When Ozzy Osbourne was fired from Black Sabbath and replaced by Ronnie James Dio, it began a new promising era, a fresh start, and a pile of new ideas and up to date sound for the new decade. The band had been closing out the 70s on a bit of a downturn with the last few Ozzy era albums [though I admit I really like Technical Ecstasy] . My introduction to the Dio era of Black Sabbath was borrowing a friend’s copy of Live Evil (which I’ve yet to return 38 years later). I eventually picked up LPs of Heaven And Hell and Mob Rules (had them on a cassette for a while). Mob Rules being my favorite Sabbath album, with Heaven And Hell not far behind. Dio could contribute a lot more than Ozzy, with lyrics and melodies, where as Geezer Butler is generally known for writing many of the Ozzy era lyrics. The new Dio era sounded heavier with Dio’s distinctive voice that could deliver new and darker stories clear and more aggressively, all put together by legendary producer Martin Birch. I thought these 2 albums were/are timeless, and I can pull them out any time and they sound just as good as they did 40 years ago. With Live Evil mixing new and old Sabbath songs, I honestly was not so crazy about this one, having been a fan of the early Sabbath albums I just didn’t think Dio was as suited to those songs, perhaps because Ozzy had such a unique voice, but I did like his performance of “N.I.B.”. After Live Evil Dio, along with Vinny Appice would go off and form Dio. A shame then – done after 2 superb studio albums!? Well, the Mob Rules line-up reformed again in the early ’90s released Dehumanizer [1992]. It was a bit more Dio /Appice influenced in sound, IMO, with those slow heavy dark rock tunes. It took me a long time to get in to this one due to the overall production / sound of the album, but it featured some really good tracks, but overall not high on my Sabbath list. Again, the band split, and over the next decade plus, Sabbath would return to work Tony Martin on vocals [who did a fine job on the Dio era songs live], and then do some shows with Ozzy.
With the release of 2007’s CD compilation release The Dio Years, Iommi, Butler, Dio and Appice again reformed to add 3 new tracks to the album. The band went out on tour, playing only tracks from the Dio-era albums under the name Heaven & Hell, taking Scott Warren [of Dio’s band] in place of Geoff Nicholls – adding keyboards and some guitar. This tour lead to the release of Live At Radio City Music Hall. Rhino Records also released Live At The Hammersmith [from 81/82] in 2007. Continuing as Heaven & Hell, the band made one more studio album – The Devil You Know in 2009. This was a strong album, and I preferred this to Dehumanizer, very heavy, up to date, great clean sounding. Interestingly, The Devil You Know was the highest charting album of the 4 on Billboard USA. The band toured further that year, with Ronnie James Dio later diagnosed with stomach cancer. Shows for 2010 were cancelled, and Dio passed away May 16, 2010. A posthumous live album marking 30 years of Heaven & Hell had been recorded at the band’s performance at the Wacken Open Air Festival in the summer of 2009, and released in late 2010 as Neon Nights – Live In Europe. The 4 Dio era studio albums remain hugely popular amongst Black Sabbath fans, with many hailing the first 2 amongst the band’s best, usually flaring up the who was better – Ozzy or Dio debate. As I said earlier, I am one who easily puts Heaven & Hell and Mob Rules at the top of my BS favorites list. I recently got the 2021 2CD remasters of each, and though some of the ‘bonus’ material is already out there [like Live at Hammersmith] , the Live in Portland show from ’82 [added to Mob Rules] is a nice addition. Here’s hoping there’ll be more live stuff that surfaces [officially] in the future. Here’s a look at my top 10 picks of classics from the Dio era of Black Sabbath [and That includes The Devil You Know!]
APRIL WINE had debuted many years before this 1978 classic album, and achieved a good deal of success on the singles charts in Canada, as well as drawing regular crowds across the country. Along the way they had a couple of early hits in the US, but didn’t pursue the US market much in the way of touring, and despite a number of strong albums, the band needed a jolt. Forever For Now (1976) had originally began as a Myles Goodwyn solo album, and despite having a few hit singles, the album was softer, featuring a number of ballads, and lacking any memorable rockers, and it would not get released outside of Canada. And despite the press surrounding the El Macombo gigs sometime later (opening for the Rolling Stones) the Live At The El Macombo album wasn’t a breakthrough either. Looking to add something new & a spark to their sound, the band hired another guitarist – Brian Greeenway [ex Mashmakan, The Dudes] in time for a summer tour in ’77. He would stay with the band following the tour, as the band went on to record a new album. The impact of this change was immediate with their seventh studio album First Glance, released in March of ’78, produced by singer/guitarist/songwriter Myles Goodwyn at Studio Tempe and Le Studio in Quebec. The album had been preceded by the single “Rock n Roll Is A Vicious Game” in late ’77 (even getting a US release on London Records), a ballad about a rock star dealing with the rock n roll life ups and downs (harmonica courtesy of blues artist Jim Zeller) . It would be one of the hits from the album, and a live favorite for years to come.
Soon after the band was signed by Capitol in the US to distribute their albums (as well as the UK & Japan), and First Glance would be released there in September of that year. The Capitol Records’ edition featured a different cover, with the band photo on the front with a brand new logo over top (created by Aquarius’ Bob Lemm); the logo that would grace many album covers to come. the first two tracks in the running order were also altered. But the Canadian (Aquarius) LP, which came in a nice gatefold cover with plenty of color and individual band member pics on the inside would kick off properly [to me] with “Hot On The Wheels Of Love”, a lyric influenced by some of the trouble Goodwyn got in to in his younger years – in this example it’s about stealing a car to go meet up with a girlfriend. Steve Lang would get a rare co-writing credit on that one; a great rocker, featuring a bit of theatrics with Greenway voicing the cop involved in the chase.
