Blue Coupe is the classic rock trio of Joe Bouchard & Albert Bouchard (ex Blue Oyster Cult) and Dennis Dunaway (original Alice Cooper, Hall of Famer and author)
November 9 happens to be Joe’s birthday and on November 11 the brand new Blue Coupe album – “Eleven Even”, the band’s third – will be released! I love the bright cover art and the first song released via YouTube just a few nights ago! Very much looking forward to this.
I’ve included the link to the brand new track, my previous interviews with Joe, Albert, Dennis, and the late John Elwood Cook (check ’em out), and classic Blue Coupe tracks
Also check out- http://www.bluecoupeband.com

https://outsiderrock.wordpress.com/2017/11/13/joe-bouchard-playin-history-interview/

http://www.travellersintime.com/UniversalWheels/bouchardinterview.html

http://www.travellersintime.com/UniversalWheels/Bouchard2012.html

http://www.travellersintime.com/UniversalWheels/JohnElwoodCook.html

http://www.travellersintime.com/UniversalWheels/DunawayInterview.html

http://www.travellersintime.com/UniversalWheels/Bouchard2013.html

KJJ, 11/19

As I recently wrote about, Canadian rocker Carl Dixon [of Coney Hatch fame] has a new solo album to be released in November. The album “Unbroken” is his first solo rock album in 18 years. It is also, as Carl details, very much a collaboration with German musician Robby Boebel [of Frontline & Phantom 5]. Below Carl discusses the making of the new album and the songs, as well as drops plans for future projects and shows.

For more on Carl and ordering info for Unbroken go to – http://www.carldixon.com
Also, find him on Facebook.

What initiated the whole project – to record another rock album? [when we spoke after CH4 you said you didn’t know if the world was ready for another Carl Dixon solo rock album] 🙂

I was ready to do another Rock album now; I like all music if it’s good. Somebody asked me nicely! There’s a German label called AOR Heaven, and it’s run by Georg Seigl. I met Georg at Firefest 2011 in Nottingham England, when Coney Hatch performed there. He was the first to offer Coney Hatch a deal for a reunion album. We ended up doing it with Frontiers instead, but I stayed in touch with Georg and it was his request for me to do a new Carl Dixon album.

How did idea to with Robby Boebel come about? Why let someone else produce as opposed to doing it yourself?

I stayed in touch with Georg and it was his request for me to do a new Carl Dixon album with Robby – who is a well-known guy in Germany and Europe. That was the deal – to work with Robby as the producer; although in fact we co-produced to a large extent. Robby said to me “I don’t like this word ‘Producer'”

Did you guys ever meet in person or was everything done through correspondence / computer?

It began as e-mails with song ideas attached, then we started having Skype calls to work things out but we’ve never actually stood in the same room, no.

What all did Robby Boebel do – as far as co-writing, guitar, keyboards?

Robby worked up instrumental song demos, then did the final guitars and keyboards after the songs were written.

Can I assume you wrote most of the lyrics!?

Yes, I wrote all lyrics. It was easier than I expected, Robby kept putting really good music ideas in front of me.

Where & when did you record your parts [vocals, guitars]? How were the final tracks put together?

There’s no guitar playing by me on this album. All the vocals were recorded here at my studio and sent to Germany; “Away ya go kids, have a nice trip!”.
Robby mixed it all at his place in Nuremberg.

Strange feeling not playing any of the guitars!?

It was actually a neat change to not have so much responsibility, but rather enjoy responding to someone else’s ability.

Drumming was shared by Mark Santer and Dylan Gowan – how did that work out? [Dylan related to Lawrence?]

It worked out fine; neither drummer could commit to the full slate of songs, so I split it up between them. Dylan is Lawrence’s son.

Talk about some of the tracks –

My Love & Hopes For You – closest thing to a ballad here. Personal topic ?

I won’t go into the personal story behind it, although every song is personal to the man or woman who writes it. All My Love and Hopes is an expression of the longing we feel when we lose touch with somebody we care about but still feel the love for them.

Nothing Lasts Forever – about Coney days. Love the use of CH titles. Did you have a bit of fun with this one?

Yeah I really enjoyed writing and singing Nothing Lasts Forever. I hadn’t intended to write “The Story of Coney Hatch” when we began this album but the Hatch guys are among my oldest friends. I guess I was feeling a bit nostalgic as I worked on a rock album without them, so one of Robby’s music ideas just lead me there.

This Isn’t The End – about anyone?

This Isn’t The End actually sprang from a couple of lines I had written on the back of an envelope back when Coney Hatch was winding down in the 80’s: “Brothers we became, and brothers we will stay, but brothers now the time has come for me to go my own way”. I wrote the rest of the song after I heard the music track from Robby, and it’s a bittersweet kind of feeling in the lyric. “I’ve gotta go, but I’m sure gonna miss you”.

Keep The Faith? Unbroken? – Songs inspired by current happenings out there [!?]

Yes, especially Unbroken. That was the first song I wrote for this project and it is definitely a response to the maddening events of our times. Keep The Faith, the key to that song is the line “No matter how we’re tested, hope will endure”.

Drive Just Drive – Love the harder-edged tracks, a song of frustrations?

There’s a long line of Rock songs that are saying “Let’s Get Outta Here!” Or maybe it’s just me…

Summer Nights – fun tune, the most ’80s feel on here [?]

If this was the 80’s Summer Nights would be the first single to radio from this album! I love the story in the lyric.

Every Step of The Way & Bowl Me Over – My 2 faves here.

Good choices. Most of the lyrics on this album are inspired by the feelings I have for my Australian wife Helen, and the stories of what we go through together.

Can’t Love A Memory is the most recognizable Carl Dixon tune here – and easiest to pick as lead off track — Fair statement? Where did this track come from?

Funny enough, Can’t Love A Memory was the final song written for the album, and for sure one of the strongest. Robby and I really got into a rhythm of understanding each other in the songwriting as the process went along. That one came out when we realized we needed one more song, and I consider it one of the best ones here. It’s about recognizing that being stuck in the past or on an old feeling is pretty unhelpful when it comes to building your life. Life is meant to be lived forward.

What other projects on the horizon – solo or band stuff?

Always new things on the horizon! I’m compiling an album of unreleased recordings and demos, kind of like Pete Townshend’s “SCOOP” releases, that will bring to light some good things that never made it to albums yet.
Robby and I are already discussing a follow-up to Unbroken for a year from now.

