Uriah Heep are releasing their highly anticipated brand new studio album – the 25th in their storied career [after 4+ years] – which will be titled, appropriately enough, “Living The Dream”.

“We have been together for 47 years and we have seen many bands come and go, so in effect we are ‘Still Living The Dream,’ so it was the perfect title for the new album.” says Uriah Heep guitarist and founding member Mick Box.
Famed Canadian engineer, Jay Ruston has been called in to produce the album. Mick continues: “We chose Jay because we admire his work with The Winery Dogs, Stone Sour, Black Star Riders, Paul Gilbert, and Europe. Jay has either produced, mixed or both for these bands, and he brought a fresh approach to Heep. He has been marvellous to work with.”
The band is beyond excited with the material written for the new album, which will include some epic additions to the band’s huge catalog of rock staples and looks forward to sharing it with their fans around the world.
The album will be released in CD, deluxe edition including one bonus audio track and a DVD, LP and Limited Box Set Edition (including deluxe edition + T-shirt).
Uriah Heep debuted in 1970 with the release of one of hard rock’s milestones, Very ‘eavy… Very ‘umble, and have since sold in excess of 30 million albums worldwide. They constantly tour the world, playing up to 125 shows a year to 500,000+ fans. The band’s live set features the classic tracks from the ’70s and is a musical journey from the band’s beginnings to the present day.
The band has announced a full World Tour which will last until the whole first quarter of 2019. “The mighty Heep are proudly able to tour in over 61 countries and we look forward to a packed touring schedule in 2018 and 2019. Touring is in our blood and what we have a passion to do, and so 2018 is no exception,” concludes Box.

OFFICIAL TOUR DATES: http://www.uriah-heep.com/newa/livedates.php

LIVING THE DREAM available in:
CD (Jewel Box)
CD+DVD (Digipack)
BOX SET (Limited Ed. CD+DVD Digipack + T-Shirt)
VINYL (180g Gatefold)
Blue VINYL (180g Gatefold) – Exclusive USA
Crystal VINYL (180g Gatefold) – Exclusive Frontiers Shop
TRACKLISTING: Grazed By Heaven / Living The Dream / Take Away My Soul / Knocking At My Door/ Rocks In The Road / Waters Flowin’ / It’s All Been Said / Goodbye To Innocence / Falling Under Your Spell / Dreams Of Yesteryear / *Take Away My Soul (Alternate Version) Bonus Track (Deluxe Edition Only)
DVD (deluxe edition only): Grazed By Heaven (Music Video) / Take Away My Soul (Music Video) / Making The Dream (Documentary)

• Official Website: http://www.uriah-heep.com
• Facebook: http://www.facebook.com/uriahheepofficial

BAND:
Mick Box: Guitar, Vocals
Phil Lanzon: Keyboards, Vocals
Bernie Shaw: Lead Vocals
Russell Gilbrook: Drums, Vocals
Dave Rimmer: Bass, Vocals

Well, where do i start!? Upon first run through of this album – I couldnt believe it! While older bands are winding down, slowing the pace, packing in – Uriah Heep seems to have more energy and ideas than ever. Living The Dream might simply be the best thing the band has done since the mid 70s. Now, i liked Outsider [2014], and Into The Wild [2011], while Sea of Light [95] and Sonic Origami [98] were a great pair of 90s HR albums – but LTD seems to pack even more of the classic and neo-classic Heep elements into one amazing record. The lead off single “Graced By Heaven” was a fine sample of what’s within, co-written by Davey Rimmer, who’s bass playing graces this – his 2nd album with the band. But the album really just gets better, starting with the title track – a cool mid tempo progressive song, interesting vocal intro …… “Take Away My Soul” [the 2nd video upcoming] is perhaps the most impressive Heep song since “Between Two Worlds” — it’s a rocker that really let’s loose with a hammond solo from Phil Lanzon, and classic Mick Box guitar riff and solos, great chorus. “Knocking At My Door” is another cool rocker – this one kinda gallops along as Bernie sings about fear and hiding from something – a great vocal; mid and ending guitar solos! What’s so more impressive about this album to previous Heep albums is that it is MORE of everything — a bit more in the variety [ballads, acoustic guitar, piano….] – more lengthier tracks. Fans who longed for another Heep epic, more progressive songs, or a ballad and more memorable rockers will Not be disappointed thanks to more progressive tracks like “Rocks In The Road” [clocking in at over 8 minutes] – starts as an upbeat rocker before dropping in to a very quiet mid section and vocal, before the song builds back up with the Phil Lanzon’s hammond organ [reminiscent of Jon Lord here] working in to a classic extended Heep solo and that builds to the finale. The ballad “Waters Flowin'” – a very different sound for Heep – a bit southern feel, it features acoustic guitar, organ, piano, and a bit of a sing-along ‘na na na’ chorus, which gives it a bit of a 60s vibe. The hammond organ turns up, followed by a rockin instrumental before it drops off and a piano ballad comes in – “It’s All Been Said” then picks back up, a more progressive song about news headlines; includes a cool hammond solo, and a few changes in pace — this one has a lot to it, the paces and build up to the finale reminds me a bit of Iron Maiden. Next up is a sweet guitar intro, followed by Rusell Gilbrook’s drums coming in reimscent of “Radar Love” on this upbeat goodtime rocker – “Goodbye To Innocence”; one of the shortest tracks here, but it’s a memorable one. “Falling Under Your Spell” is another rocker; fast paced – perhaps this album’s “Easy Livin” [tho i liken it to more in the class of “Sweet Pretender” from Sonic Origami], an interesting solo and chorus of ‘ahs’ that are reminiscent of “Bird of Prey”. Living The Dream closes with “Dreams oif Yesteryear”, and it is a classic Heep mini-epic — love the guitar melody and Bernie Shaw’s vocal; a song of reflection and hope, this one could go on, much in the same class as “KIss Of Freedom” [from Into The Wild].
I cannot wait to get a CD of this for the car – where i can crank it up. There is a lot to this album, and Canadian producer Jay Ruston has done an amazing job of giving this a heavy feel, and getting so much new, so much classic, and so much more out of Heep, going on 49 years as a band. Heep diehards will be more than satisfied [blown away!] with the first 5 tracks, but Living The Dream has 10 standout tracks — fans won’t be disappointed.
Coming out in CD, and 3 different shades of vinyl [black, blue, crystal — yes, i’ve pre-ordered all 3!]

