is a young artist I met when he was doing an art camp with my girlfriend when he was 10 years old! He had a unique talent back then. He just graduated from high school this year. I saw some of his drawings on Instagram, and said that style might be something unique for my CD cover. I met with Logan and we decided that he would not only do the cover but also thumbnails for all of the tracks on the album. I feel his art makes my album stand out very well amongst all the new releases. He’s studying art in college and I feel he is going to have a great future.
Having said that…. there is no vinyl LP option for Strange Legends. Does this mainly come down to cost and/or might there be a limited run in the future?
I’d love to do vinyl for this album. We have sold out the first pressing of the CDs and we are getting ready for a repressing. That’s a good sign so vinyl may happen. I know it will sound great on vinyl. It’s just a matter of crunching the numbers to make it happen.
There is a lot of releases from Blue Oyster Cult this year – live albums, reissues, new album… and the band’s 50th anniversary coming up. Might there be anything you’ll be involved in – either a live release or any new songs, box sets, etc… ?
It’s great that Blue Öyster Cult is releasing new material and reissues, DVDs and more. I haven’t heard of anything that involves me, but ya never know. They have my numbers and email.
You’ve mentioned Albert’s upcoming project “Re-Imaginos”. Are you involved in this at all? Any dates or details you’re able to share?
Albert’s Re-Imaginos is fantastic. All the songs sound great. It will give the Blue Öyster Cult fans something deep to listen to. I play trumpet solos on two of the songs. One is the first single called Black Telescope that will be released in October. It was fun recording the trumpet parts. Albert said he wanted something like Love’s Forever Changes album, and I was glad to make it work.
There are plenty of classic rock songs that share titles. One of those titles is “Gypsy” – a title used by 3 of the biggest heavy bands of the 70s. Songs about Gypsies tend to make for some interesting tales, and there’s loads of songs about Gypsies [be it in title or lyrics]. These tracks each tell a different Gypsy tale. Feel free to drop your 2 cents your take on some of these tales. I kept this list short and to the heaviest songs, so yes on – I am aware there are tracks titled “Gypsy” by Canadian band Abraham’s Children, The Moody Blues, and Fleetwood Mac, but they’re all pretty poppy or soft rock, so… Anyway, let me know your favorites of these [in chronological order], and if you actually know of one I’ve missed. Feel free to leave comments and subscribe to my page.
Uriah Heep Released in 1970, the first track on the debut album from British band Uriah Heep. A classic heavy pounding rocker, with fantastic organ intro, a memorable riff and wild organ solo. It’s a tale written by David Byron about a guy who is in love with a Gypsy girl, but can’t get past her father. The song would remain one of the band’s favorites and has always been a highlight of their live set over 50 years. *Also check out Iron Butterfly’s “Scion” from ’75. Uriah Heep – Gypsy (Official Audio) – YouTube
Arthur Brown’s Kingdom Come + After The Crazy World Of Arthur Brown, he formed Kingdom Come, this track is from the band’s 3rd album titled Journey, released in ’73. It’s a pretty experimental album, featuring lots of lengthy progressive / rock pieces, and less vocals., as well as a drum machine. No idea what this one is about, not a lot of words, but a very ‘futuristic’ epic, clocking in at over 9 minutes. Gypsy – YouTube
Chubby Checker From the same guy who did “The Twist”. This B-side [non-LP] single from 1973 is very different, pretty funky, an intro reminiscent of Hendrix “Fire”. Cool blues rockin’ guitar throughout this, fast and heavy bass & drums, a bit of organ, all building into one killer solo, and more for the last minute of playout. I’m curious who actually performed on this[?] Great tune – very heavy! Lyrically this Gypsy is about the one travelling from town to town, catching the trains; perhaps a bit of a stretch of tale of a travelling musician!? Kinda reminds me of Rare Earth stuff in the early ’70s, mixed with a Hendrix influence. Cypsy (Bonus) – YouTube