Canadian distribution for Unbroken – will it be in Sunrise? Who’s distributing here? Be cool to see it on the shelf!

I don’t know any details yet, but Sunrise is a good idea. Album distribution is such a scattershot thing these days!

Do you foresee plans to play this material live -be it here or in Europe [if there are any invites]?

Yes, I’m working on European dates next year for this. There doesn’t seem to be a Canadian market for such shows.

Do you think all the changes that you went through after your accident, and with your recovery — that your outlook on life has changed in that you’re more open and more willing to take on more chances and try new projects that perhaps you may not have considered years ago?

Certainly it has. I am open to everything that might be enjoyable now. Life is fleeting. Why hold yourself back? I dabble in a lot of things, excel at a few. It’s fun.

Happen to have a ‘bucket list’ of players you’d like to work with [within reason]?

Many of the people I would have put on such a list have left the planet. Simon Kirke – I’d love to record some tracks with him on drums. Lee Aaron – she’s an old friend and I’d love to record a duet with her.
I wrote a song once that I hoped to get Rik Emmitt and Lawrence Gowan to sing with me; still waiting for that one.

What are you in to [listening] these days?

Miles Davis – all phases of his output; Baroque masterpieces; Bad Company- Straight Shooter; UNBROKEN!

https://mail.melodicrock.com/tags/carl-dixon

CARL DIXON Solo Discography:
One – 1993

Into The Future – 2001

One Voice, Two Hands – 2003

Lucky Dog – 2001

Snow – 2013

Whole ‘Nother Thing – 2017

Interview Oct. ’19
KJJ

It has been 18 years since Carl Dixon released his 2nd album of rockers – “Into The Future” was a solid follow up to his debut “One” from ’93. Much has happened since then, including a near fatal car wreck, a string of non-hard rock albums, sporadic Coney Hatch reunion shows, and reunited Coney Hatch studio album 6 years ago! Oh, and an autobiography! Life has changed a heck of a lot, and Carl’s taken up different projects, but rest assured – for those of us that still get out to any Coney Hatch show we can, and love throwing those albums – as well as Carl’s first 2 solo albums on in the car and blasting them out – you will be thrilled to hear “Unbroken”! 11 brand new songs – no filler – just plenty of hooks, melodies, memorable choruses, and lots of guitar driven rock n roll .

for more info and to order – check out http://www.aorheaven.com and http://www.carldixon.com

Unbroken is a collaboration between Carl Dixon and Robert Boebel – producer. Boebel is from the German band Frontline [songwriter, guitarist, keyboards…], so no doubt plays a major part in the outcome here. Mark Santer [of Santers band] is the only player retained from the ‘One’ days here, Dylan Gowan shares drum duties, and Hutch Bauer [also of Frontline] fills bass duties.

“Can’t Love A Memory” is the lead off track on Unbroken, an easily likeable uptempo rocker. “Nothing Lasts Forever” is Carl reflecting on his ’80s Coney Hatch days, a nice tribute to the band and it’s few years on a few major tours and mtv; a pretty honest and cool rocker, i like the Coney titles dropped in as the song fades out. This album really rolls on smooth, with a variety of tunes that keep listeners coming back, nothing I want to hit the forward button on! Favorites include “Bowl Me Over”, “Every Step Of The Way”, “This Isn’t The End”, and “Drive Just Drive”. “All My Love and Hopes For You” is a personal song, and the only ballad here [and it’s not too soft]. Unbroken doesn’t fade off, as tracks like “Keep The Faith” and “Unbroken” – both cool rockers, with a message.
Anyone who’s enjoyed Carl’s previous rock albums and his work with Coney Hatch won’t want to miss this. He still has a lot to say musically and lyrically, with the performances, unmistakable vocals, and bright production here – [for me] it’s the strongest of his solo releases; I’m looking forward to many hours of this in the car CD player. Canuck rock is still alive and well!

AOR Heaven has also remastered & reissued Carl’s debut solo album “One”. It features gems like One Good Reason, Good Time To Be Bad and Little Miss Innocent, as well as 2 bonus tracks! For more info check out – https://www.aorheaven.com/index.php/englisch_b/dixon-carl-one-2-digitally-remastered.html

KJJ.
Oct. ’19

The new release from Bernie Shaw & Dale Collins is now out and available on vinyl & CD, download, etc.. It is a solid album, and definitely something Uriah Heep won’t want to miss — but you can read my review elsewhere around here.
In this interview – Bernie and Dale answer questions about the songs, the recording, and how Too Much Information came together.
Enjoy the read.

Check them out on Facebook : https://www.facebook.com/BernieShawDaleCollins/

For ordering :
Amazon CD: https://geni.us/TooMuchInfoCD
Amazon LP: https://geni.us/TooMuchInfoLP
iTunes: https://geni.us/TooMuchInfoiTunes
Google Play: https://geni.us/TooMuchInfoGP
Spotify: https://geni.us/TooMuchInfoSpotify

The Picking Locks CD came out 20 years ago. Wasn’t it always sort of ‘the plan’ to work those songs in to a full length album?

Dale : yes and no … there was initially a plan to follow them up with an album of new material… but schedules kept making it difficult.

So, it has been 6 years since you guys were in contact to complete a full album!? what initiated that? And how did the record deal come about?

Bernie : I was approached by rep of Cherry Red Records to see if l was interested in recording a album outside of Uriah Heep. My first reaction was to contact Dale and see if he would be interested in doing a whole album with me. Like before , he would write the songs, l would do all the vocals and harmonies. So it turned into a ‘project’ album for the both of us , not a ‘solo’ album.

Dale : I was approached by Daniel Earnshaw, and Bernie 6 years to the day before our release and asked if I would be interested in doing an album . It was originally pitched to me as putting re masters of our EP tracks and single along side some tracks Bernie did with another member of the former ” In Transit”.
I was really not interested in such a mixed tracks idea and responded that Bernie and I had always planned to do an album of our own, and if we make an album that is what it should be.
After some discussions and planning it was decided we would indeed do our own album and eventually it was decided that it would include re recordings of some of our previous works along with some new songs.

Dale: Since Picking Locks, what have you been doing musically? Any other projects? Gigs? Bands?