https://www.pledgemusic.com/projects/uriah-heep-living-the-dream?referrer=site_search

http://www.frontiers.it
http://www.amazon.ca
http://www.amazon.com

KJJ, 08/18

I figured I could simply do a Top 10 ‘Most Necessary’ or ‘Must Hear’, or Favorites, but really – that would be impossible. I jotted down 30+ albums and went from there. I quickly eliminated the Bronze solo albums of Ken Hensley and David Byron – these feature Heep members, engineers, etc.. and are pretty much already part of the Heep discography. I also excluded posthumous releases and live ‘reunion’ albums. There are some obvious mentions here, but also [hopefully] a few rarities and things you may not be familiar with. There are a few Heep alumni who’ve had such lengthy, successful careers [John Wetton, John Lawton, Bob Daisley, Ken Hensley..] that I had to pick a few from such big big discographies. [Of course, this all leaves room for a Part 2 here].
Drop a note – would like to hear suggestions not included here…..

Gods – Genesis [1968]
The Gods were a London based band that Ken Hensley wrote, sang, and played organ in. The band at times also included Lee Kerslake, Greg Lake, John and Brian Glascock, and in a very early version – Mick Taylor [Stones]! The band’s 2 albums featured Hensley, as well as guitarist/singer & writer Joe Konas, Lee Kerslake, and John Glasscock. The Gods albums were recorded at Abbey Road Studios and produced by David Paramor. The debut album Genesis featured psychedelic rock and pop, with gems here like Towards The Skies, Misleading Colors, Looking Glass, and Candles Getting Shorter. The Gods also issued a number of singles which weren’t included on the LPs, and a few of their best such as Somewhere In The Street and Real Love Guaranteed, as well as a cover of the Beatles Hey Bulldog [the latter are included on CD re-issue of this album]
https://www.youtube.com/watch?v=ecUJ7qbgKIU

Lucifer’s Friend – Lucifer’s Friend [1970]
The debut from German rockers, who were fronted by and introduced rock fans to Englishman John Lawton – who would later front Heep. this album was every bit as heavy as Heep’s debut and Purple at the time, but beyond this the band strayed into jazz, fusion, pop, etc… this being a classic early proto metal album. Ride The Sky would become the band’s most popular song, and tracks like Toxic Shadows and In The Time of Job When Mammon Was A Yippie were all great early heavy rock.
https://www.youtube.com/watch?v=Hjicnb5aFG4

Weed – Weed [1971]
This rarity is all Ken Hen Hensley — songs, keyboards, vocals, and presumably most of the guitars. not brought to light til the early 90s through the Uriah Heep Appreciation Society. Ken doesn’t talk much about it, as it was a ‘mercenary’ project for money [between Heep albums]; but it’s heavy and tracks like Sweet Morning Light and My Dream are classic Hensley tunes.
https://www.youtube.com/watch?v=9Vn-NYeP8C4

National Head Band – Albert One [1971]
This LP is the lone release from NHB, which included Lee Kerslake on drums, as well as Jan Schelhaas [keyboards – pre Caravan], Neil Ford, and Dave Paull [bass – pre Jonesy].
A neat album of rock, folk, country, prog, with lots of harmonies … Lee co-writes the pop-folky tune Too Much Country Water, but it is the album’s final track Mister Jesus – which highlights the band’s playing, particularly the first few minutes of heavy prog.
https://www.youtube.com/watch?v=cuz28diSyF0