Deep Purple From the band’s 1974 album Stormbringer. Cheating slightly as this contains ‘The’ in front…but oh well…. Great heavy rock tune from the David Coverdale era; love the mid section with a classic Ritchie Blackmore solo, and a fine blend of Coverdale’s and Glenn Hughes’ vocals. Not totally sure on what this is all about, as The Gypsy is who is visited and asked for a favor [with her crystal ball], perhaps from the perspective of an aging or dying man looking for more time or a spell[?] Anyone? Produced by the legendary Martin Birch [RIP]. Hughes would resurrect this song on the debut Voodoo Hill album [featuring guitarist Dario Mollo] in 2000, and Coverdale would re-do it on 2015’s The Purple Album, from Whitesnake. The Gypsy – YouTube
Fresh Start + From 1974, Fresh Start featured guitarist Paul Frank, who had previously recorded with Head Over Heels [1 highly collectable album from ’71]. This album is a good bit of funk, and heavy rock. This one is about a guy wandering away from someone, perhaps a relationship, and wandering home. A great tune, only just over 3 minutes, but packed with 2 heavy guitar breaks. Co-penned by Paul Frank, singer Bill Pratt, and drummer Fred Allen. Following this album Pratt, Allen, and bass player Milo Martin would continue on [w/ others] as Fresh, and release a few more albums [albeit a bit softer, and Frank would still contributing to their songwriting. The guitarist would also turn up in Bruzer who released an album in ’82, featuring Vinny Appice on drums] Fresh Start – Gypsy – YouTube
Black Sabbath I love Technical Ecstasy – one of my favorite Sabbath albums. This is one underrated Sabbath classic, a few changes in this one and a bit of keyboards, a bit of a psychedelic feel in places, kinda progressive, and a classic Tony Iommi guitar solo. Lyrically, the writer visits the Gypsy to have his fortune told and winds up in bed with her and under her spell… I think… Would’ve made for a better global single than the non-Ozzy sung “It’s Alright.” Gypsy (2013 Remaster) – YouTube
Dio From the outstanding debut from Ronnie James Dio’s band in ’83, after he left Black Sabbath. A classic line-up with Vinny Appice, Vivian Campbell, and Jimmy Bain [RIP]. A hard edged piece of 80s metal, with Dio’s angry sounding vocals, and Campbell’s distinctive guitar sound and fast solo. Like Sabbath’s Gypsy, Dio’s seems to be about being under the spell and/or attracted & attached to a nasty Gypsy woman. Love the original Dio band albums; much of the magic was lost IMO after Campbell left. Gypsy – YouTube
Tommy Bolin’s “Teaser” [1975] was released shortly after Bolin’s one and only studio album with Deep Purple [“Come Taste The Band”] . Though his commitments to Deep Purple at the time left no chance for a solo tour to promote it, the album remains a classic piece of 70s rock, that saw Bolin as songwriter, singer & guitarist cover a number of genres. I always shake my head when I see this album in a used bin at the flea market or a used record shop, and some idiot has stuck it in the ‘heavy metal’ section!
Teaser boasts everything from funk, fusion, Latin, reggae, blues, hard-rock… and it all flows nicely. It features a number of players, most notably Jan Hammer on a few tracks, David Foster, Jeff Porcaro [Toto, RIP], Prairie Prince [Tubes, Todd Rundgren], and Stanley Sheldon [Peter Frampton]. Then-new Deep Purple bandmate Glenn Hughes also guests on the ballad “Dreamer”, singing the final verse. Dreamer is my favorite track here, though not written by Bolin [penned by former Energy bandmate Jeff Cook], beautifully interpreted and one of Bolin’s heaviest and memorable solos. The album’s title track is the song most will recognize, though not a single – it is a classic hard rock song, with a cool riff intro, and would be covered by Legs Diamond, and [more notably] Motley Crue. The Latin styled “Savannah Woman” was issued as a single, as was the album’s lead off track “The Grind” – a great rocking tune, with a cool hook, slide, and funk – a song Van Halen would perform in their early days [check it out on youtube!] . “Wild Dogs” is a favorite here; one of those storytelling songs highlighting Bolin’s soloing as well as his vocals; this one would appear on a few other releases, stretched out for more of Bolin’s guitar, and it’d be 1 of 2 tracks from this album that featured in Deep Purple’s live set for a while. One of 2 instrumental cuts, “Homeward Strut” would feature later on in DP’s live shows [in other countries]. “Marching Powder” is the other fusion instrumental, with a great riff intro, kinda fast and wild with lots of drums, saxophone, and plenty of changes. “Lotus” closes out Teaser, and it’s another that features plenty of changes from quiet beginnings to a very heavy rock tune.
