Although I was a huge rock fan in the 90s – I was no fan of 90s rock! All that Seattle scene and “alternative” rock bullshit was not for me. I didn’t give a crap about most of the new stuff – whether it was from Seattle or a few ‘new’ bands from Canada! Bands that I enjoyed from the 70s and 80s were then rarely on the radio, without major record deals or hip in certain rock magazines. Times were a changing. Fortunately the 90s was not a total lost decade, but classic bands weren’t releasing albums yearly or even bi-yearly, with many lucky if they released 2-3 in the whole decade! But there was a number of great albums, a number of comeback albums, and a few that re-started my interest in some classic bands. Despite how shitty the 90s were there were some highlights, and perhaps next time i’ll come up with a list of new or newer bands that released great albums in the 90s!

Uriah Heep – Sea of Light [95]
As a fan since the late 80s, with the band’s first 2 studios albums with Bernie Shaw & Phil Lanzon [and what would become Heep’s longest serving line-up] I didn’t have huge expectations of a ‘classic’ Heep album, but I was wrong! Sea Of Light blew me away upon first hearing it. With 12 tracks ranging from the metal guitar opener “Against The Odds”, which was the heaviest rocker the band had done since “Too Scared To Run” opened the Abominog album in ’82, a lengthier epic ballad in “Love In Silence”, an all-acoustic ballad [and single] “Dream On”, more progressive rockers like “Logical Progression” & “Universal Wheels”, as well as plenty of memorable rockers with “Time Of Revelation”, “Fear Of Falling”, and “Spirit Of Freedom”. The album featured Roger Dean artwork, the first he had done for the band since ’72. Sea of Light was the album that brought back many old Heep fans that had passed on the band years ago. It was nicely followed up by ’98’s Sonic Origami.

UFO – Walk On Water [95]
UFO with Michael Schenker is kind of THE line-up for me. I love that string of classic albums from the mid 70s to late 70s when Schenker left, and had/have a hard time getting into UFO beyond that [tho a few latter albums ain’t too bad!]. In the same token tho, I find much of Schenker’s post UFO stuff hit and miss. The classic UFO reunion started with a tour of Japan, followed by this album of 8 new tracks and re-recordings of old favorites “Doctor Doctor” and “Lights Out”. The new songs tho jumped out; lots of heavy guitar, great riffs, energy, and classic sounding UFO with rockers like “Self Made Man”, “Venus”, “Stopped By A Bullet” and “Darker Days”. Cool cover shot of the band over blue backing with big UFO logo. Saw the band on this tour in Buffalo, with Simon Wright subbing for Andy Parker. By then there was a US release [for the tour], which lobbed off the 2 remakes, and featured a less memorable cover. None-the-less, they sounded great. The follow up wouldn’t come til 2000, with ‘Covenant’, which I wasn’t as enthused about. Eventually Schenker would leave again, permanently.

Deep Purple – Purpendicular [96]
When Deep Purple Mark 2 reunited in 1984 it was a huge deal in the press, and the band delivered a great album titled Perfect Strangers, but the follow up was less than stellar, and by then certain bandmembers were no longer getting along [again]. 1990’s Slaves & Masters featured Joe Lynn Turner in for vocalist Ian Gillan, making a more AOR sounding album….kinda like 80s Rainbow! Record company pressure returned Gillan for one more album in ’93, but Ritchie Blackmore left soon after, and that for many fans meant the band couldn’t continue. But, Deep Purple carried on, eventually choosing American Steve Morse as permanent replacement and recording Purpendicular. Compared to the band’s previous 3 albums, Purpendicular was far above [IMO] and far beyond any expectations I would’ve had. Blackmore had that distinctive guitar sound and contributed much of the band’s classic material, but the new DP sounded rejuvenated, fresh, and full of new and varied melodic material. With 12 great songs that flowed nicely together, from “Vavoom: Ted The Mechanic”, “Sometimes I Feel Like Screaming”, the acoustic “The Aviator”, great rock riff to “Somebody Stole My Guitar” – my favorite DP album!

John Wetton – Battle Lines [94]
I loved that first Asia album in ’82, and the 2 follow-ups weren’t bad, but this – to me , is the next best thing John did after that Asia debut. An AOR / softer rock/pop album, but such great melodies, lyrics, vocals, a number of cool guests, and production. From the uplifting opener “Right Where I Wanted To Be”, to ballads like the title track, “Hold Me Now”, “You’re Not The Only One”, and another upbeat track [co-written with Jim Peterik] “Space & Time”; I can still pull this album out and enjoy it any time. Although John continued to release solo albums, as well as a string of excellent Asia reunion albums, Battle Lines is my favorite of his recorded works [followed by Asia debut and Asia “XXX”]. Was fortunate to get to see him and sit down to interview him on his acoustic tour for this album; a very nice guy, happy to talk about his career. I wish I’d seen him more, was very shocked and saddened by his passing in 2017.