Fable – Fable [1973]
the lone LP by this pop band fronted by Peter Goalby – who wrote, sang, played some guitar and mandolin. A very likeable album with a wide variety of tunes. The single Madolin is probably the best cut here, with the intro sounding like Queen’s “Tie Your Mother Down” [a song that came later – but Queen recorded at the same studio on off hours, while Fable was there. hmm] . there’s also the CSN inspired Four Horsemen, the rocker Hard Life, and pop gems like She Knows How To Love Me, and Google Eye.
https://www.youtube.com/watch?v=TwFN7ddyocA

King Crimson – Red [1974]
Before Heep John Wetton had made a name for himself, largely in King Crimson, playing and singing on a string of successful progressive albums, and this one – my favorite, and i believe it was John’s favorite. Red is a classic track, and Starless would become a big part of John’s live set for years – either in Asia or solo.
https://www.youtube.com/watch?v=OfR6_V91fG8

Spiders From Mars – Spiders From Mars [1976]
Prior to joining Heep, Trevor Bolder was the bass player in David Bowie’s Spiders From Mars. He played on Bowie’s best albums, but when that ended – Bolder, along with Woody Woodmansey, took the Spiders’ name and recorded this lone album. They band also included Pete McDonald [vocals] and Dave Black [guitar], and Mike Garson guesting on keyboards. Trevor Bolder would write [or co-write] more than half of the album. A bit rockier than the Bowie stuff, and a bit funky in places, a decent listen, even just for curiosity’s sake. Neat album art, but the record didn’t do much, and the band didn’t last long. RIP – Trevor Bolder and Dave Black
https://www.youtube.com/watch?v=hcbOfYVWK_4

Rough Diamond – Rough Diamond [1977]
the first band that David Byron fronted after being fired from Heep. it featured Dave Clempson [ex Colosseum], who didn’t get the Purple gig. this was over hyped and under appreciated. Byron was fired from the band too [they carried on as Champion]; a shame – I really like this one. Tracks like Lookin For You, Scared, Hobo, Lock & Key — very cool listening – great playing. Willie Bath [bass], Damon Butcher [keys], Geoff Britton [ex Wings, Drums].
https://www.youtube.com/watch?v=dCGKCrlgXao

Lone Star – Firing On All Six [1977]
Prior to Heep John Sloman was playing in a Canadian based band ‘Pulsar’ – that band also featured drummer Dixie Lee, both Lee and Sloman had previously played in Welsh band Lone Star, which also included Paul Chapman [pre UFO] on guitar!. This is Lone Star’s second [and final] studio album. A classic piece of prog and hard rock with The Ballad Of Crafty Jack, The Bells Of Berlin, All Of Us To All Of You. Cool silver cover.
https://www.youtube.com/watch?v=JwXXWjdxbu4

Trapeze – Hold On [1979]
Prior to joining Heep Peter Goalby was in Trapeze for a few years [the band once fronted by Glenn Hughes]. He wrote a couple of tunes on this album, as well as shared vocals with Mel Galley, and played rhythm guitar. He would go on to record the follow up – Live In Texas. *This album had released some months previously in ’78 in Germany titled Running, which featured a series of photos of a nude model on the front 
https://www.youtube.com/watch?v=nWYBa0GzzDg

Grand Prix – Grand Prix [1980]
This British band released 3 albums in the early ’80s. It is the first album to feature Bernie Shaw, and it also featured Phil Lanzon – who wrote or co-wrote much of their material. Often listed as a ‘metal’ album, Grand Prix is more pomp, a bit of prog, ’80s radio rock. A shame this album never hit it big – a cool piece of ’80s rock, solid guitar, lots of keyboards and backing vocals, with songs like Which Way Did The Wind Blow, Westwind, Feel Like I Do. Following this debut album Bernie Shaw was replaced by Robin McAuley.  All 3 albums are well worth checking out.
https://www.youtube.com/watch?v=PHbP5hzMeHw&t=45s

Ozzy Osbourne – Diary Of A Madman [1981]
Following Lee Kerslake’s departure from the band in 1979, he would join the Blizzard of Ozz band, fronted by Ozzy Osbourne, and including young guitarist Randy Rhoads, and bass player Bob Daisley. Lee played with a renewed energy and heaviness from the previous few Heep LPs. He had a co-write on the first album, but would be credited as a co-writer on the entire Diary Of A Madman album. Sadly, he and Bob were removed from the band prior to the 2nd album’s release, and their playing credits and photos were not included. Many of Lee’s drum intros and performances are legendary on these albums – Over The Mountain, Little Dolls, SATO…
https://www.youtube.com/watch?v=hA1CKGGPYPA

The Byron Band – On The Rocks [1981]
The last album released by Heep’s original frontman. The Byron Band was trying to catch up to the times, hard rock, with an interesting band including Robin George [guitar & co-writer], Bob Jackson [keys, ex Badfinger], and Mel Collins [ex King Crimson].  A decent album with tracks like Start Believing and How Do You Sleep, but failed to catch on at the time. Pretty neat cover as well and included poster at the time. CD re-issue included the singles that preceded the album. A 2nd album was demo’d, and was eventually issued years back through Robin George.
https://www.youtube.com/watch?v=82S0xwhN6cA