The album’s biggest song (and the band’s most important to date) was “Roller”, which ended side one. It featured an unforgettable hook on 3 guitars, that was another story based song about a woman who liked to gamble. The song was picked up by an FM radio station in Flint, Michigan, and became a huge hit on US radio, and a top 40 hit on Billboard in the spring of 1979. The song would go on to become one of the band’s trademark tunes, and regular show closer with the “bye bye” ‘s put in as the song comes roaring to a halt. “Get Ready For Love” was the follow up single, which didn’t do much, but it’s another strong track that would feature in the band’s live set. April Wine – Get ready for Love 1979 – YouTube
Brian Greenway would contribute the track “Right Down To It”, another good rock track, which had been demo’d by The Dudes. He also took lead vocals on the track “Let Yourself Go”, which was issued as a single in Canada. Side 2 would start with another hit, in the powerful ballad “Comin’ Right Down On Top Of Me”, which began with piano and vocal before the band came in, giving this a good bit of bite; great guitars and vocal on this. Lyrically, during this period Myles Goodwyn was penning some of his most memorable songs, plenty of cool stories and thoughts put down, and less of songs about relationships and ‘rock’. The 2nd half also features 2 of the band’s most underrated classics in “I’m Alive”, an upbeat anthem which has that same kinda punchy feel and vocal to it as “Don’t Push Me Around”; the other being the album’s closer “Silver Dollar”, a slower scary tale, loads of awesome guitar throughout this one from Goodwyn, Greenway, and Gary Moffett; a mere 5 and a half minutes, but quite an epic; too bad it wasn’t stretched out longer (minor complaint in side 2 being a bit short). April Wine – Silver Dollar – YouTube
First Glance began the band’s most successful era; with the band receiving their first Gold record in the US. They would soon be on a few major US tours opening for Blue Oyster Cult and Styx, followed by a pair of highly successful albums and headlining tours in North America, and trips to the UK and Germany. Aquarius Records would also issue Greatest Hits in 1979, which included 14 of the band’s hits covering up to First Glance, as well it featured the same band photo that featured on the US version of that album. For me it is a toss up between First Glance and the follow up Harder…Faster as the band’s best; they definitely seemed to have more energy and edge on these 2 albums, despite the band’s 1981 Nature Of The Beast being their biggest seller.
This year [1981] was a big year for Canadian rock, Canada’s biggest 3 hard-rock acts at the time all had their biggest selling albums – April Wine’s Nature Of The Beast; Rush’s Moving Pictures and Triumph’s – Allied Forces. So 1981 may have been one of [or the] best years in Canadian rock [!?] But I’m already thinking of 1980 & ’82 – an amazing period for bands from this country. I’ve compiled a list of a 10 great Canadian albums released that year, and that was cutting it down from a list of about 20 [ok, most I have on vinyl].
Feel free to chime in with your own favorites from 1981 in the comments… anything at the top of your list you think I need to check out?
Rush – Moving Pictures
Released in February, and would feature such classics as “Tom Sawyer”, “Limelight”, “Red Barchetta”, “YYZ”, etc…. The band would follow this up with the double live Exit…Stage Left released later in ’81.
April Wine – Nature of The Beast
This came out in January, 11 great tracks on this album, with notable hits “Just Between You And Me”, and a remake of Lorence Hud’s “Sign Of The Gypsy Queen”; plus hard rockin’ favorites like “Big City Girls” and “Future Tense”.
Triumph – Allied Forces
Released in September, and featured the hit “Magic Power”, as well as other classics “Fight The Good Fight” and “Fool For Your Love”. 40th Anniversary box set coming this summer!
Loverboy – Get Lucky
Loverboy’s 1980 debut album was huge, included 3 hit singles, and the band won a few Juno’s (Canadian music awards) from it. This follow up was nearly as big, with another string of hit singles, most notably the anthem “Working For The Weekend”.
Santers – Shot Down In Flames
Toronto hard-rock trio’s debut LP, late in the year. Featured the title track (dedicated to Bon Scott), as well as rockers like “Caught In The Wind” and “Crazy Ladies”, as well as a cover of Donnie Iris’ “The Rapper”.
Frank Marino – The Power of Rock n Roll
Marino’s first album labelled as a solo album (minus Mahogany Rush, though he used the same rhythm section and engineer) from the summer of ’81. Marino, from Montreal, influenced by Hendrix, killer guitar playing here and some cool tunes like “Play My Music”, “Stay With Me”, “Crazy Miss Daisy”, and “Ain’t Dead Yet”. This album, wasn’t a huge commercial success, but it’s follow up would be.
Saga – World’s Apart
Saga’s 4th and biggest album as well, released in September. It featured the hits “On The Loose” and “Wind Him Up”, perhaps the band’s best known songs, as well as the ballad “No Regrets”. Hugely successful overseas, particularly in Germany.
Frank Soda – Saturday Night Getaway
Frank Soda & The Imps were backing band for Thor in the mid 70s, then went off on their own to make a few albums. This, released later in ’81 was the first just credited to Frank, as it sees him re-do a number of tracks from the band’s 1979 [live] debut. If you’re not familiar – check it out,
Anvil – Hard N Heavy
The first (and arguably) the best from this Toronto Heavy metal band. Originally released independently under the band name of ‘Lips’ before signing to Attic and changing the name. Released in May, and featured the classics “School Love”, “Bedroom Game”, “Ooh Baby”, as well as the band’s metalized pounding of the Stones “Paint It Black”. A very influential band on many thrash metal bands to come.
Red Rider – As Far As Siam
From June, this cleverly titled 2nd album featured the hit singles “What Have You Got To Do (To Get Off Tonight)”, as well as the band’s best known song “Lunatic Fringe”, which featured in the movie Vision Quest, as well as a few TV shows like Miami Vice and My Name Is Earl.
Other mentions: Toronto – Head On , The Kings – Amazon Beach , Goddo – Pretty Bad Boys, Pat Travers – RadioActive, Butler – Butler , Bryan Adams – You Want It You Got It, The Guess Who – Now And Not Then .