Rush – Counterparts [93]
This is the album that brought me back to Rush after a few albums I either didn’t get upon release or listened to much. Loved Moving Pictures and Signals, enjoyed Grace Under Pressure, and saw that tour and Power Windows tour, but that latter album and a few that followed got lighter and lighter and more keyboards…. Then “Stick It Out” came on the radio, and it sounded like Rush was back to being a guitar heavy band. The rest of the album was full of classic sounding Rush, especially “Animate” [my favorite here], and then tracks like “Cut To The Chase”, “Cold Fire”, and “Nobody’s Hero”. Test For Echo was a fine follow up; a classic pair of Rush albums.

April Wine – Attitude [93]
I saw April Wine at the Kingswood Music Theater, north of Toronto on what was their farewell tour in ’84 [?]. The band’s album at the time was Animal Grace, which I thought was pretty good, but apparently it’d be there last as the 5 piece classic line-up. Myles Goodwyn would record 1 further album under the name April Wine, and then nothing for years. Saw the reunited line-up in St Catharines in ’92, and in ’93 Attitude was released. Featuring Goodwyn, along with legendary drummer Jerry Mercer, guitarist Brian Greenway, and new guitarist Steve Segal, as well as the return of bass player Jim Clench. Attitude was a nice surprise – loaded with guitar heavy rockers and a few choice ballads, like the best 80s album they made – 9 years later. First single and heavy sugary ballad “If You Believe In Me” got loads of air-play, and the album boasted heavy guitar rockers like “Givin It, Takin It”, “Strange Kind of Love”, “It Hurts”, “That’s Love” and “Here’s Looking At You Kid” [which I think were also singles and/or videos]. Other ballads like “Can’t Take Another Night” [by Brian Greenway & Jeff Nystrom], and “Hour Of Need” offered plenty of variety for fans of the band’s 80s heyday.

Saga – The Security Of Illusion [93]
From Toronto, Saga released a pile of consistent aor/prog albums from the late 70s til early 80s, most notably 1982s Worlds Apart – which featured the hits “On The Loose’ and “Wind Him Up”. Following 1985’s Behaviour album the band underwent a few personnel changes; the 2 ensuing albums didn’t keep my interest. But, 1993 saw the classic line up reunite for another go with this album. To me, this was a return to the classic Saga sound, with a bit more bite. Lots of great melodies and performances with songs like “Without You”, “Mind Over Matter”, “Alone Again Tonight”, and particularly the title track. The band toured Canada on this album, saw them in St Catharines, Ontario – took my LPs and got them all signed! https://www.youtube.com/watch?v=r8i6AySQDNw

Alice Cooper – The Last Temptation [94]
Though not a lot of new Alice Cooper music was released in the ’90s, this is one of 2 great albums. I loved 1991’s Hey Stoopid, full of big rockers, a few heavy ballads, and plenty of humour, but this album took a bigger step from that ’80s hair rock, and features plenty of classic Alice tunes, despite it probably selling less than his previous 2 albums. Alice didn’t tour this album either. The album was a concept based on moral issues, with Steven being the character in it. I’m not good at explaining it, but there was comics by Neil Gaiman to go with the release [first presses in some countries included the 1st comic in the series]. The Last Temptation did not feature a lengthy list of guests musicians either, with a line up, including guitarist Stef Burns [ex Y&T], keyboard player Derek Sherinian, Greg Smith on bass, and drummer David Oosikkinen. “Lost In America” was the first single and big timely anthem from it, still features in his live show. But there was plenty more cool rock here such as “Nothing’s Free”, “Bad Place Alone”, “You’re My Temptation” [one of 2 tracks co-written w/ Jack Blades & Tommy Shaw]. 2 of the best being the ballads “Stolen Prayer” [written by Chris Cornell, who also wrote 1 other song, and sings back up], and the 2nd single “It’s Me” [also co-written with Blades & Shaw]. Great album!

Black Sabbath – Cross Purposes [94]
Following Sabbath’s 2nd split with Ronnie James Dio & Vinny Appice after 1992’s Dehumanizer album Tony Martin was brought back for a couple more. Ex Rainbow drummer Bobby Rondinelli also played on this one. I really liked the albums Tony had done previously, so no big deal to me. Cross Purposes was heavy, but had a touch of keyboards and a bit more melody in places. I loved “I Witness”, “The Hand That Rocks The Cradle”, “Psychophobia” and “Back To Eden” – and favorite track being the haunting “Cross Of Thorns”. Wish I had this on vinyl. I wasn’t as crazy about the follow-up [Forbidden], but this is a classic Sabbath album for me. https://www.youtube.com/watch?v=kkihaICItis&list=PLBzBwYhHpqLLszPlcn8dgdqh-AvQ4Mxmp&index=2

Ozzy Osbourne – Ozzmosis [95]
I followed Ozzy’s career from the Blizzard of Ozz album til about here. Frankly, after he split up the original band, and became a solo act with players and writers coming and going album to album, I thought there was a steady decline with each record. No More Tears in ’91 was good, but I wasn’t crazy about it; but I did take to this album when I heard “Perry Mason”. Also loved the heavier tracks here – “Denial” and “Tomorrow”, as well as “See You On The Other Side”. Fave cut being the Jim Vallance co-written “I Just Want You”, an epic Ozzy tune, with classic intro from Rick Wakeman. Geezer Butler also played on this! Too bad it didn’t come out on vinyl at the time. Ozzmosis is the next best thing he did following the first 4 [studio] albums, and I don’t think Ozzy’s done much since this [that I care to remember].

