In recent months a new series of Uriah Heep remasters began being issued on BMG. The series began with the 2 CD compilation Your Turn To Remember and the band’s 1970 debut Very Eavy..Very Umble. In chronological order, the band’s Salisbury most recently came out, and Look At Yourself is all set to go. Each of the these releases come packaged in a double disc digi-set, with the first disc being a remastered version of the original album release and disc 2 being labeled “an Alternative…”. Producer Rob Corich provides us with some insight into the new round of re-issues, as he’s been involved in the band’s catalogue reissues since the early 90s [going back to vault releases The Lansdowne Tapes and Ken Hensley’s From Time To Time]. Your Turn To Remember is not your standard Uriah Heep ‘best of’ compilation, and aside from the obvious choices the set includes two tracks from each of the band’s albums up to 1985’s Equator, and 1 from Raging Silence [not sure why!? and it’s not the obvious choice one either]. A few odd choices, such as the Japanese edit of fan favorite “July Morning”. The packaging, aside from a cool display of images of picture-sleeve singles and adverts, also features new and lengthy insight and stories from founding members Mick Box and Ken Hensley.
With the studio re-issues – while the first disc is a fine upgrade, it is the second disc that offers something new and interesting. It consists of the rare tracks, and previously unreleased mixes. Corich is adamant there is enough material for two disc sets for the band’s entire catalogue – “To my knowledge, yes. There is certainly enough. Honestly I have more stuff after this lot…one could easily make 3 disc sets or more ..That’ll keep you all talking for a while!” But he adds, it’s up to the record company if the 2 disc sets will remain throughout or if the series will even stay in order or jump to a different era. Fans wondering if this set will offer anything new or interesting to make it worth buying into another set of the band’s albums up to Raging Silence [and hopefully including Different World].
I inquired if these are from the same tapes [as previously released] or if there was things not previously used[?] – “Bits of both, some were from same multi tracks, others from different ones depending on what I was working on at the time or had recently discovered. Honestly I have so many mixes of stuff that I did or tried to do back then… I did go to town on some of the tracks back then… Often recalling what my best mate Warren and I would discuss ‘should’ve been done’ when we were kids… Years later when I had a chance to do just that I sometimes did.. Some I did far more with than others as you’ll see as the catalog continues.” As for the first two alternative discs, fans will definitely hear the difference – especially on tracks like “Born In A Trunk”, “Time To Live”, “Bird Of Prey”, and “Salisbury”. The songs jump out a bit more and the changes bring up vocals, guitar parts, or Hammond previously not heard or heard from a different angle. Salisbury also includes a ‘live’ version of the title track [so, no orchestra], taken from a tape from the era. It also begs the question – if there’ll be more such tracks or why not just issue a few whole shows. “Just remember this.. These were never meant for anyone else to hear apart from my mate (Warren Eady) from childhood (and probably the biggest Heep fan ever) in his last few years.. He was very ill with incurable cancer at the time and subsequently died.. I just did many of these to cheer him up. Who knew they would ever get used, I certainly didn’t, but when I was asked to view the choices the record company had come up with last year I told them no way would people want a re-release of the same old things we did around 2003. I went back to check what else I had in the vault (a lot!) then I remembered these and once we listened to them they actually sounded pretty good. Mick agreed and here we are…”
The topic of unreleased live Heep and previously unreleased Heep material is a hot topic amongst die-hard fans. Just to recap what there is [and not commercially available] – numerous live shows [bootlegged, radio, soundboard…] most notably the 1976 show from Boston [which surfaced in recent years – and I’m sure many of my fellow Heep fans could recommend a few others!?], the last album’s worth of stuff recorded with John Lawton on vocals – which is easily available [in bootleg quality] on youtube, save for the few tracks that were mixed and included on the Time Of Revelation box set in ’94, and the Chapter & Verse box set years later. Corich notes that what is available is not exactly the actual album but tracks from a 3 year period. There was also an album’s worth of material recorded with the John Sloman and Gregg Dechert line up [not heard anywhere], the first recordings for Abominog – which were rejected and redone [a few of these have surfaced].