Dale: Yes I have another recording project here in Canada , as well as some cover bands I play with now and then.
My other recording project is called Sleeping Dogs Lie. It was formed after Bernie and I did our first recordings and includes the drummer Don Restall from In Transit and the EP, and six of the songs on Too Much Information, as well as singer /songwriter Trevor Richardson who co wrote the lyrics for Alone from Too Much Information. We toured for some time including events for Canadian Biker Magazine. We also did some recordings and released two singles early on. I then relocated to another province of Canada which put the project in hibernation for a few years.

Bernie: there’s been some lulls in Heep’s recording time [such as from Sonic Origami to Wake The Sleeper]. Had this project or any other side projects not been brought up during that period?

Bernie : It might seem like a ‘lull’ to you, but in actual fact, that is when the internet went mad, Napster was being sued by Metallica, the whole music business went nuts. Nobody was really signing anybody, record companies were amalgamating , going bust. The entire music scene was a mess. We had all these songs in the bag , and no home. So believe me, if Heep weren’t being offered a deal, I sure as heck wasn’t either.

First, pretty eye-catching and clever album cover art. can you tell me a bit about where this came from and explain it a bit? Was it previously existing or created for this project?

Bernie : No, we were just very lucky. We had the idea of ‘too much information’ being the name of the album, so l went on the web. Public art pages. Hundreds of them. I spent hours looking at literally thousands of images. And then l saw ‘him’. The rusty mechano man sitting in the middle of nowhere . Just wanting to get away from it ALL. WHY? TOO MUCH INFORMATION ! it fit like a glove to what l thought the message was. It’s not metal. It’s not dated, it just GOOD ART. and l love it… very classy, and puts the message across.

Dale : I am very pleased with the way the art work turned out although I had something very different in mind at the outset. I had envisioned the concept of All The Kings Men and a picture of an old castle. This was based on the fact that we were making this album from 3 different areas of the globe. I being in the prairies of Canada, Don being on the west coast of Canada, and Bernie and Daniel being in the UK, as “all the kings men were spread across the globe.
However when Bernie discovered the current art work and suggested the title Too Much Information , it seemed to fit just right. The image of the man holding his head as if overwhelmed with information was a great fit with the title track ; Too Much Information. I love the image and brightness of the cover that was chosen.

Hey Jimi and Here We Go were both on Picking Locks, and [I Believe] Sad Song – were all written at the same time [!?]. Did you make any major changes to them for the album?

Bernie : Not really, a good song is a good song. You don’t have to change it. Maybe just re-record it with better equipment in a better studio etc. But it pretty well stayed the same. I might have tried a few different harmonies , but really thats about it.

Dale : In fact I made a serious effort to be faithful to the original songs when recording the instrument tracks. Before composing solos for the new versions I went back and re learned note for note the original solos I had done to be sure I knew them exactly right. In this way I could be sure that even if I re wrote parts of those solos, they would retain their original intent and emotional direction. I also stayed as close as possible to the original arrangements. This was important to me in part because the songs had a long standing history with our fans, which I did not wish to betray.

Sad Song seems to be a perfect type of ballad for Bernie’s voice and might’ve been a big radio hit at a time. What can you tell me about this song – lyrically, and putting it together [great production]?

Bernie : I’ve always loved a good ballad. Especially if l can get under its skin and make it mine. That song is just one of ‘those’ songs. The message, melody, lyric. That’s my cup a tea! With a song like that, it’s not what you put IN to it, it’s what you leave OUT. let the song breath…
Loved the way it turned out.

Dale : Actually Sad Song was written years before Bernie and I met as a result of something I witnessed while living in Victoria. A tragic accidental event that took the life of a young woman, and involved a young man quite like the character of the one described in the lyrics.
On the original version I played the piano track, and felt it was lacking in expression. This time around a good friend and wonderful piano player named Jason Gardenits came in and put down the piano for the song. I Love what he did !!

Alone is my favorite track here. An almost Iron Maiden-ish intro, but quite a nice melodic tune. Where did this song come from and co-written with?

Dale : Alone was part of the Sleeping Dogs Lie live show but SDL never recorded the song. It always got a especially good reception at the shows. SDL singer. Trevor Richardson originally wrote the lyrics , of which some were re written for the recorded version on the album. It is a basically a song about a broken relationship and moving on from it, as well as the need to move on from it, and that time when the recognition of that need becomes clear to a person or indeed both persons in the relationship.

So Many Times is a great opener; love the guitar intro. This is the one song co-credited to both of you. Can you tell me a bit about where the guitar intro came from, lyrical idea, and how this song worked out between the 2 of you writing-wise?

Bernie : The song is basically about self doubt. But with the help and guidance or believe of a friend, it can all come together . But it can also be so ‘ in your face’ that you can’t even see it. I was in a very ‘Doobie Brothers’ head space on the lyric. You know when they used to almost to on a spiritual song? ‘Jesus is just alright with me ‘. ‘jericho’. Finding something, but then just letting it slip from your hand.

Dale : I had originally written the song with lyrics. However the only part of the lyrics I liked after reflection was the chorus ( “So Many Time I found You” ) That line seemed to strike a note with Bernie, and we both liked the song musically, so we decided to include it and the rest of the lyrics were written by Bernie.
I recorded four different guitar solo intro bits and could not decide which one to use. So I played them all for my fiancé Michaela, and she picked the one that is on the album.

With reference to the title track, and a few others – where do lyrical ideas come from?

Dale : Lyric ideas , for me, always come from life and life experiences. I think that lyrics are basically stories and stories are usually best when told in a way that the listener can identify with them because he/she can relate them to some experience or emotion that they them selves, or some one they know , have been through.
Too Much Information is about seeing some one in a positive light while forgiving the dark or unpleasant sides to their character, and reaching that point at which one knows Too Much Information and can no longer view that person in the same positive light despite trying to. It also speaks to the effort to forgive or ignore those darks sides until a point where that is no longer possible, and self preservation becomes more important.
Hey Jimi is a kind of question as to what Jimi Hendrix would think of the immense legacy he left despite his apparent , from some accounts, wonder about why all the excitement over what he was doing. It is also a tribute to that legacy.
Here We Go is about war and the sadness and senseless destruction that comes of it. . The ending was extended for the album version, making the song longer, which considering man kinds’ never ending return to war as a means of trying to solve or change things, seems fitting.

Was the music on TMI completely done before any vocals were recorded? Was there much discussion on details like harmonies, final mixes, track running order? [How was this stuff decided upon?]