Esoteric Antenna label is pleased to announce the release of a new CD EP by the legendary PROCOL HARUM to be released 7 May 2021
Legendary British progressive rock band Procol Harum have a new 3 track EP coming. The band lead by founding member – and one of Britain’s recognizable voices – Gary Brooker, and also includes longtime guitarist Geoff Whitehorn (ex Crawler) . “Missing Persons” is a song that was in the band’s live set some years ago, but strangely never made it to the band’s 2017 album Novum; I say ‘strangely’ because it’s a fantastic song! The slow organ intro, before Brooker’s unmistakable voice comes in with piano, followed by the band. It’s a classic PH ballad, that leaves space for Brooker to deliver lyrics that many will relate to today, it’s a moving song about loss. It rocks a good bit in places, with Geoff Whitehorn delivering a couple of fine solos, especially as the song picks up pace as it comes to a close. The other new song here is “War Is Not Healthy”. It reminds me of a ’60s protest song, pretty funky, great chorus, and some cool slide guitar and organ throughout this one. The EP ends with a radio edit of “Missing Persons” (heck – I wish radio played stuff like this!) Here’s hoping there’s a full album in the not-so-distant future.
Missing Persons (Alive Forever) was completed during lockdown, after founder and lead singer Gary Brooker rediscovered a CD of rough mixes of two studio tracks the band had laid down during a previous session. “They weren’t written last week, neither are they old” says Gary, but the precise date of the original recordings remain a mystery. With the world locked down Gary and the band revisited these tracks and they now proudly sit alongside the band’s venerable catalogue.
The title track Missing Persons (Alive Forever) is a particularly poignant and emotive song, and a fine example of the musical tradition of Procol Harum. Gary adds: “Keith Reid’s lyrics sound incredibly apt for the time we’re living in, this is the sound of Procol Harum today.” The EP’s other new song War Is Not Healthy is also a touching observation of war and its impact on humanity.
This is Procol Harum at their timeless best.
Procol Harum is Gary Brooker (vocals, piano) Geoff Whitehorn (guitar) Josh Phillips (organ) Geoff Dunn (drums) Matt Pegg (bass)
You know, those albums that go together as a set, if you have one – you got to have the other[?] They are linked in some way, be it – cover art, band line-up / personnel, success, sound, lyrical themes and song titles, etc…
So, I’ll start with one of the easiest pairs of albums for me, and that is the first 2 Ozzy Osbourne albums [aka the Blizzard Of Ozz band]. 1980’s Blizzard Of Ozz and 1981’s Diary Of A Madman – the same band, written & recorded less than a year apart, for the same label. These 2 go together as a set, more than anything else in Ozzy’s career, and for me it was all downhill after these 2 albums. Both were major successes, and gave Ozzy’s post-Black Sabbath career a huge lift-off. (I’ve also added in some detail & recall).
“I went to a gig in London, and there was a band called ‘Girl’ playing, and they were a Jet Records band; Widowmaker had also been on Jet Records (as you probably know). I was looking for work myself, and I thought ‘well, it’s always good to put yourself around and see who’s about!’ I met Arthur Sharpe – who had been working for Jet Records, and it was Arthur who introduced me to Ozzy. Ozzy told me he was about to form a band and would I like to go up to his house in Stafford, and have a play, and he’d get a couple of local musicians in, and I said ‘Yes’. So I went up there, and he knew I’d just come from Rainbow; he said he liked my playing and would I be interested [?]. And I said ‘yes, I’d be interested in getting a band together with Him, but I wasn’t so sure about the local drummer and guitar player that he’d got in. And he said ‘OK, leave it to me, hang on a minute.’ And he walked out of the room and in to the studio that was in his house and said ‘OK guys – it’s not working out – Now pack up your stuff and go!’ [laughs]. And that was how he told them, which I thought was quite funny. Then he got on the phone to Arthur Sharpe and said ‘Bob and I get on like a house on fire, and the fire-brigade’s just left!’ And we went from there. He said he knew a guitar player that he’d met in LA called Randy Rhoads, so Jet Records flew Randy over and we started auditioning drummers…. He [Lee] was the last drummer we auditioned, and we must’ve auditioned 30-40 drummers at that time. We almost decided on 1 or 2, but they didn’t work out, and we had one more to audition and that was Lee Kerslake…. We auditioned down at The Who’s rehearsal place at Shepperton in London, and he perfect within the first number! I think the first song we did was ‘I Don’t Know’, and as soon as Lee started playing he just went for it ‘big time’, broke sticks, bits of sticks were flying everywhere, and Randy and I looked at each other and thought ‘this is the guy!’. He was like a bull in a China shop – he was perfect!” – Bob Daisley, 1999
To start you had a new band [for any doubters, look up earliest band photos] that featured the line up of Ozzy Osbourne [fired from Black Sabbath, but who had a distinctive voice and was a major character], along with Bob Daisley – ex of Rainbow, Widowmaker, and whom would pen most of the lyrics on the 2 BOZ albums], Lee Kerslake – the last to join, had been a huge part of Uriah Heep’s classic line-up having played on their biggest albums, And a young American guitarist named Randy Rhoads – Rhoads was a guitar teacher, and previously played with LA glam rock act Quiet Riot; he could play classical guitar, as well as contributed huge riffs and solos. He had a sound of his own, and as far as ’80s guitarists go, he was #1 for me – NO one sounded like him, or was as creative.
“He [Randy] was admittedly influenced by Ritchie Blackmore, Jimi Hendrix, and certainly Eddie Van Halen, you can hear a bit of the Van Halen thing in his playing. But he had his own interpretation, and he had a great musical background, having come from a musical family – his mom ran a music store and Randy had been a teacher for quite a few years himself. It really fell together right, the chemistry was right, we got on well as personalities.” – BD
Although the band would co-produce both albums, Max Norman engineered Blizzard, while serving as co-producer on Diary [while Lee & Bob were cut out of the credits on this album]. You had Don Airey playing keyboards on the first album, while Johnny Cook played on the 2nd [uncredited]. And even though the album covers aren’t very similar, they do feature what would become Ozzy’s classic logo, as well as a photo of Ozzy in some scary setting [with upside down crosses], taken by legendary rock photographer Fin Costello.