Lucifer’s Friend – Mean Machine [1981]
When Lawton left Heep he recorded a solo album, backed by members of LF. The follow up was a Lucifer’s Friend reunion album. It was a straight ahead hard-rock album, perhaps influenced by the New Wave Of British Heavy Metal at the time[?]. Great riffs, songs, and performances. Love this album!
https://www.youtube.com/watch?v=0INMDMbhJEw

Wishbone Ash – Twin Barrels Burning [1982]
When things went worse for Heep in 1981, Trevor Bolder left [needing work] and joined Wishbone Ash. He played on this one album [wrote as well, uncredited]. More of an attempt to mainstream the band at the time, a more hard-rock direction. Produced by Ashley Howe, who’d worked on most Heep albums [engineer, tape op] and who’d go on to produced Heep’s Abominog and Head First. A solid album, notable also is the track “Hold On” featuring Bolder on vocals — my favorite here [this would’ve sounded so good on an ’80s Heep album!]. *There are 2 versions of this album, as the US label insisted on a different mix and a different cover. 
https://www.youtube.com/watch?v=5WezDQcOi_g

Blackfoot – Siogo [1983]
After a solo album that didn’t do much, Ken relocated to the US and in time joined Southern rockers Blackfoot. Siogo retained much of the band’s southern style, but with keyboards and a slightly more polished commercial approach. Ken wrote a few gems here, most notably the single Send Me An Angel [w/ Jack Williams].
https://www.youtube.com/watch?v=GyqvYf02Ups

Zar –Live Your LIfe Forever [1990]
Lawton had done so much over his career, but this album is classic metal that saw him belting out heavy ’80s metal better than anyone else. Heart Of The Night, Fire And Ice, Live Your LIfe Forever…. killer album; didn’t get released everywhere. Zar went on to make more albums – without JL [John guested on 1 track on the band’s 3rd album]. Re-released on CD years ago [accompanied with it’s predecessor – Rebel]. Highly recommended.
https://www.youtube.com/watch?v=E7nwqFGSgoI

Ken Hensley – Blood On The Highway [2007]
Since his return to recording and performing, Ken has recorded some good albums, but Blood On The Highway stands out as it’s based on the story of being that ’70s rock star – the ups and downs, etc.. The songs all fit in the story [a few had been previously done, but re-worked here]. It also included a few guest singers – Glenn Hughes, Eve Gallagher, and John Lawton.
https://www.youtube.com/watch?v=2HUngJoX73I

Berggren/Kerslake Band – The Sun Has Gone Hazy [2014]
Lee Kerslake left Heep at the end of 2006 due to health issues. this album is a bright light in his post Heep life. Along with singer/guitarist Stefan Berggren, Lee co-wrote and played on this fine album. His playing is superb and he contributed more great songwriting than he had for his past 2 decades in Heep.  A highly recommended Heep related gem.
https://www.youtube.com/watch?v=SyOCWYhXlyY

Newton-Rainbow Project – License To Rock [2016]
Original Heep bass player Paul Newton never got the credit he deserved in those early days. He played on the band’s first 3 albums, and more importantly at the time – invited Ken Hensley to join [the band was Spice then]. He left, and very little was seen or heard again, until he appeared in the Uriah Heep Appreciation Society magazine. He then joined Hensley and Lawton on stage at Heepvention 2000, and has been a part of the Heep Legends gigs over the past several years. This album came out last year, a collaboration with singer/guitarist/writer Chris Rainbow. A good section of styles, and songs, and most notably includes 2 Heep classics re-done.
https://www.youtube.com/watch?v=iiXg3uUx-s8

Phil Lanzon – If You Think I’m Crazy [2017]
After so many years, Phil Lanzon steps out with his own project. Phil has been largely responsible for writing or co-writing Heep’s material since he joined in 1986, so it’s a wonder that it took this long. Frankly – this album is fantastic! Lots of variety – ’70s pop, acoustic numbers, some great storied lyrics, and a few fine singers on this album. Highly recommended.
https://www.youtube.com/watch?v=axvn-xaKa9g

KJ

By the time I had discovered Alice Cooper, in the early ’80s [due to my age] Alice was out of fashion. He was not touring, and his most recent ’80s albums [Flush The Fashion, Zipper Catches Skin, Special Forces…] could all be purchased for 99 cents at Avondale variety store! At that time I’d  just bought the albums [old and newer], assuming I’d missed the whole ride of Alice’s career. But then magazines started mentioning an Alice Cooper comeback. There was a forgettable horror flick called “Monster Dog”,  which starred Cooper, as well as including a couple of new tracks. Then there was a guest vocal on Twisted Sister’s “Be Chrool To Your School” [and in video]. Then there was the theme song [and another song] appearing in the latest Friday The 13th.  And finally, after a 3 year recording absence – a new album, along with a new direction, and new energy.