Although Teaser was not a huge commercial success at the time [peaking at “96 on Billboard], it remains the favorite of Bolin’s career, with numerous reissues, a box set, plenty of retrospective reviews & discussions by fans and rock historians. There’s also a number of alternative versions of many of these tracks on various posthumous releases. Teaser is an essential 70s rock album, whether you only know Bolin’s name through his Deep Purple or James Gang connections or know the title track. It is more than simply a Hard-rock album by ‘Purple’s guitar player at the time, as numerous listens will bring something you may not have locked on to before, with all the varying styles and tunes. A follow up album – “Private Eyes” was released within a year, and fared no better commercially, and a bit less historically. It would be Tommy Bolin’s last album while he was alive. Dead at 25, but in just a 7+ year career Bolin was a major songwriter and performer on 5 band albums, writer/guitarist/singer on 2 solo albums, and guitarist on 3 other notable releases. He left a huge catalogue, and one that has grown over the years since his passing, but Teaser is THE Tommy Bolin to have – more so that anything else he did.
Formed in 1983 singer Lizzy Borden [who would take the stage name, and use it for his band name, in the same way Alice Cooper would], along with drummer Joey Scott, guitarists Gene Allan & Tony Matuzak, and on bass Steve Hochheiser. Michael Davis took over on bass soon after, and Alex Nelsen would replace Matuzak after the first album. The band would go through other changes over the years – mainly guitarists. The band signed to Metal Blade Records in 1984, after appearing on the labels “Metal Massacre IV” compilation. These compilation albums saw the start to many metal bands that went on to be huge, from Ratt,
to Metallica, Slayer, as well as Metal Church, Virgin Steel, Armored Saint…. Lizzy Borden would take on a theatrical live show featuring the axe [playing on the name of the infamous accused axe murderer in 1892], blood, and costumes. Check out the “Murderess Metal Road Show” [on video / youtube].
The band grew a strong following, but never quite broke through huge commercially; perhaps it was adding to the ‘shock rock’ scene after the likes of WASP & Motley Crue [?], or that those bands [and many other LA bands like Quiet Riot, Ratt, etc.. ] were signed to major labels [?]. Regardless the band did put out some solid metal albums, and are still active. They also took some bolds steps in the 80s with a double live album, prior to recording their 2nd full album. “The Murderess Metal Roadshow” [1989] featured 17 tracks, including a cool cover of Paul McCartney’s “Live And Let Die” [years before Guns N Roses]; they also recorded an ambitious concept album, complete with orchestra arrangements. Lizzy still has a great voice, and IMO the band’s recordings are pretty underrated. I saw the band in Toronto years ago on their “Summer of Blood” tour in 2012. The turn-out sucked, but the band [which also featured guitarists Dario Lorina and AC Alexander, at the time, as well as bass player Marten] was killer, playing an awesome set, with plenty of theatrics and blood for everyone there![I have a poster somewhere…] The latest Lizzy Borden album was in 2018, without a full band, but proved Lizzy could still come up with the songs, and still has the voice fans like. Here’s a list of Lizzy Borden’s best tracks [as chosen by me]. Let me know what you think and what I’m missing! Sorry, I didn’t pick anything from “Menace To Society” [1986] , an album that is still growing on me. I also didn’t include the project Starwood [which featured Lizzy, Joey Scott, and Marten Andersen], who released the album “If It Ain’t Broke, Break It”, in 2004.