The Lawton album was prepared for the last batch of remasters over 10 years ago but was never cleared for release. “I worked on this over twenty five years ago but no one was interested in the idea back then. I’ve suggested it a few times since including the remaster batch ten years ago. Frankly it would make an excellent release and probably one of the most interesting historical releases for the band. It would certainly generate pretty serious interest in my opinion. “ There was also a live album from the Sloman era recorded, from which 2 tracks were used years back on “The Best Of Uriah Heep” remaster. Corich also mixed this some 20+ years ago, claiming ‘it sounds really good’ – but it too has never been up for release. “There is after all a full concert that I mixed years ago with John Sloman just before Ken left (his solos are amazing on this) just sitting in the vault unused.” As well, a live recording of the band from Auckland, New Zealand in ’84. The Auckland show was aired on TV, and in an interview leading up the show it is revealed the shows are being recorded for a live album! Corich attended all those New Zealand shows, and sees this as something that could easily be released, if OK’d.
The next two releases are the band’s finest albums from the Byron days [IMO] – Look At Yourself is ready to go in the new year, followed by the band’s biggest album – Demons & Wizards. According to Corich there is an abundance of material for an alternative album option – “there are quite different versions, edits, mixes etc.. Demons & Wizards, for instance runs in at nearly 80 minutes.” As a collector, my only let down is in the packaging. First – the vinyl option! Perhaps someone didn’t think it was warranted, but these would look fantastic with more pics and a huge gate-fold cover, much in the way the latest set of Black Sabbath remasters are being put out. Corich does believe there will be a ‘special’ release for Record Store day coming up though with Live January ’73, and possibly plans for vinyl later in the year.
I’m also wondering why someone couldn’t include any band pics featuring the band-members that played on these albums. Very Eavy…Very Umble includes the centre shot from the album’s gate-fold, but it’d be nice to see original drummer Alex Napier from the day, and it’d be cool to see a band shot with then-drummer Keith Baker, on Salisbury [as opposed to 2 pic-sleeves featuring the classic Thain/Kerslake line-up]. Anyway, they do feature new quotes from founding members Ken Hensley and Mick Box, which make for interesting reads [though it would’ve been nice to perhaps hear from bass player Paul Newton as well!?]. These releases are ‘must haves’ for Uriah Heep fans. If you think it’s just a re-hash or another cash grab, I’d say you’re very wrong! And honestly – as the band and many former members are still active, it’s important to have new reissues when there are many still discovering the band. Here’s looking forward to the obtaining the catalogue…again…and hopefully some surprises thrown in!
British band Magnum has been going for over 40 years. The band generated a big following in their homeland and throughout Europe, but few tours or a big commercial breakthrough in North America has kept the band at a distance; so the band has remained a mystery to many rock fans here. For myself, Magnum was a band I’d heard of but never really heard until I received a copy of 2009’s Into The Valley Of The MoonKing – and I loved that album and have kept up with releases since then (still got plenty of back catalogue to fill in though!). The band consists of original members Bob Catley (vocals), Tony Clarkin (guitars/ songwriting), Harry James (drums) and Al Barrow (bass). The band is currently without a keyboard player as longtime member Mark Stanway recently left the band, and has reformed Grand Slam.
Al Barrow joined the band when Magnum reformed in the early 2000s, and has played on every album since then. Barrow is also a photographer and has played a key roll in the band’s album covers and / or lay outs since their return. The band’s brand new release is a collection of ballads titled “The Valley Of Tears”, which features a fantastic cover shot and designed by Al as well. In this interview Al Barrow gives us details on his joining the band way back, as well as how the band works, some insight into the songwriting of Tony Clarkin, his album designs, and his favorite albums from his youth and his current listening!
What sort of stuff did you grow up on in the late 70s / early 80s? can you give me a few fave bands or players?