KJJ, Feb 2020

Artist Dave Field was around for the golden era of British pop & rock, during the mid 60s to mid 70s, and wound up drawing and designing a number of classic rock and reggae album covers during this era. He would wind up working on albums by AC/DC, Manfred Mann, Nazareth, Rod Stewart, The Rolling Stones, Uriah Heep, Eddie Grant; as well he’d create a number of band and record label logos.
He’s recently documented those days of his career in a new book titled “Cheques, Drugs & Rock ‘n’ Roll”, via New Haven Publishing . It’s an entertaining read, telling Dave’s rise to becoming a name album artist, his work and brushes with some of Rock’s greats, details of many of his classic covers and memorable logos, and some of the wild parties and antics that occurred.

For more on Dave’s art or his music, check out these links. (*Book ordering links at the end of this page.)

http://www.davefieldart.com
http://lloydpittdesign.co.uk/davefield/?page_id=2
http://www.thequirks.band
https://www.facebook.com/www.theQUIRKS.band/
https://www.youtube.com/channel/UC2p3TS0v0smNu1XaYBfIrbA

Your story is not what I expected — You started out wanting to be a rock star, but wound up getting in the business through your art. Is that latter part fairly true?

It was the dawning of the sixties and at the age of about 11, I had only been influenced by my older brother’s taste in music, mainly Elvis , Bill Hayley, Lonnie Donnegan, Gene Vincent and the fifties rock and roll icons, although I did get into Buddy Holly in a big way. I started listening to the new rock and pop bands that were emerging and changing from America to Liverpool and London and coming from a small village in Nottinghamshire, North East Midlands and my pipe dream was to be a rock star.
What made me choose a more realistic career was that I was top of my primary school at art and I won an art competition out of about 200 schools in Nottinghamshire with a road safety poster design.
From my rebellious higher secondary education years at Newark Grammar School, I went on to a freer and more liberal environment at Mansfield College of Art and took a vocational course which was more geared to design in the workplace. Two of the tutors were from London and I was encouraged to set my sights in the design and advertising field in the capital.
Whilst at high school and at about 1S years of age, I formed a band with my mate Derek who owned a red and white Burns Guitar, and modelled himself on Hank Marvin of The Shadows; With other mates, Cliff on drums and Olly on bass I was the singer, we called ourselves ‘West Point 5’ for some reason and we played village halls and friends parties; we did all the hits of the day – ‘Good News Week’, House of the Rising Sun; ‘Keep on Running; a few Buddy Holly Numbers, ‘Satisfaction’ from the Stones, Beatles, Hollies, Manfred Mann, etc., etc. I was amazed how cool it was that even at our level, I would be swamped by screaming girls and having my shirt ripped from my back and being adored by chicks, I was living the dream.
Having completed my 2 year vocational course at Art College and choosing not to go on to get a BA in Graphics, with £50 savings in my pocket, I headed for ‘The Smoke ‘, London here I come. I dossed on the floor of my brother’s mate’s flat and searched, knocking on doors for a job in the advertising, design business.

You created a lot of classic album covers and logos, but you got out of it in the late 70s. You cited punk and changing times in the industry; do you regret leaving that phase of your career behind?

I do regret leaving the music biz, but times they were a changing.

What would be your most iconic and recognizable work and designs – in advertising and LP covers?

My iconic pieces were Castrol GTX pack design, Alex Harvey ‘Tomorrow Belongs to Me’ and ‘Next’, Brian Jones ‘Joujouka’ , The Stones graffiti for the album plus campaign for ‘It’s Only Rock N Roll ‘ , Eddy Grant ‘Message Man’, The Equals ‘Mystic Syster; Uriah Heep ‘Return to Fantasy’ , Status Quo ‘Quo’, Roy Wood’s ‘Wizzo’ , Rod Stewart’s ‘Blondes Have More Fun’ – hand drawn lettering, AC/DC’s first album ‘High Voltage’.

You met and made numerous contacts, friends, and influential people in that period from late 60s to mid 70s. Who had the most impact on you professionally and personally?

I was impressed and influenced by Derek Taylor, the Beatles’ press officer, Dezo Hoffman, the Beatles’ personal photographer who had a major input for their films ‘Help’ and ‘Hard Day’s Night’. Derek gave me an ‘in’ to some big names and Dezo let me rent a room to set up studio in Chinatown in the centre of the West End of London. Richard Perry, Captain Beefheart and Harry Nilsson’s producer. Manager and promoter Terry King. Trevor Churchill, the Stones ‘ caretaker manager for a period and Derek Nicol of B&C Records and Mountain management, Sydney Pemberton, Don Baines and Max Rayner from my Advertising days.

There were a number of huge album artists back in the day – Rodney Matthews, Roger Dean, Storm Thorgenson – anyone who you really got on with or admired? [if there’s such a thing as a fraternity of album artists]?

I met Roger Dean for a spell, there’s a section in my book about that and the only time I met Storm Thorgenson resulted in me telling him to fuck off, when he asked me if I was his taxi. I am however in the book of the album covers, a few times.