“That was the idea – to make it a sort of comic book image. It took on legs with ‘Diary Of A Madman’ and with ‘Bark At The Moon’… It worked in establishing Ozzy after the Sabbath imagery. It’s the same stuffed cat on the first two. The cover for Japan’s Tin Drum cover was shot on the Diary set on the first day of construction.” – Fin Costello
I can put on either of these albums any days, both feature 8 classic songs [OK, Diary features a short guitar piece by Rhoads titled “Dee” for his mom, and “No Bones Movies” may have been a later add on that isn’t quite as outstanding]. But, both featured killer intro songs [“I Don’t Know” vs “Over The Mountain”], followed by a classic rocker that would be the major hit single off the album [“Crazy Train” vs “Flyin’ High Again” and become one of Ozzy’s trademark tunes, followed by a ballad [or lighter track\ featuring Randy Rhoads on acoustic guitar [“Goodbye To Romance” vs “You Can’t Kill Rock n Roll”]. Each featured another killer rock song with lyrics based on dark subjects to kick off side 2 [“Mr Crowley” vs “Little Dolls”.] “Little Dolls” would feature 1 of 2 big intros from the drummer.
“It was just on the spur of the moment. And as we were writing it, and I went ‘I’ve got an idea for this’, and I did, as simple as that!” – Lee Kerslake, 2014
Also included would also be a fast paced rocker [one that is under appreciated IMO – “Steal Away” vs “S.A.T.O.”] , as well as an epic track featuring classical guitar and strings [or synths resembling strings] [“Revelation (Mother Earth)” vs “Diary Of A Madman”] – both have the band coming off like an metal orchestra! And not to be forgotten were 2 other fan favorite / classics [“Suicide Solution” vs “Believer”].
Unfortunately, the band would be split with Daisley & Kerslake being fired before the release of Diary Of A Madman [hence, no credits and a photo of the ‘new’ Ozzy solo band on it]. A shame there are no official live releases from the one UK tour this band did, though there was a 12″ Live EP released between albums featuring live versions of “Mr Crowley”, “Suicide Solution”, and the non-album track “You Said It All”. The BOZ albums stand above and apart from anything else Ozzy did in the years [and decades] to come, and I eventually lost interest.
“Over the Mountain, Flyin’ High …- They’re great tracks, they’re so different. And I was the first to ever put triplets in to an introduction of a song, also a single on Over The Mountain.” – Lee K.
Randy Rhoads was tragically killed in a plane crash on March 19, 1982. A live ‘tribute’ album w/ Randy was eventually released, featuring much of these 2 albums, but with Ozzy’s US touring band.
“He was a very dedicated musician; he practiced a lot, he was really in to music. He was a very young up and coming guy. I think he got an award as one the ‘best new talents’. He certainly was and still is an influential guitarist for that sort of music, and he certainly had a lot to do with the success of Ozzy’s career as well!” – Bob D.
Bob and Lee went on to join a reformed Uriah Heep after their departure from BOZ, and .bring some of that ‘heaviness’ and energy to the albums Abominog & Head First. Bob would return to work with Ozzy, while Lee stayed with Heep for the remainder of his career. The pair reunited for 2004’s Living Loud project [along with Don Airey, Steve Morse, and singer Jimmy Barnes] where they did an album which included a number of remakes from Blizzard Of Ozz & Diary Of A Madman. In 2007 Lee was forced to retire, due to health issues, and sadly passed away September 19, last year. He made record a solo album in his last few years [recently released] titled Eleventeen.
Following the loss of Randy Rhoads, Ozzy carried on – first with a live album of Black Sabbath tracks [guitarist Brad Gillis doing an excellent job], followed by 1983’s Bark At The Moon. By this time Bob Daisley had left Heep and returned to write [uncredited for a few more Ozzy albums]. Max Norman was also back for Bark At The Moon, and the live albums, as was Don Airey. I liked that album [Bark] at the time, to me it tried to keep to the pattern of the 2 BOZ albums, and Jake E Lee [who would also get hosed, as well as not credited for his writing] did a great job. But the album was less heavy and less consistent, as well as including the ridiculous sappy ballad “So Tired”. Bob would go on to work on Ozzy albums The Ultimate Sin and No More Tears, as well as record with Black Sabbath, Gary Moore, and The Hoochie Coochie Men. He also wrote his book “For Fact’s Sake”, published in 2013, which detailed his career, with plenty of insight and stories into his time writing and recording Blizzard Of Ozz & Diary Of A Madman, and generally setting the record straight about his years working with Ozzy – a must read, really. Don Airey would eventually join Deep Purple, and Ozzy would carry on recording solo albums [with one released last year]. and with much of his live repertoire reliant on classics from the albums the original band created. I haven’t bought an Ozzy album in years, [mainly, but] not just for it being that last few I heard sounded forgettable, but the treatment of former band members [Sharon once referring to Lee & Bob as ‘session players’], the re-writing of Ozzy’s early history by Sharon, and Ozzy’s overall rise to fame as a TV star / celebrity, with his ‘metal’ persona and music taking a laughable back seat were about it for me. I was happy to see him with Black Sabbath 4 or 5 years ago, but I’m done with adding to my Ozzy collection in this lifetime – unless I come across something already out there of the original BOZ band I haven’t heard or have.
Originally released in September of 1981, Allied Forces was Triumph’s 5th album, and their biggest success, and arguably the favorite amongst longtime fans. Besides 4 radio hits [including 3 singles], most notably “Magic Power”, this album also featured such rockers as “Fool For Your Love” and “Hot Time (In This City Tonight)”. The album charted at #13 in Canada, and at #23 in the US – where it stayed on the Billboard Top 200 for a full year.
Allied Forces would mark the band at their peak, with “Magic Power” becoming the band’s signature song, and a regular in the band’s setlist (along with the song “Allied Forces”) until the band split in ’88. “Fight The Good Fight” is one of the band’s classics that still gets FM radio play on occasion… (Amidst writing this I heard “Magic Power” on Buffalo’s 97 Rock). The band carried on with a great run of successful albums with 1983’s Never Surrender, Thunder Seven [84], and the more radio friendly Sport Of Kings [86].
from Radio & Records magazine, 11-82
FOR IMMEDIATE RELEASE: THIS YEAR, RECORD STORE DAY DROPS TAKES PLACE ON JUNE 12 & JULY 17, 2021, AND TRIUMPH HAVE BEEN NAMED THE CANADIAN AMBASSADORS
RSD EXCLUSIVE 40TH ANNIVERSARY BOX SET OF ‘ALLIED FORCES’ IS SET FOR RELEASE ON JUNE 12, VIA ROUND HILL RECORDS
One of the greatest and most successful Canadian rock bands of all-time, Triumph first rose to prominence back in the golden era when vinyl was king – and the preferred format of most music fans.