Bernie : Completely independent. Dale wrote and recorded all the backing tracks in Canada, then l took them into the studio the Heep have recorded the last few albums in, with the engineer who’s worked with me for 12 years and we came up with lyric lines, some new, some true to the original, the l came up with all the harmonies and bv’s on the spot. Good fun, great experience, but boy, not as easy as when l had Phil Lanzon just firing them off the top of his head. Very proud of the outcome though.

Dale : Bernie was of course familiar with the four songs we had recorded earlier and so he knew all the vocal parts and took those songs from that point vocally. For the new material I sent demos over with me singing the songs to demo the vocal melodies I had composed for the lyrics. From there Bernie works the melodies and phrasing a bit to suit his style and writes all the back up harmony vocal melodies.

What can you tell me about the other players used on the album and your connections to them?

Bernie : I’ve known Don Restall most of my life. Met him in elementary school, and he’s always been a drummer, and a damn good one! Great backing singer too. Good combo. We’ve been in a hundred garage bands together over my teenage years and before! We were in ‘In Transit’ together, so we know each other inside and out. So good to have him on this album..

Dale : I met Don and Bernie in 1996, when I got a call to audition for the band In Transit, which was a cover show Don and Bernie were building to do some shows during Bernie’s Christmas time visit to Victoria, BC where his family lived. Over the course of doing a few shows together discussions took place about doing some recording, which led to the EP Picking Locks.
On a very interesting and pleasant note for me, the song Alone has 3 of the four original members from my old band London Times, from many years before. Drummer Kelly Studola and bassist Neil van Dyjk , and myself were the original members of London Times which was a four piece rock cover band doing Zepplin, Aerosmith, Sabbath, Pink Floyd, Rush, Max Webster and the like. We had a great singer named Kevin Fullerton who could sing all those high singer parts and the band toured for years with great success in two different version.
Jason Gardenits is a keyboardist/ piano player from my area who I have worked with in Sleeping Dogs Lie. I just love his piano work on Sad Song and Hey Jimi.
Mark Ammar, who played drums on Just A Little Bit, is the drummer who I grew up with from grade 7 through high school and we as kids spent tons and tons of hours jamming and learning to play together. Just A Little Bit struck me as having a kind of Zeppish feel to it and knowing Mark as I do I felt he was the right drummer for that song.

Do either of you have any other projects on the go? [Bernie – aside from Heep!]

Dale : I Always have some musical on the go. I am planning an album and hope to begin work on it as soon as things settle down a bit. I have been very busy with this release.

What new and/or old albums or artists are each of you listening to these days?

Bernie : My listening spectrum is pretty wide. Lyle Lovett, to Lady Antebellum. Patricia Barber to John5. The Blind Boys of Alabama, to Sammy Hagar and the Circle. Damn Yankees, to Jeff Beck. And YES. I’m a Nicleback fan. Love Chad’s lyrics. They are “real” and to me , that’s what counts!!! Oh ya…. and they’re Canadian !

Dale : I have some music, that for me will ever be in my list of favorite listening – albums like Dark Side Of The Moon, Crime Of The Century, most Led Zeppelin, Big Generator from Yes, and far too many to list here… but I am also a fan of Foo Fighters, Vdelli, and many newer bands. I try, when I can, to stay in touch with what is new in rock music; I believe it helps keep me from being in a writing rut.

KJJ, Oct. 2019

Alice Cooper – Alice Cooper Show

The first Alice Cooper album I bought. It was on the display wall/rack at Sam The Record Man, on sale! I knew a few of the hits from a friend who’d brought the Greatest Hits cassette to school. I remembering initially being disappointed that “Schools Out” didn’t sound just like the cassette version I knew [backing vocals lacking]. Regardless, I loved this album – slightly heavier and lengthier versions of “I’m Eighteen”, plus “Under My Wheels”, “Billion Dollar Babies”… This was Alice’s solo band and not the original band that had written and recorded much of these hits. Not sure why they never made a full 2 LP set out of these shows [a contractual obligation, I believe]. Includes his 3 Top 10 ballads from that era, as well as medleys of other classics. We never did get a definitive Live album from Alice Cooper – band or solo act, but this was a fantastic intro for a young buyer who would go on to become a lifelong fan.
Recently got the Friday Music 180 Gram vinyl reissue – great sound and nice gatefold cover.

Rare Earth – In Concert
In the early 70s this RnB-rock band was signed to Motown and released a number of classic studio albums, and a string of hits. Many of their classics consisted of taking other people’s songs and stretching them out with their own unique sound, and jamming. “In Concert” was the band at their best, featuring the hits & classics – “I Just Want To Celebrate”, “Born To Wander”, “I’m Losing You” and the 23 and a half minute “Get Ready”. Sadly the classic era of the band didn’t last much longer with singer/drummer Peter Rivera leaving, followed by further line up changes and softer albums and lawsuits amongst bandmembers. Founding member Gil Bridges still leads a version of the band.
But Rsre Earth In Concert is an essential 70s live album!
https://www.michiganrockandrolllegends.com/mrrl-hall-of-fame/78-rare-earth

Dead Daisies – Live And Louder
This is a newer album from the band that was [until recently] fronted by former Scream & Motley Crue singer – John Corabi. I enjoy Corabi’s work – a couple of great live solo albums, and his one album with Motley Crue [a shame he wasn’t on more, and they returned to being a circus act]. He’s also worked with Ratt and made a couple of albums with Union [with Bruce Kulick]. He joined Dead Daisies for recording of the band’s 2nd album, and went on to record a few more, as well as this aussum double live set. It’s a heavy album of guitar and great vocals, featuring Dead Daisies favorites like “Mexico”, “Lock n Load”, “Mainline”, and “Long Way To Go”, as well as a handful of cool covers – most notably – “Join Together” [The Who], “American Band” [Grand Funk], and “Midnight Moses” [Alex Harvey] – all heavier and fitting well in the band’s set. Great album, and a few excellent kick-ass guitar driven hard-rock albums; too bad Corabi’s no longer there.