There wasn’t a fraternity, most artists were freelance or working out of their own studios and the only time we seemed to meet up was when tendering for jobs at record companies etc., work was mostly competitive, although saying that, I normally had a few jobs on the go at any one time.

Have you kept a large stash of photos and unused art sketches or roughs that might be found in your book?

Unfortunately, apart from some photos from my session with Jagger and some stuff from the make up of the Brian Jones’s ‘Joujouka’ album, the only other piece of work I have is a first pull of a silk screen poster for Pink Floyd 1974 Japanese Tour which I did with a mate of mine Roger Riley the chief silk screen printer and designer for Big O Posters, the leading poster printer of the time. The story about this is in the book.

Can you give me a Top 10 of favorite albums from that era [listening to – not necessarily ones you worked on]

My favorite albums were….The Beatles – White Album, Stones – Their Satanic Majesties, The Pretty Things – SF Sorrow, Steve Stills 1, Hendrix – Electric Ladyland and Axis Bold As Love, Little Feat – Waiting For Columbus, Spirit – 12 Dreams of Dr Sardonicus, Joe Walsh – Barnstorm, and But Seriously Folks, James Gang – James Gang, Crosby & Nash – If Only I Could Remember My Name, Zeppelin – most albums, Santana – Abraxas, Zappa – Hot Rats, Captain Beefheart – Clear Spot, Grateful Dead – American Beauty, Fairport Convention – Leige and Lief, Bob Dylan – Blonde On Blonde and Desire, to name a few.

Is there anyone from that era that you keep in touch with and still work with or socialize with today?

I still contact Eddy Grant from time to time, as well as members of Alex Harvey Band and Nazareth. A great many people I knew are no longer with us.

What field do you work in now [or retired]? You are still active as an artist?

After leaving London to relocate in Mid Wales, I worked as a freelance designer/illustrator, working again in industry doing work for local businesses in and around my county until 1986 when I was head hunted by a publishing company Pictura Graphica, based in Sweden to produce book illustrations, posters and greetings card produce and then a Cotswold based company Paper D’Art. In 1998 I went pretty much full time for a company Excelsior Graphics based in Warrington until we were taken over by the corporate giant, Card Factory where I became chief Illustrator until opting for redundancy in 2012, due to relocation issues.
I still l do art and commissions when I can get the work, things have changed since I last was freelance and I find the workplace some what ageist.
I now am seriously in need of work, I’m struggling a bit and finding it hard to exist on a state pension.

You now play music. Can you tell us a bit about how and when you got back in to that? and a bit about your band and musical influences?

I’ve always been in some sort of band, usually rhythm guitar and backing vocals, but now I front my own band The QUIRKS, I lead sing and write and compose most of our material. We play local gigs and small town festivals and we have supported The Pretty Things in Wolverhampton. We are told that we are a cross between Zeppelin, The Clash and The Floyd.

Order Cheques, Drugs & Rock n Roll:
https://www.chapters.indigo.ca/en-ca/books/contributor/author/dave-field/
https://www.barnesandnoble.com/w/cheques-drugs-rock-n-roll-dave-field/1135354863?ean=9781912587254
https://www.bookdepository.com/Cheques-Drugs-Rock-n-Roll-Dave-Field/9781912587254?ref=grid-view&qid=1580221683092&sr=1-2

https://www.booktopia.com.au/cheques-drugs-rock-n-roll-dave-field/book/9781912587254.html
https://www.waterstones.com/book/cheques-drugs-and-rock-n-roll/dave-field/9781912587254

KJJ, 01/’20

Magnum is one of those rare consistent bands these days – conssitent in recording a new album every other year, and consistent in delivering something that fans will easily like, always full of a mixed bag of good songs. “The Serpent Rings” features 11 newly penned tracks from guitarist/songwriter Tony Clarkin, in the usual variety of Magnum pomp, pop, prog and hard rock. On the band’s previous album (Lost On The Road To Eternity), I thought the keyboards were lacking in some songs (in the mix) with then-new keyboard player Rick Benton, but keyboards are well in the mix of every song here, making for a bigger production and classic Magnum sound throughout. “Where Are You Eden?” is the first track and it’s easily the stand-out for me upon first listen, classic Magnum upbeat beginning, slightly reminiscent of “Live Til You Die”, from Escape From Shadow Garden (and yes – it mentions shadows!). Getting more in to this album the band seems to have picked up on more impressive and adventurous productions [see the previous album’s title track], with songs like “House Of Kings” – a real rocker with a few surprises, “Crimson Of The White Sand”, “The Great Unknown”, “The Archway Of Tears” and “The Serpent Rings”. Also digging more rocking tracks like “You Can’t Run Faster Than Bullets” and the first single “Not Forgiven”.