Give ‘Em The Axe
From the band’s debut EP in 1984. This kinda played on the band’s name and set the tone for the first few albums, fast paced metal, big guitar solo, a memorable chorus.
American Metal
From the band’s first full album “Love You To Pieces” in 1985. Classic album cover photo! Lizzy, perhaps trying in that Alice Cooper style could come up with a few good anthems, and this is probably their best one. A great live song too.
Psychopath
Also from Love You To Pieces, my favorite of the ’80s LB albums. A creepy stalker / killer tale; this was one for the band’s stage show. Cool bass intro and scary guitar build up. Solid rock tune. *Was reissued on CD in 2011 w/ 4 bonus tracks, as well as differing colors of vinyl [for Europe & US] in 2018, along with poster.
Me Against The World
Lizzy’s 3rd studio album – “Visual Lies”, and there’s plenty of memorable rockers here. This one features Joe Holmes on guitar [who went on to work with Ozzy years later]. This track’s another great anthem to lead off a solid album, love the heavy drums driving this one and the lyrics. Classic 80s rocker, surprised it wasn’t a bigger hit.
Master of Disguise
The title song to 1989’s theatrical concept album. A big change on this album with orchestrations, keyboards, ballads, lots of extra players. I really like it, and love the dramatic orchestrated intro to this song and album. 25th Anniversary CD edition adds 2 tracks, and improved graphics on the cover. this needs a vinyl reissue though. This was cited as a ‘solo’ album in the press, with a changeover in guitar players [again]
Hell Is For Heroes
After 11 years Lizzy Borden returned. This was the my re-introduction to the band, and I loved this CD when I first heard it; still like cranking it up in the car. Lots of great memorable hard hitting rockers. This is probably my favorite LB song – such an awesome tune with the frantic drum intro, the clever verses, and the memorable chorus.
Deal With The Devil
Great guitars intro… love the lyrics in this song; classic Lizzy Borden. My 2nd favorite LB album, every song rocks. A few cool covers of Blue Oyster Cult and Alice Cooper classics. This album would credit 5 guitar players and 3 bass players, with Lizzy, [drummer] Joey Scott, and [bassist] Michael Davis all from the original band, as well as keyboardist [producer] Elliot Soloman – who also played on Master Of Disguise. Cover-art by famed comic artist Todd McFarlane. Sadly, guitarist Alex Nelson – who also played on “Murderess Metal Road Show” & “Menace to Society” died in a car accident in 2004. Original bass player Michael Scott Davis would go on to play with Halford, and Death Dealer. *Japanese bonus track was an industrial version of Scorpions classic “We’ll Burn The Sky”.
Live Forever
Lizzy Borden returned in 2007 , but really they released an album in 2004 under the name ‘Starwood’. This project featured Lizzy, Joey Scott, as well as Marten Anderssen and Joe Steals – who both played on Deal With The Devil. Anyway, 20i07’s “Appointment With Death” band included Andersson [ex Lynch Mob], as well as guitarist Ira Black. The album also featured guitarists Zane, as well as Dave Meniketti [Y & T] and George Lynch. So, this is Lizzy Borden at their heaviest! A modern metal album, dark, well written and produced, my favorite LB album! Difficult to cut it down to a few songs here, no filler. Love the vocals, Lizzy on later albums is more in control vocally and lyrically. This track is one of a few killer rockers.
Tomorrow Never Comes
My favorite track off of Appointment With Death. Heavy, hard hitting metal rocker, crazy video… Lizzy in their goth look, with a death theme running through this album. Love the cover!
Under Your Skin
One of the video releases for Appointment With Death. This track was a bit less ‘metal’ than most on this album, with slowed down verses and keyboards, but a great heavy chorus, cool guitar solo…. lyrically, this song is about people who self-abuse themselves [cutting] , with a public service announcement at the end of the video. Guitarist Ira Black left some time after this album, but would return for live shows years later.