Queen – Live Killers
I enjoy most of Queen’s 70s recordings but kinda fell out of interest with the The Game and future 80s pop/dance/disco output. “Live Killers”, for me – is Queen at their peak. Loaded with hits and classics, Killers shows how great of a hard-rock band Queen was. Aside from Freddie Mercury’s distinctive vocals, Brian May had such a heavy guitar sound of his own, and Roger Taylor is such a great player and can sing as well. I’m not a big “Bohemian Rhapsody” fan, but even it sounds better here, as do favorites like “Death on Two Legs”, “I’m In Love With My Car”, “Keep Yourself Alive”, “Spread Your Wings”, and my own fave – the alternate rocking version of “We Will Rock You” which opened the show.
My vinyl copy if pretty beaten, so i’m hoping they’ll do something special[ie Boxset!] for this album’s 40th anniversary [which is this year].

Magnum – Wings Of Heaven Live
Toured and recorded to mark the 20th anniversary of the band’s top selling album “Wings Of Heaven”, from 1988. This is Magnum at their best. Includes the full performance of the Wings of Heaven album [track by track], as well as updated, beefed up versions of the band’s newer favorites like “When we Were Younger”, “Out Of The Shadows” and “Dragons Are Real”, as well as classics like “Kingdom Of Madness”, “All England’s Eyes”, and “How Far Jerusalem”. Great recording! My favorite Magnum live album. Reissued on 3Lp in 2018.

Procol Harum – Live In Concert With The Edmonton Symphony Orchestra
Never understood why this was a single Lp release – did they not play a full show? Anyway, it’s the lone PH album to feature guitarist Dave Ball [RIP]. A fantastic performance, with the first side consisting of favorites like “Conquistador” and “A Salty Dog”, among others… Side 2 consisting of “In Held ‘T Was In I”, featuring not only orchestra, but DaCamera Singers. Gary Brooker was/is such an incredible singer, sounds so good here. *Like the Rare Earth In Concert — an essential 70s live album!
I see the reissues include a few bonus tracks from the day; have ordered.

* Recently picked up great live albums from Ken Hensley & Live Fire and The Alan Parsons Project. Ken Hensley’s “Live In Russia” features the predictable Uriah Heep classics from the 1970-73 era. It’s a very energetic performance. Too bad the full show is edited, as there’s only 1 song included from Ken’s post-Heep days , [more was performed, but left off of this release].Released “as is” – which is fine by me , love the energy and band’s performance.
The Alan Parson’s Project “Symphonic Project : Live In Colombia” was recorded in 2013. APP was primarily a studio project that released a bunch of albums in the 70 and 80s, and had a string of hits. Parsons was a studio engineer in the late 60s / 70s, and is credited on a few Beatle albums. This 3Lp set may not include those that played or sang on the APP classic hits, but it is a stunning performance of the hits and classics – Eye In The Sky, Games People Play, Time, Don’t Answer Me…. Highly recommended!

KJJ 10/19

Founding Angel members Frank Dimino and Punky Meadows last studio album together was “Sinful” – now 40 years old. In 2015/2016 both recorded their first solo albums, with Punky guesting on Frank’s. They went on seperate solo band tours, and eventually guested together, then playing together as a new version of the 70s hard-rock band.

Risen is the latest and greatest chapter in the return of Angel. First off – (and possibly for health reasons) neither Felix Robinson (bass player, who was also in Punky’s band) or Barry Brandt (drummer, who was in last incarnation of Angel with Dinino in late 90s) are on this, nor is keyboard player Gregg Guiffria , who left the music industry for bigger things years ago. The band is now a 6 piece with Meadows sidekick Danny Farrow, who plays guitar and co-wrote with the 2 founding bandmembers. The rest of the band consists of Charlie Calv on keyboards [from Punky’s band], Steve O’Jane on bass [also from Punky’s band], and drummer Billy Orrico [Tug Of War].
Punky Meadows notes that the album “…will satisfy every Angel fan and take you on a musical journey.” Well, he is not wrong! Risen consists of 15 brand new Angel songs, as well as the keyboard intro [“Angel Theme”] and a remake of the classic “Tower” [from the band’s debut in 1975]. For the most part this is a great batch of hard-rockers and pop-rockers with plenty of cool hooks, solos, catchy choruses, and all-round solid productions. For any Angel fans who liked the first track released – “Under The Gun” – you will be more than happy with this album and songs like “Slow Down”, “We Were The Wild”, “Our Revolution”, “Over My Head”, “Desire”, and “Shot Of Your Love”. With 2 guitars, the band is a bit heavier sounding than where they left off in ’79. I could do without the sugary ballad “IOU”, tho realize plenty of Angel fans will probably enjoy it,; I prefer the heavier ballad here – “Don’t Want You To Go”. A few different cuts in the 60s pop influenced “Tell Me Why”, softer pop number “Turn Around” [great chorus], and cool heavy anthem – “(Punky’s Couch Blues) Locked, Cocked, Ready To Rock” [Punky fans will dig this]. Stand-outs for me are the heavier rockers “My Sanctuary” and “Our Revolution”, and instant classic “1975”! If fans are looking for that mini-epic [ala Tower or Fortune] this is it – lengthy dramatic keyboard intro, starts out slow with acoustic guitar and organ, and picks ups from there – love the bluesy solo, the harmonies, and Frank’s vocals as this song pays tribute to the music scene of that period [mentioning New York Dolls, Kiss, Queen….].

Risen is a very enjoyable album, with so many easily likeable songs, and great performances from 2 guys [and band] who disappeared from making music for far too long. Frank sounds like he hasn’t aged at all, and Punky – despite being out of music for so many years, sounds like he’s got a lot to say and has never been better. Here’s hoping there’ll be more!

see also – https://glassonyonpr.com/2019/09/09/rock-legends-angel-return-with-new-album/

Punky Meadows and Frank DiMino of Angel to release limited edition 12″ single including unreleased song

A project that really started 20 years ago has finally been completed and released, and was well worth the wait for Uriah Heep fans. Over 20 years ago, singer Bernie Shaw hooked up with some fellow Canadian musicians on a trip back home to British Columbia, played a couple of local shows as “In Transit”. The guitarist was Dale Collins, who in turn recorded a 3-track CD with Shaw titled “Picking Locks”, which included 2 Collins compositions “Hey Jimi”, “Here We Go”, and a cover of the David Essex hit “Rock On”. For years these songs have been put out there via youtube and various discussion forums, with the mention of an album to come. That day has finally come, as “Too Much Information” is an 8 song album, which includes re-records of the tracks recorded on Picking Locks, as well as 5 more tracks written by Dale Collins [one co-write with Bernie]. Collins recoded the instruments [most of which he played, except for the drums] at his studio in Alberta, while Bernie would eventually record his vocals in England. Although I initially enjoyed the Picking Locks tracks many years back [tho i’m not a huge fan of the David Essex song], it had been so long, I was even skeptical “if” this album would ever happen and just how good it might end up. Well, I am A – happy to finally see it released [and hear it], and B it has been a pleasant surprise, which [despite only having 8 tracks] has plenty to get into with each listen.