There was plenty of publicity for the Constrictor album, as well as the tour [The NIghtmare Returns]. Q107 in Toronto aired “Teenage Frankenstein”, pronouncing Alice was certainly back. For the time, Constrictor was a good album – tracks like “Give It Up”, “Life And Death Of The Party”, “Crawlin'”… stood out; though the live show would only feature 3 songs from this album. Beau Hill produced this album [Michael Wagener produced 2 tracks, as well as mixed the album], aiming for a very timely 80s sound. Hill’s credits included Stevie Nicks [co-writes], and 80s ‘metal’ albums by Ratt, Kix,  and Warrant. As much as I liked the songs from this album, the the overall sound let it down a bit, lacking in weight, making this album fairly dated sounding.

https://www.youtube.com/watch?v=4-eyksvPr40

The new band featured guitarist Kane Roberts, bass player Kip Winger [before Winger!], keyboard player Paul Taylor [aka Horowitz], guitarist Steve Steele, and Ken Mary on drums [not all were on the album]. On stage in was a return to the gothic Alice, with slasher films being a big influence at the time. Kane Roberts was built like a bigger version of Rambo [complete with a machine gun guitar that shot sparks] and offered a new metal sound to the AC classics; he would also co-write the songs for Constrictor and the next album.  “Welcome To My Nightmare” would begin the show, and it was a fast paced – no letting up,  gory show, with some theatrics or blood for every song. It was essentially a greatest hits, plus classics like “Dwight Fry”, and a few other album classics + 3 new songs – all ‘metaled’ up for the period, finishing up with the guillotine!  My first Alice show, and I couldn’t wait til the next one!

The follow up album Raise Your Fist And Yell  followed soon in 1987. Co-written with Kane Roberts, and featuring Roberts, Mary and Winger, Horowitz, and produced by Michael Wagener, who’d previously worked with Accept, Dokken, and Bonfire. This album was a heavier production than Constrictor, and featured plenty of great anthems in “Freedom” [the first single and video], Give The Radio Back, and Step On You. Side 2 featured favorite “Prince Of Darkness” – which was featured in the John Carpenter movie ,of the same name that year. Alice would also appear in the movie. Side 2 also featured a trio of songs revolving around a serial killer – “Chop Chop Chop”, “Gail”, and “Roses On White Lace” would also feature in the live show, with gory results.

https://www.youtube.com/watch?v=BJvMZ96Z8ac

I preferred this album largely due to the sound [they were fairly equal in performance and song quality, IMO]. The live show would also include Devils Food & Black Widow, and close out with Killer and Alice being hung.
During this time Kane Roberts released his own album, self-titled, featuring Steele on bass, and drummer Vitor Ruzzo [RIP]. Anyone who liked Constrictor or Raise Your Fist And Yell could easily get in to Robert’s solo album. It was hard hitting, big sounding 80s rock anthems, with songs like “Rock Doll” [single/video], “Triple X”,  “Full Pull” … a shame it wasn’t bigger at the time, with Roberts being Alice’s right-hand man at the time – both on stage and in interviews on TV and radio.

https://www.youtube.com/watch?v=R9bhiiasQeQ

Following this period Alice decided to take a new direction with Trash.  It would be the last Alice Cooper album that Roberts or Winger would appear on [both on 1 track each]. Winger and Horowitz would go off as ‘Winger’ and Roberts would release a second solo album a few years later. I would’ve loved to have seen another album from this line-up, before Alice started bringing in the likes of Bon Jovi and Aerosmith to guest and co-write on Trash, and then the vast list of guests on Hey Stoopid [tho this is one of my favorite AC solo albums].
to be continued…

KJJ .

This year will bring a new Lucifer’s Friend album, the follow-up to 2016’s “Too Late To Hate”.

John Lawton stated a few days ago [posted to the band’s official facebook page] :
“We have a new album in the process of being mixed which we were going to call “THE LAST STAND” hoping to have it ready by the beginning of June….
It has taken a little longer due to the workload of our New York
producer Simon Hesslein.
However we have decided to rename the album “BLACK MOON”
Many fans were under the impression that the original title meant it would be the last LF album, but we are pleased to say that we are currently in the process of writing new material which we will
record over the coming months….;-)
LF rides again……
John.”