One thing that is always impressive about Magnum albums is that there is so many good songs, so many changes from song to song and within each song – that you never get too used to the album anytime soon, and can pick up on a different favorite track many listens down the road. *Clarkin, singer Bob Catley, Benton and drummer Lee Morris are joined by new bass player Dennis Ward (ex Pink Cream 69 and Place Vendome). Available on CD and 2 LP ! Fantastic Rodney Matthews cover art as well.

http://www.magnumonline.co.uk

Some bands are forever remembered by the masses and media (for good or bad), for 1 track. For Europe – 1986’s “The Final Countdown” is that song! A huge selling 80s pop-rock anthem with an unforgettable keyboard riff that played throughout the song, a catchy chorus, a fast guitar solo, and a return to chorus that played out til the end, making for live reaction purposes. The song and a few other hits from it [the sappy ballad “Carrie”] would put the band in that 80s keyboard drenched, over the top hair-metal category. The album (Europe’s 3rd) and title track single would be Top 10 in most countries, but it was a success story there would be no repeat of on follow up albums. Guitarist John Norum, unhappy with the direction and “poodle rock” labelling, would leave the band afterwards. The band carried on with Kee Marcello [ex Easy Action] on guitar for 2 more albums [1991’s “Prisoners In Paradise” is a fine album], before the band split up. In 2003 the band reformed with Norum on guitar and the rest of their 80s line up – Joey Tempest, John Levén, Mic Michaeli and Ian Haugland, and have been putting out solid albums since 2004’s “Secret Society”. They remain a bigger draw in Europe and other parts of the world, but some regions [like North America] have a hard time getting beyond the band’s big hit and image from ’86.
Europe albums since reforming show the band’s classic rock influences, and are heavier and darker than The Final Countdown, more align with the band’s first 2 albums, but throw in a bit of blues, more hammond organ, acoustic guitar, and you get a band trying to be more in tune with 70s greats like Zeppelin, UFO, Deep Purple and Thin Lizzy, and far beyond the 80s bands still out there [and not creating anything – if at all, … see that other big tour]. Actucally, check ouot 2008’s live release “Almost Unplugged”, which includes 4 covers [alongside Europe’s own fan favorites], most notably UFOs “Love To Love” and Thin Lizzy’s “Suicide” . Also worth checking out the band’s few official live releases “Live At Shepherd’s Bush, London”, and their 2013 “Live At Sweden Rock” festival performance. On tour this summer, with Foreigner [hmm] and Kansas in North America; I’d like to see Europe much more than the other 2, as they’re still producing great albums on a regular basis, and have much more to say than just a few hits.
If you’re not familiar, here’s a dozen Europe favorites since the band’s comeback [I purposely left off all the title tracks – which would add another 4 or 5 songs]….

Always The Pretenders
From 2004’s Secret Society, a brief light intro and the band comes rockin in. Gone is that 80s production, determined – like the rest of this album to put aside those hair-metal days, while still coming up with catchy rock tunes. A great video single from this album.

The Beast
one of the band’s heavier rockers in their catalogue, from Last Look At Eden.

No Stone Unturned
another great rocker from 2006.

Hero
a slightly more pop rock tune, paying tribute to the band’s musical ‘hero’ [judging from the video, I’d assume this was about Phil Lynott]. from 2009’s Start From The Dark.

Firebox
2012’s Bag Of Bones is a fantastic album, produced by Kevin Shirley. As much as i liked the few before it, is a step up in more great songs and more diverse writing with plenty of rockers, more blues, and more acoustics. Aussum heavy track!

Not Supposed To Sing The Blues
Classic tune; the title says it.

Drink And A Smile
A short acoustic number from Bag Of Bones; sounding much like it was influenced by the acoustic Zeppelin classics.

Days Of Rock n Rolll
War Of Kings remains my favorite Europe album; it is the one that got me to rediscover the band; heavy, but not one dodgy track on this album. This one tells us no one is too old for rock n roll!

Nothin To Ya
Love the intros on the War Of Kings tracks, and the production [courtesy of Dave Cobb. Another memorable heavy rock tune.

California 405
A classic organ intro sets the tone before the the band comes in to this cool driving rocker. My fave track on this album.

Pictures
I will take ballads like this over the likes of Carrie – anyday! dark, atmospheric, with a very almost psychedelic early 70s feel to it musically and lyrically. From Walk The Earth.

Turn To Dust
great mid tempo rock tune. Lots of different tracks on Walk The Earth, a bit of a 70s vibe throughout, love the Hammond organ on this. The animated video for this song is aussum, created by the same guys that did Deep Purple’s “The Surprising” video.

Albums:
Start From The Dark – 2004
Secret Society – 2006
Last Look At Eden – 2009
Bag Of Bones – 2012
War Of Kings – 2015
Walk The Earth – 2017

KJJ, 01/’20

Perhaps the most controversial and debated album amongst Heep fans is 1980’s Conquest. It came at the time of more changes and feuds in the band’s personnel and with management – gone was singer John Lawton, as well as longtime drummer Lee Kerslake. In was Manfred Mann Earthband drummer Chris Slade (also on Bronze Records, under Bron management), and a young singer named John Sloman. Sloman had fronted the Welsh band Lone Star, singing on the classic “Firing On All Six” album. Sloman could also write, play guitar and keyboards, and with tall height, long blond hair and almost Robert Plant like looks and poses showed that Sloman could be a strong frontman with plenty of talent, but many would (and still do) debate if this all suited Uriah Heep (!?)
Regardless, the new-look Heep went about finishing Conquest in the fall of ’79. The new album would be a big step from the more laid back American influenced pop-rock of “Fallen Angel”; it’d be much bolder in the use of modern keyboards [and plenty], and a more polished production, making for a brighter sounding record.
The album featured 2 outstanding tracks penned by Trevor Bolder – “Fools” and “It Ain’t Easy”. Fools had been recorded for the 4th (and unfinished) album with John Lawton. It Ain’t Easy is a Heep classic ballad, starting soft and building up into a powerful song. This one was recorded with Trevor’s lead vocal originally, but before it’s release Sloman re-recorded the vocals and it is Sloman’s vocal that was used on the album version – despite the credits on the back cover. But heck, Conquest may be Bolder’s finest record [certainly up until this point] – not just for the 2 classics he contributed, but also for his bass playing, which really jumps out on this album.