The first 2 tracks are easily likeable, both with guitar intros [my 12 year old pointed out that they remind him of Iron Maiden] – “So Many Times” is a steady rocker, while “Alone” is my favorite track here, it has a heavy intro, but settles down into a cool mid-tempo rock tune with heavy and acoustic guitar, some Heep-like harmonies in the background, a cool solo from Dale, and Bernie nails a very memorable chorus. Among other favorites include the “Hey Jimi” update – it’s a great tribute to Jimi Hendrix, highlighted by Collins’ guitar playing, plus a bit of piano with Bernie giving a solid delivery on this tale. “Sad Song”, another re-record from way back is a power-ballad, it starts out softly on piano and builds up in to a big chorus, as Bernie is perfectly suited to this type of thing; fantastic production! There is no filler here, with the title track, “Just A Little Bit”, the cover of “Rock On” – all enjoyable to hear. Although, for many – Bernie Shaw may be the initial draw to Too Much Information [being the lead singer of Uriah Heep for the past 32+ years], and he does a superb job on all of these tracks, huge credit must go to Dale Collins as songwriter, and more so for his guitar performances that highlight so much here. For proof, check out the re-record of “Here We Go” – love the extended guitar intro, and last few minutes of soloing; huge highlight here. … Of course you can find this album on youtube, but it’ll sound much better on the turntable or [in the car] CD player!

Not sure what the long-term plan is for this project, but suspect that after 20 years not to hold my breathe on any quick follow-up! Just happy to finally have this, and will be looking forward to any other projects either artist may have on the go in the future [aside from the obvious].

Uriah Heep Lead Singer Bernie Shaw Teams Up With Fellow Canadian Songwriter & Musician Dale Collins For New Studio Album ‘Too Much Information’ – OUT NOW!

https://www.cherryred.co.uk/product/bernie-shaw-dale-collins-too-much-information-lp/
https://www.amazon.ca/s?i=popular&rh=p_32%3AShaw%2C+Bernie+%2F+Collins%2C+Dale&ref=dp_byline_sr_music_1

KJJ, 10/19

*This is an interview I did with Eric Singer of Kiss (and then also of Alice Cooper’s band).

Rock drummer Eric Singer has been a name in the business for 25 years now. Growing up a major rock fan in Cleveland, Ohio, Singer moved to Los Angeles and would go on to play with numerous rock legends, such as Tony Iommi & Glenn Hughes [in Black Sabbath], Bob Daisley, Gary Moore, Kiss, Brian May [Queen] and at present [and off & on] since 1990 – with Alice Cooper.

2008- “Alice Cooper is presently on a world tour, and you can catch Eric in action with Alice live. Eric also played on Cooper’s excellent new concept album “Along Came A Spider”.   Thanks to Eric for taking his time out on a very busy tour to answer my questions! The man also spent his days on the Canadian tour making numerous in-store appearances Pearl Drums.”

Check it all out: www.eric-singerdrums.com ; www.alicecooper.com & www.kissonline.com

All photos courtesy of  eric-singer.com except Alice Cooper band photo courtesy of sickthings.co.uk

Q- Prior to moving to LA, did you have any local gigs in Cleveland of note?

ES: I played in my Father’s band growing up and in a few local “original” bands such as TASKMASTER, which became Beau Coup. They ended up with a record deal and were a very good band.

Q- After your first pro gig with Lita Ford, you joined Tony Iommi’s Black Sabbath in 1985.  What was your big break; having gone from Cleveland to joining Lita’s band and onto Sabbath [which also featured Glenn Hughes at that time]?

ES: I lived in L.A. for about a year and entered Carmine Appice’s drum battle competition. Someone spotted me there and asked me to do a video for PLAYBOY “Women of Rock” and got the Lita Ford audition out of that experience.

Q- You did a couple of albums with Sabbath and then played with Gary Moore and Badlands in the 80s. What can you tell me about going from being unknown to working with such rock legends as Iommi, Moore, Bob Daisley and others; all in a fairly short period of a few years?

ES: It all happened very fast; I went from being so “green” and inexperienced to learning the business and touring in a crash course on the job!  Bob Daisley and I remain great friends to this day.

Q- Gary Moore is a huge name overseas, but only talked about amongst real classic rock fans in North America. What can you tell me about Gary and your time working with him?

ES: The guy is an amazing player and the most intense guitarist I have ever worked with. He makes you a better player and I really raised the bar on my own self during that tour.

Q- Seventh Star is a pretty underrated album IMO, being a Sabbath fan and a Glenn Hughes fan. You also worked on the next Sabbath album, which featured Tony Martin, having replaced Ray Gillen. This being one of Sabbath’s craziest periods as far as personnel went. How was it from your perspective?

ES: I was very young and learning as it happened. This was a time when the reality of the “business” aspect of music really reared it’s ugly head. Although I feel fortunate that I got to work with some great musicians and legendary people. I would love to be able to play with Tony Iommi again!

Q- Any favorite tracks, stories or Sabbath people to work with?

ES: The song Eternal Idol was a kool track and Turn to Stone from those 2 records I did. Loved working with Bob Daisley – the very best in the biz. The guy is John Paul Jones, Jack Bruce & Paul McCartney wrapped up in one.

Q- You played on the ‘Stream’ album. Now, was this mainly a session job as opposed to an actual band project?

ES: That was exactly just that. A session. Always great to work with Daisley!

Q- How did you land the gig with Paul Stanley’s solo tour in 1989 and do you recall any of the non-Kiss material performed live [anything you particularly liked]? And how much of a step was it to eventually join Kiss?

ES: I was recording in New York and was referred to Paul by Dennis St. James (bass player on that tour) That was a great fun band and led to my relationship with KISS. I was not much of a transition other than to learn to work with a new set of people i.e.: Gene & Bruce, who were very helpful to me thru the transition period.

Q- Of the Kiss albums and tours you performed on, what are your favorite musical moments [songs, album]?

ES: Loved recording the REVENGE record since Bob Ezrin was the producer.  The most recent European tour was great. Super crowds, band got along fantastic!