My Midnight Things
Lizzy’s latest album, and without a band! It’s just Lizzy and [drummer] Joey Scott [these guys are brothers in real life]. So, had no idea – but aside from drums, Lizzy can [and does] play everything else on this album. The album isn’t as heavy or ‘metal’ as the previous 2, but it’s a solid album. A fantastic riff and intro, and a killer song to lead off this album. Lots of Lizzy’s vocals layered, haunting keyboards, awesome chorus… A different sounding LB album, well worth checking out. Great cover.
Long May They Haunt Us
This one also from My Midnight Things. The album’s theme is songs about love, but with Lizzy it’s not a bunch of sappy love songs. This one is pretty haunting production, very memorable… Written with guitarists Alex Nelson and Corey James Daum both in mind – who passed away in automobile accidents 5 years apart. Lizzy looking pretty creepy in this video.
Close …. Love You To PIeces, Ursa Minor, Lord Of The Flies, Eyes Of A Stranger, One False Move, Psychodrama, Zanzibar, The Death Of Love.
Blue Oyster Cult was [is] one of my favorite bands in my younger years, and after discovering them in the early 80s, and keeping up for years with new albums, and the odd live show, there became a big gap. There was the “Heaven Forbid” album in ’98, which I didn’t get into at the time, and I subsequently neglected to take much notice of 2001’s “Curse Of The Hidden Mirror”. And then there was nothing – for years! It was Joe Bouchard’s debut solo album in 2009 [“Jukebox In My Head”] that got me re-enthused about BOC. Jukebox was/is a fantastic album. And, from there I kept up with Joe’s recordings, and started filling in my BOC collection with CDs, and a few live releases. But 2020 looks like it is going to be THE year for Blue Oyster Cult fans! A long list of live releases, reissues, and a brand new album – ALL this year! Signing to Frontiers Music, so far there had been 3 live releases [4th one due in a week or 2], a trio of vinyl reissues [of albums not originally seen on LP], and a brand new studio album being planned for later this year as well. And if anything I’ve learned over the last several years of “limited edition” new vinyl is that If you snooze you lose! Thus, I dragged my feet for the first half of this year, and the 3LP of “Live In Cleveland 2014” and the 2 reissues are gone! But I have listened to the live releases, and pulled out my CD copy of “Heaven Forbid” [on the lookout for the vinyl].
First the live albums…. Blue Oyster Cult, for many years has been Donald Roeser [aka Buck Dharma] and Eric Bloom, and longtime members Richie Castellano [keyboards, guitar], Jules Radino [drums], and Danny Miranda [bass – who returned a few years back to replace Kasim Sulton]. Live In Cleveland 2014 came out in January, featuring 17 tracks. What I like about these releases is that the band doesn’t stick to the same dozen hits every show. This show is probably the most career-wide spanning, touching on most of the band’s albums up until 1983’s “The Revolution By Night”. Out next was the band’s 2016 – 40th Anniversary performance of “Agents of Fortune”. A solid performance, which featured Albert Bouchard guesting on a number of songs [on guitar & vocals], no Joe Bouchard, but Richie Castellano does a fine performance of Joe’s “Morning Final”. One of my favorite BOC albums; it was the band’s commercial breakthrough and huge success – due to “Don’t Fear The Reaper” being a huge hit.
“iHeart Radio Theater” came out in June; it’s from a 2012 show, featuring 11 tracks [omitting many of the earlier tracks from the Cleveland show], but the sound is fantastic on this one, got this one in the car CD player cranked up – The Vigil, Black Blade, Cities On Flame, Godzilla…. a killer show. Next up is the band’s 45th Anniversary show from 2017 [London, again], and it’s a pretty amazing show, with the band performing the debut album from 1972, entirely. Again, the performance and sound is great, and it’s cool to hear those earliest songs updated, and a reminder of just how great that album [as a whole] really was — Transmaniacon MC, Then Came The Last Days Of May, Screams [w/ Richie on vocals], … classic stuff! I hope there’s more of these releases in the future [perhaps one of the reunion shows – featuring Albert & Joe and/or Allen Lanier [RIP]. I also wish a few of my other favorite bands would take such a step to release a set of archived live shows].