In the past I have been fortunate enough to interview John a number of times. they’re still on my Universal Wheels site, but i’ll catalogue them here…..and throw in a few clips…

from 2002, discussing the CD re-issue of the Rebel & Zar albums.  http://www.travellersintime.com/UniversalWheels/lwrz02.html

from 2003, discussing John’s solo album “Sting In The Tale”.  http://www.travellersintime.com/UniversalWheels/jlawton.html

from 2007, discussing John’s OTR project, as well as other projects at the time.  http://www.travellersintime.com/UniversalWheels/Lawton2007.html

from 2008, John & Jan Dumee discussing their album “Mamonama”. http://www.travellersintime.com/UniversalWheels/OTRInterview.html

from 2013, John discusses his recording with Diana Express. http://www.travellersintime.com/UniversalWheels/2013Lawton.html

*an interesting read on the band’s debut LP – thevinylpress.com/lucifers-friend-self-titled/

*in the last few years Repertoire Records has reissued the classic “Banquet” album on CD and 180g vinyl! – https://www.repertoirerecords.com/artists/lucifers-friend/lucifers-friend-banquet/

*a review of Too Late To Hate [not mine] – https://0dayroxx.blogspot.ca/2016/10/LUCIFERS-FRIEND-Too-Late-To-Hate-2016-John-Lawton-Deep-Purple-Uriah-Heep.html

 

 

 

 

Uriah Heep – Sonic Origami

When Heep’s new album “Living The Dream” is released this fall it will also mark 20 years since the band’s “Sonic Origami” album. That album was the follow up to 1995’s fantastic comeback album “Sea Of LIght”. While many felt Sea of Light was a classic Heep sounding album, and far better and more rocking than the previous few studio albums, Sonic Origami saw the band lightening things up a bit with more acoustic tracks and ballads. While I loved SOL, it’s follow up would be my favorite, and it remains my favorite album throughout the Bernie Shaw fronted years, largely for the variety and the number of great songs.

The opener “Between Two Worlds” remains the classiest and heaviest Heep track since the early ’70s. Glad to see it brought back in to the live set on the band’s current tour of North America. This album offered a really mixed bag from rockers like Sweet Pretender, Feels Like, and Everything In Life [a latter day Easy Livin], poppier gems like Only The Young and Perfect Little Heart, progressive tracks in Change and In The Moment, and a number of ballads, most notably the guitar driven Shelter From The Rain, acoustic tracks Heartless Land & Question, and a cover of Survivor’s Across The Miles [also issued as the first CD single]. The hope being that Across The Miles would fetch plenty of radio play for the band in North America, but Journey-type ballads were apparently out of fashion at the time, and it didn’t work as planned, and a massive tour of the US upon the album’s release was pulled at the last moment. The band did however get plenty of mileage out of this album – well more than half of it would feature in the band’s live set for the next year plus, with 8 ending up on the excellent live album “Future Echoes Of The Past”.
Sonic Origami was produced by the legendary Pip Williams [The Moody Blues, Sweet, Graham Bonnet, Gillan, Status Quo…], who was also knowledgeable of Heep’s history and talents. Glad to see it is being reissued on vinyl for this year’s Record Store Day.
Sonic Origami has a few notable distinctions :
It was the last studio album to feature Lee Kerslake
It was the last studio album to feature ballads
it was the first studio album Not to be issued on vinyl! *A limited edition would be issued a few years later, these now fetch more than $200+ .

Below is a few links from the time, including my review then and an interview i did with Mick and Bernie [via phone, separately] at the time.
i remember the day i was to interview Mick and Bernie [via phone] then. On that date, i was home with my sons – one was 3, one was a few months old! i missed the first call because someone was ‘fussin’. the guys were kind enough to call back. I had a nice chat with Mick, then i had to pick up my youngest before Bernie came on. My oldest was content watching TV in the next room. My youngest was less cooperative and much of my time speaking with Bernie included some cries and screaming. At one point Bernie commented – ‘oh, someone needs their mommy’. well, she was at work, so i had to deal with it. i still have it on tape somewhere! Regardless, they were interviews i appreciated. At the time the guys were very enthusiastic, and it’s a shame that things fell though. A great album and potentially an amazing opportunity missed. Happy to report that That baby who screamed throughout my chat with Bernie , as well as the one that came after him – were both with me, and had a great time – when we saw Heep in London, Ontario, 2 months ago!
http://www.travellersintime.com/uw/uwheep899.htm
http://uriahheepholland.freeservers.com/kevin.htm
http://www.travellersintime.com/uw/kjjmbnt.htm
http://www.kaos2000.net/interviews/uriahheep/

I’d interviewed Detroit guitar legend Dennis Coffey years ago, via email. At the time I  was curious about his long list of credits of Detroit funk albums, sessions, as well as his production [such as Canadian band Amish, from 1972] .

Recently pulled out the “Back Home” LP. Classic funk stuff, jazzy, a bit of rock, soul, mainly instrumental, from 1976. Amazing player, who featured on many Motown classics. Looking for more DC albums [LP], tough to find. Also, check out the Dennis Coffey trio’s 1969 album “Hair And Thangs” – classic early hard-rock, very heavy, a bit o funk; fantastic album with heavy guitar and organ throughout.

 

Below is a link to the interview. Enjoy!