Well the early 70`s I was very young but I was surrounded by my elder siblings who were very much into music at that time. We have quite a musical family. My great-grandfather, I was told was quite well known for playing in the Old Musical Halls around the UK. I must research that more and find out about him. My mother had a fantastic voice and sang in local choirs and shows. So coming into the 80`s my sister and brother had jumped into the rock scene quite heavily and had been in bands and formed their own bands along the way. So you can imagine in our house there was a lot of music played and being listened to.
One thing that does stick out in my mind was one afternoon I asked my brother if I could listen to one of his albums, he was a little reluctant as younger brothers break things. lol
He did let me and that was the start of it. The album was 90125 by Yes released in ’83 I think. Even though this was not out and out rock it had some pop feel to it so it was quite accessible for a new music fan. With Trevor Rabin & Chris Squire I found the mix of technology and rock was interesting to me at that time. It was then a natural progression from there. I would sneak out with my brother record collection and listen to what the world had to offer. The next album I found was to change my life completely – Moving Pictures by Rush. That was it, I was sold. I wanted to be a bass player! This sparked my interest in the progressive side of rock and more so bass players. I spent the next few years locked away learning every album note of note that Rush had to offer. I also found Thin Lizzy, Asia and Genesis at this time.
As I grew older my choices took a bit of a curve. I fell into grunge for some reason. I think I was looking for lyrical content and as I was a young teenager with teenage issues like everyone else, I found it in bands like Pearl Jam, Alice in Chains and Live. Saying this, whenever I would go to a rock venue I was always gravitating back towards the classic rock material I had grown up with.
Something you may move away from but deep down those classic bands stay with you for life, returning to them from time to time is fun & nostalgic in so many ways.
Can you give a Top 10 list of favorite albums from your youth?
Rush: Moving Pictures, 2112. Grace Under Pressure, Signals, Power Windows, Roll The Bones, Exit Stage Left, Show of Hands & Presto.
Yes: Big Generator, 90215
Journey: Escape, Raised on Radio.
Asia: Asia, Alpha, Aqua.
Genesis: Genesis, Invisible Touch.
Thin Lizzy: Live and Dangerous, Black Rose, Chinatown.
Pearl Jam: Ten, Vitalogy.
Winger: In the Heart Of The Young, Pull.
Mr Big: Lean into It, Mr Big.
Thunder: Back Street Symphony, Laughing On Judgement Day, Behind Closed Doors, The Thrill of It All.
Peter Gabriel: So, Up, Secret World.
Dream Theatre: Images & Words
Tyke: Don’t Come Easy, Strength in Numbers.
You joined Bob and Tony in Hard Rain – How familiar were you with them at that point?
I had never met them. I did however stand behind them on stage once at Greenbelt Festival. My brother was playing in a band called Getsemenane Rose. Magnum had come to line check and I stood behind Mickey and Wally to watch. That was it really.
I was working with a guy name Paul Hodson in a studio in Walsall and he gave me a phone call and asked if I was free to do a short tour with some guys. I said I will meet them and see how it goes. No idea it was Bob and Tony. I walked in the studio met Bob and chatted for five. Then Tony came in and said “Hello lets go to the pub!”. That was it really. We chatted for a bit and had a few drinks and Tony said see you at rehearsals next week. I had to go out and buy all new gear as I had not got anything tour worthy at that time. So I took a gamble and spent a couple of grand on a new bass and amps. I turned up to rehearse and played a few Hard Rain songs. Then we all went to the pub…again. At the end of the day Tony said you can come back if you like tomorrow. I think that was my audition and I am glad it worked out ok. lol
We did a short tour and another album as Hard Rain and then a bit of a break. I went on tour with Bob as he had me do a few solo ideas with him, then I got the call to say we are putting Magnum back together are you up for it, I said “erm ok i suppose”.
Tony writes all the songs in Magnum…. How does he present a song to the band and how does it develop in to what’s on the finished album?