So, it makes perfect sense for Triumph – Rik Emmett (guitars/vocals), Mike Levine (bass, keyboards) and Gil Moore (drums, vocals) – to be named Record Store Day’s Canadian Ambassadors 2021 (previous Canadian RSD ambassadors have included Marie-Mai, the Trews, and the Sheepdogs, and RSD ambassadors have included Metallica, Pearl Jam, and Brandi Carlile, among others). To prove this point, the band will also be releasing a Record Store Day exclusive/40th anniversary box set of their classic 1981 album, ‘Allied Forces,’ fully loaded with rare archival content and assorted unearthed gems.
Record Store Day, the global celebration of the culture of the independent record store, takes place this year on June 12th and July 17th, 2021. And on the 12th the ‘Allied Forces’ 40th Anniversary Box Set will drop.
A rock music collector’s dream, the Round Hill Records-issued set will include:
Vinyl #1 : Picture Disc of Original ‘Allied Forces’ Studio Album Vinyl #2 : 2xLP ‘Live in Cleveland’ 1981 Vinyl #3 : 7” Single – Tribute 2021 Version of “Allied Forces” + “Magic Power” Live from Ottawa 1982 (Never Before Released) 11×17 Maple Leaf Gardens Poster (CANADA EXCLUSIVE) 24-page booklet featuring rare photos and behind the scenes. + ‘Allied Forces’ essay 40th Anniversary Allied Forces retro tour book 40th Anniversary Allied Forces retro tour poster 40th Anniversary Allied Forces retro tour pass Rik Pics (3 Hand Drawn Cartoons) Handwritten Lyrics (Magic Power, Allied Forces & Fight the Good Fight)
The trio’s first record to be recorded at their studio, MetalWorks, ‘Allied Forces’ spawned such rock radio hits as “Magic Power,” “Fight the Good Fight,” and “Say Goodbye,” as well as the title track, which became an automatic concert favorite. The album was also the highest-charting of the band’s career and earning platinum certification in the States.
“We’re extremely proud of ‘Allied Forces.’ It was the record that started the global rocket ride for us and we’re also excited to share with our fans some really great moments from our archives with this boxset” – Mike Levine
“Record Store Day Canada is thrilled to announce the legendary Triumph as the 2021 Record Store Day Canadian Ambassadors. They are one of the most respected bands in Canadian history and their music has stood the test of time. It will be exciting to hear and hold the 40th Anniversary ‘Allied Forces’ box set, being reissued on high-quality vinyl for fans worldwide.” – Ryan Kerr, Record Store Day Canada.
While Triumph no longer tours, the spirit of the band remains alive in not only this killer box set, but also, in a documentary and tribute record that are both in the works. And on June 12th, 2021, fans will get the opportunity to re-experience ‘Allied Forces’ in an entirely new way!
Picture Disc of Original ‘Allied Forces’ Studio Album
Allied Forces Track Listing:
Side A Fool for Your Love Magic Power Air Raid Allied Forces Hot Time (In This City Tonight)
Side B Fight the Good Fight Ordinary Man Petite Etude Say Goodbye
2 X LP ‘Live in Cleveland’ 1981 (remastered)
‘Live in Cleveland’ track list:
Disc 1 Side A Intro Tear the Roof Off American Girls Lay it On the Line Allied Forces
Side B Fight The Good Fight Blinding Light Show/Moonchild
Disc 2 Side C
Rock ‘N’ Roll Machine I Live For The Weekend Nature’s Child Drum Solo
Side D Instrumental Rocky Mountain Way Hot Time (In the City Tonight) Limited Edition 7” Single
Vinyl #3 : 7” Single – Tribute 2021 Version of “Allied Forces” + “Magic Power” Live from Ottawa 1982 (Never Before Released)
Record Store Day Canada thanks the following sponsors: Return To Analog Records, Nickel Brook Brewing Co, Warner Music, Microforum Pressing, Org Music, Sony Music Canada, GrooveWasher, Universal Music Canada, Whiprsnapr Brewing Co, Audio-Technica Canada, Paranoid Print Co, The Orchard, Return To Analog Records, IDLA, Light Organ Records, 604 Records, Megaforce Records, Unidisc Music, Aquarius Records, and Tacca Musique.
FOR IMMEDIATE RELEASE: ALBERT BOUCHARD, FOUNDING MEMBER OF BLUE ÖYSTER CULT, TO LIVESTREAM RE IMAGINOS IN ITS ENTIRETY PLUS OTHER CLASSICS SATURDAY APRIL 10TH.
Albert Bouchard is best known as a founding member of Blue Öyster Cult. The original line-up sold millions of albums for Columbia Records, with such classic songs as “(Don’t Fear) The Reaper” and the #1 hit on the Billboard Mainstream Rock chart “Burning For You”. Bouchard contributed to songwriting, drums, and lead vocals on some of their greatest songs, such as “Cites on Flame with Rock and Roll”.
‘Re Imaginos’ came out on November 6th though RockHeart Records / Deko Entertainment (ADA/Warner Music Group) and hit the Billboard Top 100 (#97), Albert’s first time back on the charts in 32 years. Now to celebrate the vinyl release of Re Imaginos which hits stores April 9th, Albert will be performing the album in its entirety plus other Blue Öyster Cult classics on Saturday April 10th at 4:00 PM (est). This special event will be streamed live from Deko Entertainment’s 2Trax Studios and is being hosted by Mandolin. Albert had this to say about the upcoming event, “I am very excited to perform this well loved and legendary album in order, in its entirety, for the very first time LIVE. There will also be a selection of deep cuts and a bit of improvisation incorporated into the performance. This event will be a unique live presentation of many songs from my Blue Oyster Cult and solo catalogues.”