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

via Uriah Heep – Live in Ontario, 2018

A few years back, when Uriah Heep played in the US, the closest they came for me was Akron, Ohio – a show a few of us went to. It was a great show, great venue, great crowd. After the show it became apparent that there were a number of us who traveled from Southern Ontario to see the band; someone asked Bernie why the band hadn’t been up to Toronto and his response was “we can’t get arrested up there” – as in no one would book them. Well, fast forward 3 years, in the middle of a snowy and extremely cold winter – and the band played 6 shows in 7 nights in Ontario and Quebec -ALL either sold out or were damn close to being! Shitty weather, no new album to promote – and the people turned out in huge numbers! Who knew!? I was fortunate enough to attend both London and Toronto shows. Below is a brief review and [pardon] some mediocre camera pics 😉

 

The band’s newest set wastes no time on getting into and has very few softer moments — get to the bar and bathroom before they come on stage!
First appearing is keyboard player Phil Lanzon playing those opening notes to Gypsy, accompanied by Dave Rimmer [bass]. The band came on and roared right into the classic – from their first album in 1970, and followed it up with Look At Yourself and Shadows Of Grief [both from 1971]. Drummer – Russell Gilbrook is such a huge player, that he really drives the band to be heavier, and the fans light up when Mick Box enters the stage for the first track – recognizing just who he is. Bernie Shaw IS the singer for Heep. Not only has he come to own those classics, but he knows how to get reactions out of the crowd and how to get everyone fired up.

The band’s set would carry on with the majority of early 70s material, seeing as Heep has no new album as of yet to promote. It is only a 13 song set, but it includes a few lengthy numbers in The Magicians Birthday and the epic heavy ballad July Morning.

There was also the favorites Stealin, The Wizard, Sunrise — the former 2 being a very few of the Heep tracks that classic rock radio routinely play, and the crowd knew them word for word. there were a handful of post glory-days songs in the set – The Law from 2014’s “Outsider” album, which is an interesting choice, as it changes the pace a bit [it is the only song in the set that seems to allow the crowd to settle down a bit], as well as One Minute [from the same album] – which many in the crowd recognized, it is a great live number. Between Two Worlds [from 1998’s “Sonic Origami”] is met with great response from the crowd; it is a heavy song and features 2 killer solos from Mick, so if anyone didn’t know this song beforehand – they’d remember it afterwards!

The set closes with the acoustic track Lady In Black, from 1971. Not a hit at the time, but was a huge hit years later in Europe [upon re-release], and became a big crowd favorite, as it allows for Bernie to get the audience’ participation. An odd way to end things, but hey after a lot of noise – the band came back out and do their biggest hit and recognizable song – Easy Livin. And despite all the re-records and live versions on record — this has never sounded heavier or better [especially in Toronto, I really liked the sound in the Phoenix theatre].

 

It was 90 minutes full of energy and classic songs. Part of that may be the point that these guys are really having a good time – I hope the band doesn’t wait a whole year [as Bernie said they’d be back next year after the new album is released this fall] – Heep could/should come back sooner than later, lots of other cities to add to the list. Regardless, looking forward to the new album and Next tour!

*The band is currently on a break, and return to the US & Canada in April.  check out the dates for the west side of North America at > http://www.uriah-heep.com/newa/livedates.php

KJJ, March ’18

 

Mark Stanway was a member of the legendary band Magnum from 1980, util his sudden departure in 2016. The band being a fine mix of hard-rock, pop, and prog – Mark’s contributions to the band’s recordings were a major part of the band’s sound. Since his departure from Magnum, he has kept busy getting new projects going, which will be of major interest to Magnum fans, as well as those that remember the band Grand Slam [w/ Phil Lynott, RIP].

In this interview, Mark shares some recollections from his early days, his time with Magnum, and what he is currently up to and has in the works for the future.

 

Check out more on Mark’s history, his upcoming gigs and projects, stories, and to order his book – http://www.markstanway.co.uk  

Also, check out Mark’s youtube channel – https://www.youtube.com/channel/UCk2kj8h6oEzGDk4tAxElW_A

 

Can you give me a ‘top 10’ of your favourite recordings/LPs growing up in the 60s and 70s?
Beatles: Sgt Pepper, Revolver, White Album, Rubber Soul, John Mayall’s Bluesbreakers, Cream: Disraeli Gears, Led Zeppelin 1 & 2, Jimmy Hendrix, Billy Cobham: Spectrum, Focus: Moving Waves, Camel: The Snowgoose. Jeff Beck
You were heavily influence by jazz, as well as John Mayall. Do you have any favorite pop/rock keyboard players who you picked up from and admired over the years?
Jon Lord, Don Airey, Tony Carey, Tony Hymas, Jan Hammer, and the list goes on

Your first big gig was playing with Alvin Stardust, who was on Magnet Records. I also assume you’re in / were in Wolverhampton [!?] . curious if you could recall a tale from those days or from any of those Wolverhampton bands – Trapeze, Fable…?
Yes I played with the guys from Trapeze (individually) and knew them all well.