John Sloman also brought in 2 tracks – “No Return” and “Won’t Have To Wait Too Long”. These had been written while Sloman was in the short-lived band Pulsar, in Canada – which also consisted of Pino Palladino, Dixie Lee [ex Lone Star], and Canadians David Cooper and Gregg Dechert. Pulsar recorded a few demos of these and others [I believe ‘Inside Out’ was another]. These demos were at one point [along with a number of photos] available at David Venton Cooper’s website. Sadly, the guitarist [known here for his work with the Ian Thomas Band] passed away in 2013, and his website has since been taken down.

“No Return” is one of my favorites on this album, a fine pop-rocker that comes in quietly, leading off the album, then kicks in with a cool fast paced chorus, Sloman sounds just swell on this song, and it would’ve made for a better choice as lead-off single. [it was also considered as an album title]. Also, a shame that over the years the credits to these tracks have not been corrected on the subsequent re-issues of the Conquest album. “Won’t Have To Wait To Long” was a very different, swingier song for Heep, but I like it.
Ken Hensley contributed 4 tracks on Conquest – the upbeat single “Carry On”, as well as “Feelings” – a solid 2 guitar pop-rocker, with a cool riff / intro and plenty of harmonies on the chorus. There’s also the laid back, atmospheric “Imagination”, and “Out On The Street” – somewhat of a ballad, a bit dark and moody, with a fast and frenzied instrumental break. I really like this one, in my top 3 on this album, and I think it’s Sloman’s best performance on Conquest.
The Conquest recordings also included “Been Hurt” [also previously recorded with Lawton] – a B-side [and one Sloman hated]. As well there was the outtake “Lying”, a keyboard heavy pop number that builds up to a memorable chorus; this one would’ve fit nicely on the album, IMO.
I really like Conquest; I thought it had a better flow than Fallen Angel, as well as a number of excellent tunes. And, although Heep missed the boat showing the New Wave Of British Heavy Metal bands how to do it, I liked the new sound that Conquest took. It’s too bad none of these songs would ever be played live again by later Heep line-ups.

Conquest charted in the UK, with help due to a budget pricing for the band’s 10th Anniversary. It was never released in North America, as if no one even tried or had lost interest in the band. After years of decline in LP sales and concert draw Heep were then non-existent in Canada and the USA…for a few years and more changes.
Following Conquest, the band recorded a cover of the pop-fluff “Love Stealer”, at Bron’s request. It was issued as a single and stiffed. Hensley then left and the band carried on for a while with Gregg Dechert on keyboards. Following a UK tour, a single, and demos for a new album the band would break up with Sloman leaving, followed by Bolder, Slade, and then Dechert.
Weather you liked this line-up or not, the Conquest album and it’s aftermath would be a significant period in the band’s history, as they would reform with a new line-up and enjoy a brief period of a successful return in the 80s.

For more on Conquest, check out these interviews with John Sloman.

JOHN-SLOMAN

John Sloman/bands

The 80s saw big changes for Kiss. I really like the first 3 Kiss albums, and of course Alive; but after that albums weren’t as strong song wise, and by 1980 they’d done everything – including solo albums, 2 live albums, compilations, disco, pop, and changed drummers!

The new drummer, taking over for Peter Criss would be Eric Carr. And I think Eric’s heavy Bonham influenced playing was what the band needed going into the 80s. The band would drop the make up and costumes in 83 and carry on making albums regularly. 80s Kiss albums were often marred by bad cover art, and some cringeworthy lyrics. It’s a shame the band didn’t record a live album during Eric’s time with the band, and show fans how much he added as a heavy player and an occasional singer . Sadly he passed away on November 24 , 1991. Here’s my own Top 10 of favorites Kiss tunes recorded during the Eric Carr era.
RIP.

Creatures Of The Night
Creatures of the Night was Kiss at their heaviest. And it’s the title track that opens the album and comes out blazing; great dark heavy rocker, great performances, including Steve Ferris’ [Mr MIster] guitar solo.

The Oath
The first album to feature Eric Carr, and well… what were they thinking!? I actually really like Music From The Elder, but it’s an odd concept for a Kiss album, so it flopped, and many critics, fans, and even bandmembers probably don’t look back on it kindly. The Oath is a good galloping fast-paced rock track to open the album, with some falsetto from Paul Stanley on the chorus, a splash of keyboards… Very different, but a classic, IMO.