Q- Peter Criss and then Neal Smith [original Alice Cooper band] – were 2 legendary and influential drummers. Eric Carr was also a great drummer! Who would you say influenced your own drumming style more?

ES: I respect all the previous drummers from any band.  All you can do is try to play in the spirit of that style since those records were recorded many years ago.

Q- How was the adjustment to taking over the ‘Catman’ persona, with the make-up, etc..? Is it [applying the costume & make-up] a strange ordeal?

ES: It is no problem for me. I actually like the whole KISS experience of doing the shows. It makes for very long days and it is hard work. But, the fans love the band and this makes it worthwhile!

Q- You seem always busy, either with Kiss, Alice Cooper, ESP or other projects.  Do you keep up with any of the outside stuff of your bandmates – like take up golfing, watch Gene’s reality show or check out art shows?

ES: I do not golf (yet) I have been on Gene’s show (twice ?), and I know nothing about art other than I know if I like something when I see it (isn’t that the essence or idea anyways…?) I think it is great that others have found extensions of their personalities and outlets for expression. They are all very talented people and have more to offer than just their musical side.

Q- Both Gene and Paul released solo albums in recent years. [I actually haven’t heard Gene’s], but thought Paul’s was great, very overlooked. Any thoughts on either of these releases?

ES: They are exactly that. “Solo” records and this gives them the chance to do exactly what they want. I played on 2 tracks off Gene’s record and loved his video for “Firestarter”. Paul’s record has some great stuff on there and the production value is really good. Paul has always delivered the goods in my opinion as a writer.

Q- I’ve read you really enjoyed working with Brian May of Queen. They were a great band that really didn’t get to North America a lot, especially in the 80s.

ES: Brian is my Fave guitarist next to Hendrix! The guy plays the perfect solo on anything he touches. Brilliant musician and an even nicer human being you will not find… QUEEN is one of my most cherished bands of all time. Getting to play some of those songs with Brian (and Roger Taylor on a few occasions) will always be one of the best highlights of my career!

Q- You’ve obviously kept up a friendship and working relationship with Bruce Kulick. Do you guys have any plans in the near future? He is a great player, very adaptable [saw him with Grand Funk – sounds great].

ES: Bruce is the consummate musician and dear friend… We work together with ESP when time and schedule’s permit. Hopefully more in the future.

Q- Now, you worked on the Trash and Hey Stoopid tours, correct [Last Temptation?]? [You’ve also kind of played on every other album since Brutal Planet]. How did the association with Alice come about?

ES: I auditioned for COOP in Jan 1990 to replace Jonathan Mover on the Trash tour & have worked on & off with Alice since then… (this year is my 12th tour) I have also recorded 3 albums and been on 2 “live” concert long-form videos with AC. 

Q- Aside from the Alice Cooper albums you played on, do you have any favorite Alice classic songs to listen to or play and any favorite AC albums from Way back? [Ever see AC live in your early years, especially with Neal Smith?]

ES: Billion Dollar Babies is a “classic” record and one of my fave all-time records. In fact, all the early stuff is great and enjoy playing anything from that era.   Never saw AC live in the early years 😦  FYI, my mom would not let me go to the BDB tour in 1973!

Q- Brutal Planet was a very heavy modern metal. What can you tell me about those recordings, and the sound that was being looked for?

ES: The record was done very quickly on my part. I came in and replaced drum machine parts with “real” drums in just over 2 days. I liked the heavier approach but did not have a lot of time to absorb the music or think about my drumming other than to play what I felt or was directed by the producer.

Q- The Eyes of Alice Cooper was real return to old school hard rock, and included a number of great songs that should’ve been hits [if we had radio that still played decent New music]. [Again] can you tell me a bit about those sessions and a few of the songs that stood out for you?

ES: Great record IMO, and was fun making that record. We had a real band vibe with Mudrock the Producer who encouraged us to play “live” in the studio together as a band with no click tracks. He had a real vision and direction, which was a much-needed fresher approach, IMO from the previous record I had recorded with Alice (Brutal Planet). 

Q- “Along Came A Spider” is quite a masterpiece. You played on all but 3 tracks. What can you tell me about these sessions?

ES: Again, the recording of drums happened very quickly. I played what I felt for the songs even though the vocals were not done yet which makes the approach sometimes harder. I like to play off the lead vocal melodies whenever possible to be more musical/melodic.

Q- You aren’t credited as a writer on the Alice albums you play on. What exactly is your involvement & input, aside from the drums? Are you generally [or with the new album] there for most of the recordings and part of the main ideas and suggestions of what sound is being taken and what direction the project is going in?

ES: I “write” my drum parts which is sometimes overlooked by most people…   Drummers contribute a lot when it comes to arrangements and vibe to songs. Last time I looked out into the crowd during a show the people pump their fists in the air to what? The beat or rhyme 🙂

Q- Any plans for any future ESP recordings? You guys seem to have a following, especially in Japan and Europe.

ES: Possible European dates next year… We play where we can make it work for everyone.

Q- You were a big rock fan growing up in Cleveland. Can you give me a ‘Top 10’ list of favorite albums from your youth, as well as a few favorite bands and favorite shows you saw back then? [Have you kept an album collection?]

ES: I still have a turntable hooked up at home! Cleveland was a great city to grow up in and be from. There is a reason they say “Cleveland Rocks”. I saw so many great bands and shows in the 70’s early 80’s – I’ll name a few concerts that stick out in my memory…  Queen 1975 Music Hall / Led Zeppelin 1975 Richfield Coliseum / Mott The Hoople 1974 Allen Theatre / KISS 1974 Allen Theater (they opened for the New York Dolls) KISS 1975 Akron Civic Theatre (RUSH was opener “Fly By Night” tour) Edgar Winter Group 1976/Public Hall (they opened for J.Geil’s Band) David Bowie 1975 Public Hall //Diamond Dogs Tour / Van Halen, Music Hall 1980 VHII tour / Ozzy Osbourne, Diary of a Madman 1983 w/ Randy Rhoads, Richfield Coliseum and so many more that I could mention…

Q- Can you give me a few of your favorite drummers growing up – either on LP or live?