You joined Magnum in 1980. what were you first impressions of the band and their music at the time?
I liked the fact that it was keyboard orientated rock at the time, I knew all the guys before I joined also

You played on so many Great Magnum albums. Looking back at the run the band had throughout the 80s from Chasing The Dragon on – what were/are some of your proudest or favorite moments on record? Fave contributions , solos, intros….
Obviously the intro to Sacred Hour (which my wife actually wrote and I adapted for the record but was refused a credit, being a new boy at the time I didn’t argue, but all of the albums from Chase the Dragon all the way up to 1995, when Tony split the band up – were all good albums and I was given a fair bit of freedom with the keyboard parts and
arrangements.

Magnum had a huge following in the UK, but never really broke through in North America. And why would you think the band never made it huge over here or managed to get on regular tours here?

Yes as we only ever played there once supporting Ozzy in 1982. So that’s why we never cracked the States as we didn’t go there again

You worked briefly with Phil Lynott in his solo band and Grand Slam. What impressed you most about Phil – as a person [friend] and as a writer / musician?
I worked with Phil from Summer 1983 on his solo tour and continued to work with him and formed Grand Slam up until late 1984. Phil was a great friend, great sense of humour, great writer and deliverer of lyrics and open to all contributions from me at all times. A true star and sadly still miss him so much

During Gland Slam you guys recorded and performed “Dedication”, a song many only know as a Thin Lizzy song [which it wasn’t really]. What do you recall of recording/performing this one and any other new tracks you guys were working on?

Dedication was written by Laurence Archer for Grand Slam (lyrics were by Phil, the music by Laurence), and we performed it many times,   I have all the recordings (mostly on cassettes that we ever did) and we worked on many tracks together including, Military Man which I actually co-wrote, Sisters of Mercy, Slam, Gay Boys and many more – all of which I co wrote also

 

During your time with Magnum, songs were [are] always written by Tony Clarkin. Was that the deal when you joined and did you ever put forth material?
Tony always wrote the songs, which was not negotiable! I obviously contributed keyboard parts and arrangements

How did a Magnum song evolve in the studio – because your keyboards were a huge part of the band’s sound, and there was plenty of room for grand intros and solos. [!?]
Tony would, back in the day – just come to the studio and play his song ideas with just an acoustic guitar and they evolved from that really; that is up until the time he got a computer and learned how to record his demos at home.

I did not really get Magnum until I got Into The Valley Of The Moonking to review when it came out, and from there I was hooked [and am still trying to fill in gaps in my collection]. Again, for you – what are the highlights on record and as far as the live shows from 2002 til 2016? and can you shed any insight into a few of those fantastic keyboard intros – When We Were Younger, Live Til You Die, Crazy Old Mothers….?
I used to take the demos home and work on parts in my own small studio and then take them back to the recording studio and some were used and some were not, I still have copies on CD of the stuff I did even the stuff that was not used.

Can you or will you ever shed any light into the reasons for leaving the band in 2016? 

Yes in time or maybe my next book (which I have started), which would enable me to answer the question comprehensively which cannot be done properly in a few paragraphs or an interview. Its like trying to tell someone why their 36 year marriage came to an end!! There are 36 years worth of small reasons which accumulated and
came to a head which basically made my decision/mind up for me.

You wrote and released your own book in 2015. Now, I’m only part way in to it – but there are some hilarious stories. How exactly did you determine that you should do this and how has feedback been, particularly from a few of those mentioned in some of the stories?
The book continues to sell and I started writing it years ago, it is all 100% positive stuff about Magnum but I was never allowed to sell it at Magnum shows which obviously resulted in the serious potential loss of sales. It was after my book was released that tensions arose which still baffles me to this day.

You’ve been very busy since leaving – reforming Grand Slam, solo shows….what else am I missing?

My ‘Evening With’ Shows are taking priority at the moment as I still have to earn a living etc, but also do a lot of Raffles on my facebook group page for local causes which is worthwhile and fun albeit very time consuming. I am also when we get the chance writing new Grand Slam Material with Laurence for a proposed new album as and when time permits. I am also looking at putting an all star band together for late autumn (again if I get the time)

What’s the status on a new Grand Slam album? when will it be out and who will be writing and playing on it? will there some of Phil’s songs used?
We have a live recording and DVD from Sweden Rock 2 years ago which we will also get round to mixing and finishing which does have the old Grand Slam songs included. (The rest of the answer to this question is answered in the previous questions response )

You’ve done a few solo shows (?) – what do these shows consist of – as far as material performed and guests who perform with you?
I have only done 1 show so far and you should get to one, as they will vary from show to show dependant on the availability of friends and guest artists.

Do you foresee yourself putting together a band and/or writing and recording a solo album?
Yes again as time permits, I have several songs waiting to be recorded when the time is right and convenient

Do you buy / listen to a lot of music at home? and anything in particular these days?
I always listen to music at home and watch very little TV, and what I listen to always depends on my mood at the time so it could be anything from Debussy, Stevie Wonder, Gino Vannelli, especially anything by Jeff Beck, all the way through to Art Tatum, Meades Lux Lewis and Fats Waller!!

 

Interview, Kevin J. / Feb. ’18