To commemorate this one-time event you can pick up the Limited Editions Albert Bouchard Event T-Shirt, or any ‘Re Imaginos’ merchandise, and receive a 10% off code for the live stream. Manager Jeff Keller states, “When Albert and I started speaking about the idea of having a ‘Re Imaginos’ livestream concert, I was instantly excited about the possibility. Without the ability to take this to live in-person audiences right now, this was the perfect idea to get this performance out to everyone all over the world. The fans have been so supporting of this release and I can’t wait for them to see the show.”
There are limited edition “vinyl” bundles (while supplies last), which can be ordered via the Albert Bouchard Store, get your 10% off coupon code here: http://bit.ly/38JqKPA
Product Includes: – One (1) Albert Bouchard – Re Imaginos Vinyl (2LP) – One (1) Albert Bouchard – Re Imaginos Poster (Autographed) – One (1) Albert Bouchard – Drum Sticks (Autographed) – One (1) Albert Bouchard – Re Imaginos Guitar Pick
“Re Imaginos” Tracklist: 1. I Am the One You Warned Me Of 2. Del Rio Song 3. In the Presence of Another World (extended version) 4. Siege and Investiture of Baron Von Frankenstein’s Castle At Weisseria 5. Girl That Love Made Blind
6. Astronomy 7. Imaginos (extended version) 8. Gil Blanco County 9. Blue Oyster Cult (extended version) 10. Black Telescope 11. Magna of Illusion 12. Les Invisibles 13. Imaginos Overture (LP Only)
With the recent release of My Book Of Answers, and Ken no longer with us, I wondered who’d be out there promoting it. But, checking out youtube I see that Ken’s manager and friend Steve Weltman was doing a fine job in a few interviews I watched, so I sent Steve some questions in hopes that he [or someone] could drop me some responses, which he kindly obliged. *Check out my review posted a few days ago My Book Of Answers, and at the end of I’ve included links to other interviews from youtube with Steve Weltman – all very informative and interesting listening on his time with Ken, as well as some of earlier career in the music business – which included his start making tea for The Beatles, working [and running] Charisma Records, as well as being at RCA in the late ’70s and working on a number of David Bowie albums – Low, Heroes, Scary Monsters and and Stage.
*image from "Lost (My Guardian)" video.
Can you tell me about the main band that played throughout this album – Tommy Lopez, Izzy Cueto, and Moises Caruzo? And how they ended up working with Ken on this project?
Ken knew these players purely through his time in Spain and that Tommy knew them. [*Note: Tommy Lopez also played on Ken’s The Last Dance and Cold Autumn Sunday]
What were the first [few] tracks put together for My Book Of Answers? And at what point did Ken decide he was going to make a full album of Vladimir’s poems?
The first poems Ken worked on were “Stand” and “Silent Scream”. Soon after the first home demo of Stand and then the recording of the same it became clear it would form the core of a new album.
How fast were these songs put together, once things got going? [Any time frame of the whole recording?]
Ken started work on ideas late 2019 and the recording period was on and off up to June 2020. After this mastering and artwork were planned.
With everyone’s parts being recorded separately, how were songs presented and discussed – whether they’d be upbeat, rockers, ballads… ?
Once Ken had formed the song and it’s direction then he discussed with all involved in each song what he was looking for.
What is the vocal effect used on Ken’s vocals on “Lost”? and who or why was this done?
Ken wanted his voice to appear “Lost”. The effect is just a plug in.
“Right Here Right Now” musically is really Uriah Heep’s “The Hanging Tree” (1977). I am curious how this 1 was brought up?
Ken was working on the poem from Vladimir for this song and felt it would work really well, as it did. Highly regarded in various reviews of the album.
I really like the added heavy guitar at the end of “Right Here, Right Now”, as well as the guitar sound in “The Cold Sacrifice”. Was there a good bit of input from the players and back & forth on what would work in each song?
Ken had definite ideas for these parts but of course gave Izzy room to interpret.
The backing ‘choir’ on “Stand” really adds to the song. Was this Ken’s idea and how was it arranged?
Ken wanted backing vocals but given the virus was not sure how to go about this. I suggested the three girls who I had worked with on other projects and two of them with Ken. Ken wanted to use Roberto also who of course is from Live Fire.
They all recorded their parts at home and filmed themselves on their phones for us to use in the video.
David Gonzalez plays piano on a couple of tracks – particularly the intro to “The Darkest Hour” stands out. Who was he and how did he become involved, as opposed to Ken playing any piano himself? [There was another piano player as well]
When it came to recording Ken was always happier when someone else played the piano. Again as with other players he was aware of him locally.
Tommy is credited with strings on a few tracks [and keyboards] – curious how the strings came about and if they’re real or done through a keyboard program?
Strings on the album were programmed by Tommy, but for the concert we used real players. Strings were absolutely Ken’s idea.
Was there any tracks leftover from the making of My Book Of Answers?
There was not.
Can anyone offer any insight in to the cover art [and/or the person who created it]? And the packaging concept by Hugh Gilmour? Was Ken a part of the packaging/art choices?
The Russian artist is known to Vladimir and Ken. The insight was just an interpretation of the title. We have worked with Hugh before and the package was his idea but of course discussed and approved by Ken.
There was a live performance of the album!? When was this and was it filmed or recorded for possible future viewing or release? [Was the entire album performed?]
There was a show performed in October 2021 of the entire album with all the musicians (including strings) but not backing vocals (on Stand). It was recorded and filmed. We will start looking at it during the year ahead.
After years of recording with bands such as Snakes In Paradise and Razorback, as well as playing alongside Whitesnake alumni in The Company Of Snakes & M3, as well as The Don Airey Band, Swedish singer/songwriter/guitarist and producer Stefan Berggren has just released his 2nd solo album in 5 years. These Are The Times is a solid collection of blues rock songs, including the first track released “Wild Flowers” [featuring Don Airey of Deep Purple], “Superman”, the heavier “Burning Burning”, as well as lighter moments “Lost At Sea” and the country-sounding “New York” [complete with fiddle]. Love the title track as well, which is closer to old Whitesnake or Purple. Well worth checking out.