ES: Denny Carmassi, Tommy Aldridge, Carmine Appice, Steve Smith, Aynsley Dunbar, Billy Cobham, Simon Phillips, Bobby Caldwell, Cozy Powell, Brian Downey, Neil Smith, Alex Van Halen, Lee Kerslake, Buddy Rich, Louie Bellson, Lenny White, Max Roach, Bill Buford, Neil Peart, etc…

Q- You’re familiar with Uriah Heep, I presume – have any favorite Heep albums, songs or drummers?

ES: Yes, I saw Uriah Heep in their “heyday” 1975 Cleveland Stadium “World Series of Rock”. The bill was: Rod Stewart & The Faces / Uriah Heep / Aerosmith / Blue Oyster Cult & Mahogany Rush. I remember Lee Kerslake was an animal behind the drums and Heep were great!

Q- Growing up not too far from Canada, were you a fan of any Canadian bands way back?

ES: RUSH! In fact, Cleveland was the first American city to “break” the band in the U.S.A.

Q- Anything else you have on the go, or anything you’d like to mention or plug?

ES: Look forward to more drumming in 2009!

Thanx to all for so many great years and all the support throughout my life…

Review: © KJJ / Universal Wheels, October 2008

Very excited about “48 Seconds” – the new album from Uriah Heep keyboardist/songwriter Phil Lanzon! Check out my review in my previous post.

You can order Phil’s album on CD & Vinyl, as well as his novel “Curse Of The Mudchalk Devil” at the likes of Amazon.

https://www.amazon.ca/s?k=phil+lanzon+curse+of+the+mudchalk+devil&i=stripbooks&dc&qid=1565666498&ref=sr_nr_i_1

Check out > http://www.phillanzon.com
https://www.facebook.com/Phil-Lanzon-869497536405361/
http://www.uriah-heep.com

Here’s a Q & A with Phil about the making of 48 Seconds. Enjoy the read and check out the album!

Since your first solo album [17 months ago] – you’ve released your first novel, Uriah Heep’s Living The Dream, as well as a lengthy [and ongoing] world tour since [September release]. When and how did you find the time to write, record and produce “48 Seconds”?

I’m damned if I know, haha! No it was as you’d expect, piecemeal. Between touring and festivals I recorded sections in studios across London including Air studio where I recorded the orchestra.

On 48 Seconds you have taken the use of orchestra and choir a step further as part of the production. What lead you to that direction – being that it’s very different to what you’re known for and is quite a grand production?

I love movie soundtracks. I sometimes find myself listening more to soundtracks at the cinema and at home than paying attention to the story. I guess I need that enveloping sound that I only get from the warmth of an orchestra

You often write pretty interesting story-based songs – either on books you’ve read or historical moments. Do you spend much of the time on the road [or home] reading? and what sparks your interest that may end up being a song idea?

I had a period of heavy reading a while back but I don’t read much at the moment. Usually it’s life matters that spark the interest…something I feel strongly or passionate about.

I’ve read the song 48 Seconds was something you had as an idea for many years!? Can you give me your interest in the subject [event] of the San Francisco fire and how it eventually evolved in to the song we hear?

After reading a book on the subject when I was ten years old, the subject stuck in my mind and would often raise its head and ask to be made into a song, but it never materialised over the years until now. I always felt an affinity or a connection to the event. No idea why, it sometimes feels to me that I may have lost a family member in the fire. I knew it would have to be built into sections as there was a good few elements to set up the whole picture. I created two fictional characters into the story so the listener could relate to what went on. Together with arranger Richard Cottle we concocted a suitable orchestration to fit the bill and then let poor old Simon Hanhart producer and mix it. A masterful result indeed.

Another I really like is “Road To London”. This seems a bit of a spooky tale — did this come from something you read or some where else?

No, it is solely based on the story telling style of traditional folk tales. Go to any traditional Irish or English folk session and you’ll probably come across a similar tale of ghostly woe.

“Look At The Time” is a great rock track – more progressive / pop – Can you tell me how this one evolved and what inspired it?

Purely politics and its self serving code of ethics

You’ve used 2 of the singers from your first album, as well as the same production team. But you’ve also brought in a number of new people. Can you discuss how many of these players came to your attention and got involved?

All the musicians/singers were brought into the fold via Simon and Richard. I leave that to them as they are the experts.

Who is the singer on “Rock n Roll Children”? [she is also on “Face To Face”] . She sounds great! Can you tell me a bit about her?

Miriam Grey. She’s amazing. Gutsy as well as subtle, she’s got a set of pipes on her for sure. – http://www.mimgrey.com

“Forty Line” has quite a big orchestra piece [where one might put a guitar solo]. this is pretty unique, giving it an old big band sound, sort of like something out of a movie. How did these musical breaks develop? Were you hands on with suggestions, written ideas, etc.. ?

Yes, I was. The big band thing came from an idea I had to turn the verse into an old fashioned big band solo with all the trimmings. I handed the job over to Lorrie Cottle (Bass) who came back with this incredible arrangement and a blast of brass that knocked my socks, and everybody else’s socks, off.
I also wanted to write a song that had no specific meaning, if you listen close you’ll see what I mean.

Any moments on the album that you most proud of or impressed with the outcome?

As I worked so close on every aspect of the album, I would never let anything go that wasn’t impressive in some way. I think it all gels so well.

You now have 2 albums under your own name, plus a busy schedule with Heep [current tour and 50th anniversary next year]. would you like to [or plan to] get a few shows of your own music together – with some of the performers on these albums?

Would love to. So if you know anyone out there willing to invest I would be glad to hear from them. I would only perform with the real instruments… real strings and real voices.

You went to Michael Cheval again for the cover-art. Was this a piece he created specifically for 48 Seconds?

Not particularly, I gave him the concept and he had a piece of artwork that had a slight resemblance to the idea. I drew a sketch of how it could be modified and after going back and forth a few times he came up with the one you see.

http://www.chevalfineart.com/

Might you want to see some of the orchestra stuff perhaps work it’s way in to a Uriah Heep project? [Something along the lines of Heep’s Salisbury from 71].

Yes, we have always discussed working with an orchestra but only on a live situation. We’ll see.

Further reading: https://metalshockfinland.com/tag/48-seconds/
http://getreadytorock.me.uk/blog/2019/08/album-review-phil-lanzon-48-seconds/
http://www.decibelgeek.com/wordpress/phil-lanzon-48-seconds-album-review/

Up Next [well, working on it] : a look at Phil’s early days [before Heep!]

KJJ, Aug, ’19

Share this:

• X
• Facebook

Like Loading...