Back to the reissued releases – there’s the band’s last 2 studio albums Heaven Forbid [1998] and Curse of The Hidden Mirror [2001. I actually don’t have a copy of this at present, though a signed print of the artwork from album artist Ioannis hangs in our house – both were reissued on LP/CD from Frontiers, as well as 1994’s “Cult Classics”. Cult Classic is a 14 track set of BOC classics re-corded by the band, which also [at the time] featured Allen Lanier, as well as Jon Rogers [bass], and Chuck Burgi [drums]. I really wasn’t keen on Cult Classic when I got it in ’94, and still ain’t, but oh well, I get that many will like the updated sound. I’ll pull these out and revisit for another post [they’ll be in the car the next few weeks, along with Joe Bouchard’s new CD!]. Also coming out in August is the compilation “The Best of Blue Oyster Cult : Don’t Fear The Reaper” – reissued on translucent red vinyl via Friday Records; 16 tracks covering the albums up until 1983.
To top 2020 off Blue Oyster Cult have recorded and preparing a brand new studio album for an October release [on Frontiers], titled “The Symbol Remains” [see press release below] . Alongside the reissues, live albums, and new albums by former members – There is a great pile of BOC to pick up and check out this year! Despite the problems in this year, at least we have plenty of Blue Oyster Cult to enjoy.
THE SYMBOL REMAINS: “Blue Oyster Cult return with a mammoth new studio album “The Symbol Remains“ this October. Coming nearly two decades after the release of their last studio album “Curse of the Hidden Mirror,” the album showcases a band who hasn’t been slowed by the time passed, but is simply unfazed by it. “The Symbol Remains” is one of their most spirited, diverse, and inspired releases to date.
As the saying goes, “good things come to those who wait” and the 14 new songs on display here embody that. Fans will be delighted with an extremely inspired album which ultimately sounds like a band looking back at their storied catalog and giving the fans a bit of everything they’ve ever loved about BÖC, while simultaneously continuing to evolve.
Blue Oyster Cult are best known for their massive singles “(Don’t Fear) The Reaper,” “Burnin’ for You,” and “Godzilla.” Riff-heavy and head-banging while intelligently hook-laden, the band remains a constant touring presence and as relevant as ever. Pioneering the heavy metal style while providing inspiration to psychedelic jam bands and arena rockers alike, genre-benders Blue Oyster Cult are a widely respected classic rock band with a storied catalog., BÖC has been covered by everyone from Metallica and HIM to moe, which showcases the wide range influence of their music. ”
*If I’ve omitted any releases of interest or to give your 2 cents on these releases – drop me a comment.
thanks
Released on the newly founded RockHeart Records [the label formed by brothers Joe & Albert Bouchard] – “Strange Legends” is the 6th full studio album in just over 10 years from former / founding member of Blue Oyster Cult Joe Bouchard. Upon first listen, what’s noticeable is the lively sound and great production and much of that is due not just to the solid set of songs, but also the performances of drummer Micky Curry. And just so you know – this is the first album since Joe’s debut solo album in 2009 – that he’s used a real drummer! And Curry has a long list of credits – most notably Bryan Adams, The Cult, Hall & Oates, Alice Cooper, Tom Cochrane, Ian Hunter…..
There’s 11 tracks here, 4 are penned by the late John Elwood Cook [1 being a reworking from a previous JB album], and there’s 1 cover tune. Unlike his previous few albums, there’s no obvious themes running through this, though there are a number of neat stories. Overall this album rocks more than Joe’s previous albums, with the drums really adding a kick into more hard rocking tunes like “The African Queen”, the instrumental “Racing Thru The Desert”, and “Walk Of Fame”. “Forget About Love” [from J.E. Cook] was the first track put out; it’s a reworking of the song that first appeared on Joe’s “New Solid Black” EP, but this version has more punch to it, And it’s a Top 20 hit in Holland!