Below is my recent exchange with Stefan, discussing his new album, his other more recent projects, his time in New York and the late Lee Kerslake, *Also check out the links below!
First, how have you been doing during CoVid lockdowns? Keeping busy with new projects or non-music stuff?
I been working hard on my solo album; I am so happy that I made it. There is always a sense of achievement when it’s finished. I decided already in 2019 that I was going to work on new original material the whole 2020. So the pandemic has been good for that. But there’s absolutely nothing to do, no gigs. I believe I had the last gig on earth. My band played the last gig November 23, 2020.
Last time we connected was upon release of the album you did with Lee Kerslake. These Are The Times is your 2nd solo album since then, and you also did another Snakes In Paradise album[?] in 2018 [first one in 16 years]. Can you talk briefly about these 2 albums?
My first solo album Stranger in a Strangeland was ready before BKB. I put that [solo album] on hold when I met Lee, because we wrote some good songs together and we knew Lee’s time was limited. I am very proud of the BKB album. Afterwards, Lee became more and more ill so I decided to focus on my solo album. I had Bernie Marsden over to Stockholm a couple of times; he laid down guitars on 2 tracks – “Coming Home” and “Long Gone Down The Road.” All of the guests on the album are friends, musos I met along the road and enjoyed playing with — Neil Murray from Company Of Snakes and M3 played bass on one song. Snakes In Paradise did one gig at Rock Weekend in Stockholm, as the Promotor gave us an offer we couldn’t refuse 🙂 After the show I sent a song to Serafino at Frontiers; he liked what he heard and offered a deal immediately. It was a difficult and complicated recording as we all live very far apart. We might do one last album with Snakes In Paradise and do some farewell gigs for our fans. Our old songs have taken a life of their own.
rom Stefan Berggren Music Page, [fb]
When was the new album written & recorded?
I started to record These Are The Times in 2018, so it was written and recorded between autumn 2018-2020. The reason it has taken time is I played gigs all over, all the time – to pay the bills 🙂
Grand Jam is your own studio / recording company !? Have you worked [produced ] many other acts?
Yes, I had my own studio since the ’90s. But now I mostly produce my own stuff; there is no time for anything else, really.
You’ve worked with Don Airey in the past. He adds a lot of sound to the lead off track “Wild Flowers“. Can you tell me how that particular track came together, with Don?
I was thinking of having the Don guesting on my album as we played many shows together. He always plays like a beast, so “Wild Flowers” was a perfect fit for him. It turned out so well. I almost did just a keyboard and vocal mix, without bass and drums.. We’ll see 🙂
One track that stands out is “New York“, as it’s such a different sounding track here – very almost blue-grass or country sounding. Can you tell me a bit about how that song came about and the ideas or influences that went in to it?
I did a rock opera with Corky Laing (Mountain) in New York, ”Playing God” was it’s name. We played it at Kaye Playhouse, on Park Avenue. I stayed for 3 weeks in New York both in Green Port, Long Island & at the hotel – The New Yorker. The lyrics are about my experiences and observations I had, for example – sitting on a bench in Central Park watching people on their way – walking or jogging, (while having a drinky). New York is special, everyone wants to be a star. Stephen Bentley-Klein plays fantastic fiddle on it, to get the Pogues & Bob Dylan vibes. Believe me I played plenty of Irish bars to be able to do it authentic 🙂
There is a lot of good blues based rock on These Are The Times. Can you talk a bit about your own sound / direction as a solo artist, where as many years ago you’d started with ‘metal’ acts like Razorback and One Cent, and have covered a lot of musical ground over the years with various recordings and live bands.
I always try to capture the sound that is going on around me. But sometimes I just had to pay the bills. I never sing a song that I don’t like – that’s a rule I have. Nowadays I just play my own Root Rock. And what’s relevant for me. As for my sound – I use analog hardware gear such as my Rupert Neve5060 a analog 24/2 mixer as mothership. Plus Neve 1073dpx Neve 8801 and universal audio 6176 plus neve master buss processor, Polar stereo VCA compressor. Real drums, Fender, Martin & Gibson guitars and Neuman mics m149, a vintage 1969 u87 plus more . cool stuff gives a warm, fat sound.
Any antidotes or inspirations on some of the riffs, recordings, or lyrics?
Little Angel – I see myself driving a old Cadillac through America. Superman – Just good blues > Pomma bass & Johannes Nordell kills it on the drums. Very groovy. I play a Les Paul. These Are The Times – was written before the pandemic; 2019 was a great year for me, I was in a good flow. Now with the vaccine I’m hoping for better days. So it’s starting to be a high time with the release of the album. Joakim Svalberg (Opeth) plays fantastic keys! Happy – I was in a good mood, on a sunny day 😎
This album also has a vinyl edition. Curious if you’re much of a collector and what you prefer to listen to at home?
I got my old vinyl collection and Stig Carlsson (genius) vintage speakers – it sounds great! These days I put on an old vinyl album when I’m cooking or having a glass of wine. Right now I’m listening to Queen Innuendo, then maybe Rick Rubin’s albums with Johnny Cash – Fantastic sounds!
Regarding The Sun Has Gone Hazy album you did with Lee Kerslake – I thought it was a really good album, but deserved more attention than it got. I am curious what might be leftover from those recordings [songs, edits, video] And if you might consider getting it reissued with anything extra, possibly even on vinyl?
Thanks! I think it would be great on vinyl, but it is really expensive to print vinyl. I have some leftover takes and ideas, picture films. If I can sell pre-orders to cover the cost, it could be a good idea. The sound on The Sun Has Gone Hazy is big, fat and warm, just the way I like it. Both Lee and I were very happy with it.
Did you have much contact with Lee in later years or hear any of his solo project?
Yeah ,a couple of months before he died, Lee had heard I was really ill with Covid 19 (double sided pneumonia), So he phoned me up and was worried. We had long nice chat. so it was a good closure. It hit me hard when he died. We spent a couple a years playing and writing together. I am proud to call him my buddy. He had to do his solo album, I liked it a lot! “Port And A Brandy” and “You’ve Got A Friend” are my favorites.