King Of The Mountain
Asylum from 1985 was a vast improvement on Animalize, I thought. Though it still had that familiarity in a few of the more ‘radio rock’ tracks in Tears Are Falling and Who Wants To Be Lonely. It’s the opener that is [again] I’ll take here. Cool drum intro from Eric Carr, great rockin tune. First LP with Bruce Kulick as well. Shitty album cover.

Reason To Live
1987’s Crazy Nights saw Kiss lighten up their sound with a more AOR approach, a bit of keyboards, and more of those 80s backing vocals. I think this album was not a favorite to many, but I liked it, especially Side 2. Reason To Live being the first single, great tune, a bit syrupy, but cool.

Nowhere To Run
This was included on the European compilation Killers, which included 4 new rock tracks. A bit of a stop-gap following the flip of The Elder. Guitars by Bob Kulick. Nowhere To Run featuring a killer riff, reminiscent of Paul Stanley’s Tonight You Belong To Me (also played by Bob K, and Rich Kid by Billy Squier – played by Bruce Kulick).

I Still Love You
From Creatures Of The Night. One of a few here co-written with Vinnie Vincent. A classic heavy ballad. One of Paul Stanley’s better vocals,

Somewhere Between Heaven And Hell
From the last album of the 80s – Hot In The Shade. A long album, and a more commercial approach with songs like King Of Hearts and the ballad Forever [uhhg!]. Like this one from Gene, a good mid paced rock tune; great chorus.

Exciter
Opening track to Lick It Up. Sure, the title track was a hit and huge on MTV, but Exciter tries to [and comes close to] run on the same dark heavy energy as Creatures Of The Night. Great opener.

Little Caesar
Also from Hot In The Shade. This is one Eric Carr wrote and sang lead on. Neat rocker, a bit rougher than most of the tracks on this album. Too bad the band didn’t choose a few more of his songs here (see his posthumous solo release Rockology)

Thrills In The Night
From Animalize, which followed up on the ‘success’ of Lick It Up. Not a great album, but it had a few stand out moments, such as the hit Heaven’s On Fire and this one. Great solo intro [almost like a Scorpions song], great solo from Mark St John [RIP], and Eric Carr really pounds this song. Cheesy video, shitty album cover.

KJJ, 11/’19

Classic Rock fans – check out the new album from legendary rockers – Dennis Dunaway, Albert Bouchard, and Joe Bouchard – better known as Blue Coupe!
Here the bandmembers answers questions about their brand new album, as well as their big showing at the Sweden Rock Festival this past summer.
You can check out the album at the band’s site, as well as youtube, and order it at various sites online.

http://www.bluecoupeband.com

Eleven Even is the band’s 3rd album, 6 years past Million Miles More. When did you guys really decide and start putting the songs together for this album?

DD – 3 albums in 11 years is a far cry from 2 albums and 2 major tours per year like in our glory days, but we still enjoy doing what we do.

JB – This project started at the end of 2017. We rehearsed for over a year because we wanted to do the best album we’d ever done. The first two albums it seemed like we barely rehearsed. We wanted to go back to the drawing board and relive the way it was done in the 70s.

First thing that stands out on the new album is the artwork – very bright, eye catching – put together by Richard Zoll. Can you tell me a bit about how this was chosen and how important is it still to have a memorable album cover [in this day & age] compared to the 70s [where album art was a big deal on it’s own]?

DD – Richard Zoll is an artist. We give him the name and a few ideas but basically he just keeps sending different designs until everybody says Yeah!

JB – We went through several designs with wild ranges of styles. This looked good when we first saw it, a few little tweaks and it was ready.

Tish & Snooky are more prominent on this album. What’s the band’s history with the sisters? They definitely add to the sound & feel of the new album. Might we see them in more live shows?

DD – The Darlings of the Demented, as we like to call them, are always the icing on the cake and the extra pizzazz in our shows, but running Manic Panic is time consuming so we have to settle for working together whenever they can.

AB – I’ve known and loved them since the early 70s when I went to every Sick F*ks show I could. When we were making our first album, “Tornado On The Tracks” we all wanted them to sing backgrounds on as many songs as they could fit into their schedule. They loved working with us and since then they have appeared in nearly half our live dates and sang background vocals (and even have a couple solo vocals on the new record) on every single recorded track. Manic Panic is their first child but I would wager Blue Coupe is their second.

The first track you put out was “D Train”, written by the late David Roter. Was this song originally released elsewhere and how/why did you guys decide on recording it?

DD – That’s one of the songs that Albert brought to the table. We’ve all taken that subway, or “the can” as I like to call it, to Brooklyn.

AB – That song was a demo I did with my last band Brain Surgeons but never was released. When we were getting the demos together for this new record Joe brought it in and said a fan, Mark Grosch, had sent it to him and suggested we consider it. We started developing our own version and played it live. It seemed to resonate with us and our fans. Ultimately out of the 40 or so songs we considered, it made the cut. The turning point came when Dennis developed his amazing bass part which freed up the vocal and guitar emote the story of the song.

D Train has such a different feel, very bass driven, and it feels like it would fit nicely in an old 60s cop show or something. Can you describe a bit about the story behind it lyrically and that sound?

DD – The demo had a more precision mechanical feel but I tried to make my bass part be more rambling like a real subway sounds. The lyrics sound far fetched but they really capture the feel of that late night ride.