Some pretty solid melodic pop/rock tracks here with tracks like “She’s A Legend” [co-written w/ Sci-fi writer John Shirley], “Once Upon A Time At The Border”, and closing track “Winter” – one of my favorites here, with guitar from Joan Levy Hepburn; I like how this one plays out with the guitar picking up and the synths coming in. Best pic here has to be the ballad “Strangely In Love”, another J.E. Cook song, a dreamy summertime feel – musically and lyrically; love the performance, and if you’re familiar with “Haunted Dance Floor” or “Dark Boat” from Joe’s first solo album [both outstanding tunes] – then this sits somewhere in-between them. There’s also a fine cover of The Kinks’ “All Day And All Of The Night”!
This album has a lot to offer, great songs, great production; I’m looking forward to many listens in the car [where I can crank it up]. The album art is pretty cool too. Check it out.
In the early ’90s Geoff Downes resurrected a new version of the ’80s ‘supergroup’ Asia, and recruited singer/bass player John Payne. With a rotating line-up throughout the 90s and early 2000’s Downes & Payne recorded a number of album’s under the Asia banner. I have these, and quite like them, though being a John Wetton fan, I felt a bit bad for Payne, in a way, but he proved to be a fantastic singer and songwriter; he certainly has a distinctive voice. Asia released albums, This era of Asia didn’t have the hits or notoriety that compared to the first 2 albums, but there are plenty of great songs. When Downes left his partnership with Payne to rejoin the original Asia line-up, Payne was allowed to continue on as ‘Asia featuring John Payne’. On another note, I saw Asia in Trenton, NJ, at the Classic Rock Festival in 2002 [I went mainly to see Uriah Heep]. I clearly recall getting on the hotel elevator with a few other Heep fans, and people, and John was on it as well. Everyone nodded, said Hi, and someone asked John which band he was with [I knew], he politely replied that he was with Asia, and everyone just carried on. In retrospect, I wish I was more familiar with that Asia at the time, and had something to say. He [and Asia, which also featured Chris Slade on drums then] put on a good show; it was a fun weekend….
Anyway, fast-forward to last year and I started listening to those Asia albums with Payne and filling in the gaps in my collection. I never got the first Dukes Of The Orient album, but when I heard the first single / video from the band’s second album – “The Monitors”, I thought it was a great song, classic aor, and had me looking forward to this. Dukes Of The Orient is the natural successor to Payne’s version of Asia [dropping the name out of respect for Wetton and to get a fresh start].
Freakshow is almost what I expected, but a better. First, Payne’s vocals seem to get better with age, and he’s easily recognizable. If you liked the albums by Asia that Payne was on, you will love this! It’s progressive, a bit more melodic, and well produced. Very much a keyboard heavy album, but plenty of different sounds, from various synths, to Hammond organ, to piano – Erik Norlander [ Lana Lane, Last In Line] is pretty creative from track to track, plus there’s plenty of acoustic & electric guitar, saxophone, harmonies. The songs here are most impressive, and there’s so much sound-wise to get into that this album is pretty likeable off the bat, and there’s plenty to go back to dig further into. Aside from the “The Monitors” – which would be a huge hit in previous decades [dig the guitar solo as well], fave tracks include the epic piece “Man of Machine”, as well as “A Quest For Knowledge” [this one reminds me of Yes], “When Ravens Cry”, the instrumental “The Great Brass Steam Engine”, and closing ballad “Until Then” – a pretty timely song that Payne delivers so well.
I am really looking forward to getting this in the car [apparently only available on CD], as there’s so much to get in to on this 10 track album. A very feel-good album, and I dare say should appeal to classic prog fans [aside from Asia], fans of Yes and Supertramp [a good bit of saxophone on here, and piano here]. Out on Frontiers Music August 7. Aside from John Payne and Erik Norlander, Dukes of The Orient includes Alex Garcia [guitar], Frank Klepacki [drums], and Eric Tewalt [saxophone].
Outsider Rock 