Also, I gotta ask – you performed 2 shows fronting Uriah Heep a few years back. How did your name come up for that and how did you like that show? Any favorite Heep tracks you particularly enjoyed doing?
Heep played on the same bill I did with Don Airey at Bilzen Rock in Belguim. They watched the gig from the side and liked the voice. The opportunity came up when Bernie had to have an operation. They snooped around and asked if I was a cool dude; they all said I was a keeper. I did 2 shows with them. Rosenheim, Germany, and one in Sibiu, Transylvania. Great Band and chaps! My favorite songs are “Bird Of Prey”, “July Morning”, “Easy Livin'” and “Sunrise.”
from Stefan Berggren Music Page [fb]
What other projects do you have in the works? Any band or solo things being written or recorded in the near future? With Covid restricting live shows, would you consider doing a live webcast [?] performance of some of the new album to promote it?
I was hoping doing shows this summer with these songs; we’ll see. In the worst case scenario I may go live on Facebook 😉 There will be gigs, it’s just a matter of time. My focus right now is with my solo band; I’ve got some heavy boys playing – watch out! If the right offer comes along I am willing to jump on the train. I will put in time to promote the album, slow but steady.
Alice Cooper released their first album for Warner Brothers in March of 1971! Alice Cooper – the band, consisted of Michael Bruce [guitar], Dennis Dunaway [bass], Glen Buxton [guitar], Neal Smith [drums], and Vincent Furnier -aka Alice [vocals]. Love It To Death was the band’s 3rd album, after their first 2 albums had only been issued on Frank Zappa’s Straight / Bizarre label. Those albums were commercial flops, yielded no hit singles or songs that would last in the set-list beyond 1971. But, that’s not to say that neither Pretties For You or Easy Action don’t have their fans – there are a few memorable songs to longtime fans on each, with “Reflected” & “Living” [both issued as the single A&B], and tracks like “Shoe Salesman”, “Mr And Misdemeanor”, and “Beautiful Flyaway” from Easy Action. Heck, the 2nd album is a fairly underrated gem in the AC catalogue. Anyway…. Seeing the success that Canadian band The Guess Who was having with singles, the band’s management eventually persuaded Jack Richardson of Nimbus 9 Productions to produce the band, along with Bob Ezrin, who worked under Richardson. Ezrin would refine the band’s sound, with the band doing a great job at penning those catchy & memorable 2 and a half to 3 minute rockers, which made for a few good potential singles, IMO. The results of working under Ezrin were immediate with the hit single “I’m Eighteen”, released late in 1970, and which became a hit in the spring of 1971- reaching #21 in the US, and #7 in Canada! It was the anthem for those turning that age and crossing in to adulthood. And in the summer of 1971 both Ontario and the state of Michigan lowered their drinking ages to 18!
And although that would be the album’s only major hit single, it put the band in the album charts where it made the Top 40 in Canada, the USA, and the UK. As well Alice Cooper were on their way to become one of the biggest Hard-rock acts of the 70s, along with tales of their stage theatrics – they’d become huge, featuring in the major music magazines, and newspapers wherever they played. The album’s first track “Caught In A Dream” [penned by Michael Bruce] was issued as the next single, but just broke the Top 100 in the US. This is my favorite song on the album, and some of Alice’s best lyrics – “You know I need a houseboat and I need a plane / I need a butler and a trip to Spain / I need everything The world owes me / I tell that to myself And I agree” . The B-side to “I’m Eighteen” was “Is It My Body”, another fan favorite, and [like “18”] was also co-written by the entire band.
Love It To Death would include cool rock t in “Long Way To Go” [Bruce] and “Hallowed Be Thy Name” [Smith], and there was “Second Coming” [by Alice] featured Ezrin on piano and a heavy marching drum with Alice singing some biblical words – Time is getting closer / I read it on a poster / fanatical exposers on corners prophecy/ It would be nice to walk upon the water / to talk again to angels at my side / I just come back to show you all my words are golden / so have no gods before me – I’m the light. – I often wonder what inspired Alice to write this one, baring in mind, he generally avoided any serious lyrics about religion [until later in his solo career]. “Second Coming” would segue in to the band’s tribute to American actor Dwight Frye in “The Ballad Of Dwight Fry”. Frye often portrayed villains and characters with mental issues; he died at the age of 44. “Black JuJu” [penned by Dennis Dunaway] was a lengthy track where Alice would quietly repeat the lines “the body needs rest”, as if to hypnotize the listener, before screaming at them to “wake up”. The album ended with a rock arrangement of the 1962 hit “Sun Arise”, by Australian Rolf Harris; this song was used as the band’s show opener back when they went out on tour for this album.
Love It To Death featured a black & white jacket with a photo of the band on the cover with Alice wearing a robe. Originally, Alice’s thumb stuck out in the robe, so fearing it could be seen as something else subsequent prints of the album airbrushed the thumb out. “Eighteen” would go on to become one of Alice Cooper’s most loved classics, and would remain in the band’s live set, as well as Alice’s solo show permanently. “The Ballad Of Dwight Fry” & “Is It My Body” would return to the live show many times over the years, and in 2000 Alice brought back “Caught In A Dream” to the live show.
This album was the beginning of the band’s reign in the early ’70s, with a string of hit singles, and 5 big selling albums [3 of them Top 10], which they peaked with Billion Dollar Babies in ’73. Love It To Death remains a favorite for many early Alice Cooper fans.
Alice Produced By Richardson TORONTO -Canadian producer Jack Richardson recently completed his first sessions with Warner's Alice Cooper. Richardson, who also cuts the Guess Who, was aided in this assignment by Bob Ezrin of Nimbus 9. An album. "Love It-to Death," is to be released in mid- February, and a single, "18," is already picking up strong airplay in both the U.S. and Canada. Alice Cooper will be headlining Toronto's new Fillmore Market on Jan. 26. Richardson was hired directly by Warner Bros. in the U.S., making it one of the first occasions where a U.S. label has assigned a Canadian producer to an album project.
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cool stuff gives a warm, fat sound.
Outsider Rock 