A lot of the band’s songs are story based or based on observations in your life. Can you give me a few antidotes to some of the tracks and where the ideas come from — Hey Sheriff, Rendezvous In Pale Moonlight, Simple Answers Kill, Tank Man, Day After Day …

DD – Rendezvous In Pale Moonlight is born of imagery of a surreal dream. It’s about a timeless woman in a flowing dress in the pale moonlight.

Blood For Blood is sort of self explanatory about the futility of vengeance. I originally wrote this one with my friend from Texas, Kathy Vargas, but Dennis was concerned about the preachy tone of it and retooled the lyrics to be more of a commentary on the human condition than a vilification of people who seek vengeance. Like most of the songs on this new record it is deeper than it seems, like an iceberg.

JB – Simple Answers Kill is a story that relates to the problems in society that are pretty universal. Sometimes immigrants are feared at first, but getting to know the person can change things around. It’s a reflection of the current situation with Trump and the wall. The reality is there no easy answers to many of these problems, but this is a cautionary tale of modern times.

Tank Man is a song about the famous showdown with protesters at Tiananmen Square in China in 1989. It was the 30th anniversary this year. This song was easy to write since the story is so strong and still resonates today. I’m hoping that younger people will hear it and take a closer look at what is still going on in this crazy world. I’ve created a lyric video that shows where the song originated.

This album seems to have much more of a retro / 70s feel to it ; there seems to be more tracks I can see as fitting on old BOC or AC albums. Would you agree and [if so] was it deliberate?

DD – We talked a lot about what kind of album we wanted to make. The dominant ideas were based on the latest trends of vinyl albums and pot. We decided to feature Joe’s lead playing and more harmonies. But like Million Miles More, we wanted to have a live feel.

We used to be proud that we were the band that never practiced but we can no longer claim that dubious honor. We practiced on a nearly weekly basis for over a year and 90% of all arrangement ideas developed in these practice sessions.

Joe – co-wrote a couple of songs with sci-fi writer John Shirley. How did those come about? [He writes his own albums, novels, and has written with BOC]. Through the BOC connection?

JB – John Shirley heard some songs from my last solo album called “Playin’ History” that came out in 2017. He sent me a short email that said he liked my work, and was a fan. I emailed him right back and said, even though my knowledge of sci-fi genre is pretty weak, I was a fan of his. Also, I said to send me some lyrics if could. He sent 3, then two more, and then a couple more. He lives in Portland Oregon so all this was done by email. I ended up writing with Blue Öyster Cult in mind, since they are looking for material for a new BOC album (the first in over 20 years) that is supposed to be released next summer. I sent songs to Buck Dharma and he was somewhat interested. But I strongly doubt they will use anything of mine. So Albert and Dennis liked Simple Answers Kill and Break Through the Wall so we recorded those for Blue Coupe.

AB – Actually I discovered John Shirley when I was still in BOC. He had written a book called Transmaniacon (after a BOC song Transmaniacon MC) and a friend put me in touch with him. He sent me lyrics then but I never had an opportunity to work with him until now. BTW I think Simple Answers Kill is the deepest song on the record.

You guys played the Sweden Rock Fest this past summer. How did that event go over? Any highlights from that show?

DD – The Sweden Rock Festival is one of the biggest in the world. Blue Coupe closed the 4 days following Ritchie Blackmore’s Rainbow. We waited until their final song, and when the crowd was dispersing, we kicked into “Cities On Flame (With Rock and Roll)” and the crowd came right over to our stage and we were off and running.

JB – Sweden Rock Fest was amazing. The crew know just what to do to make our show look and sound amazing. We also had a Swedish film crew record the whole event and that came out great. I’m releasing videos of all the songs usually on a weekly basis until January. I also have footage that may become part of a longer documentary.

I see in more recent shows [summer 2019], the Blue Coupe setlist has kind of reverted back to more BOC and AC classics, and less of your own tunes. Is it a tough position & decision sometime to be in – whether you play more of your original material or pull out more classic tracks from your previous bands?

DD – We have a lot of songs. If it’s a 2 hour set, we can do half of them. If it’s 45 minutes, we usually stick to our classics with a few surprises.

JB – We have to play to the majority, and some feel cheated without hearing their favorite songs. But we always slip in a few surprises, and a deep cut or two. It’s fun to mix it up.

You guys have done numerous shows over the past decade, many high profile gigs like the Sweden Rock Fest, and plenty of others which fans can find on youtube. Might we see any live shows released as a Blue Coupe live album in the near future?

DD – Watch for a music video of the Sweden Rock Festival. Joe’s production is pro.

JB – Sweden was an exception to most gigs since they recorded the whole show on a digital multitrack. It all fit unto a couple of thumb drives. It sounded great and it was easy to do remixes of all the songs. It is very time consuming but, I hope to do it again.

Will we see some Blue Coupe shows further out [i.e. Southern Ontario, maybe down the east coast, or further west] to promote Eleven Even? Anything in the works and/or being rehearsed?

DD – All it ever takes is a decent offer and we will be there with cowbells in hand.

JB – Hope to see you soon. Thanks!

http://bluecoupeband.com/store/eleven_even_is_here/

*all pics from the band’s website
KJJ, Nov.’19.