He spends months and months working at home on his basic ideas. He then gets them to a point where he transfers all his files over to the main hard drives at Mad Hat Studios in Wolverhampton. At this point he will get Bob to sing may be a few lines form a chorus just to get the key right. I might do a few guides if Bob is away just so Tony can carry on building the ideas. It then gets to a point that he has basic song structure. Very basic drums and guitars and keys which he has put down. He puts it all down on a CD to give to the rest of us. It is mainly me Bob and Tony along with Sheena the engineer in the studio for the first few months while these ideas come together. Then once the song has a set structure Harry will come down after learning the rough idea of the song to do his drum takes. Tony will ask him to do one pass as he has shown him on the demos so he has real drums but a basic structure. Then he says to Harry do what ever you want to do now. Harry will pretty much nail the entire album in less than a week. Most times doing one pass and nailing it on the first go. But he always does more so we have some variations to work on. The songs will constantly change as they progress. Then I will put the bass down. Same idea, Tony will ask for what he needs which as very basic simple line. Then I get a week or so to do what I want, but to be very honest with you, the simple lines work well with Magnum, it`s the song and the melody that is important in this band not playing all over the shop on the bass just to make me look fancy. Then guitars go down along with keyboards. Same kind of way.
The structure of the songs and feel of the song change so much when the vocals and backing vocals are put down. Here we will spend probably the majority of the time recording. Me and Bob doing vocals together over the next few months as Tony writes the lyrics.It`s not the usual way I am sure and many bands record in a different way but it works for Magnum and us as musicians so long may that continue.
What do you know of Tony’s writing – as in what he writes about or draws ideas from? Is there ever discussion on what particular tracks are about in the studio ? [i.e.: does he present a song and explain any meaning or vision?]
Before any day at the studio starts we spend a good while talking about what we have seen on TV, movies, books and conversations we have had or heard. Tony will talk about what is happening in the world and how he feels and these conversations often lead to discussions and ideas for songs. Tony watches a lot of TV and reads a Hell of a lot. The world around him influences him in so many ways, but the idea of a song can come from the most simple conversation or a very boring situation but something sparks him to write about it. He is very history based in a lot of his ideas. I think he watches a lot of history channel stuff, lol
But he may start one idea and it grows very rapidly into to something else. He usually starts with a hook line or a chorus and then the song develops from there.
You are also in to photography and have done a few album covers. Aside from the Magnum covers, have you done many other band’s album covers?
I have done a few Magnum covers and if not the cover I design the booklets and all the inside of the album also. T-shirts, web site you name it if it has Magnum on it since 2002 it was probably me that designed it I would think. lol.
I usually do a lot of the photography for the band but lately it has been better to bring in some help and we have used a few guys over the past few years that have taken the pressure off me a little.
I also work for other record labels. I have designed many album covers for a lot of bands. I also do designs for their merchandise and branding. Working for big labels is fun as they give you the budget upfront and a good brief. But getting paid by them is another matter. I much prefer to work directly with a band and a smaller label and this give me a little more creative freedom to work with the band members and get closer to the ideas that they want. I love working with unsigned bands as they have very little budget and are very passionate about what they want to achieve. They have strong ideas and this floats my boat more than bigger labels and artists that have little or no say in what the design will be.
I have provided photos for many other bands as well, I like shooting live concerts and have had the pleasure of shooting some of my favorite artists over the past few years.
Regarding the Magnum covers you’ve done, can you tell us a details about each one – Breathe of Life, Brand New Morning [a fantastic shot], and the latest Valley Of Tears – such a stunning pic and atmosphere around it.
Ahhh…Breath of Life. LOL. I can’t even look at that. I was new to photoshop and that album was put together by Tony and me sitting in the pub trying to learn the application and trying ideas. Tony would say, I want this floating eye and some hands painting a picture etc… I would say OK and then have to figure a way of doing it. It was very rough and I said we can make this better in many ways but Tony said he liked how it looked and that was what he wanted to use. I asked, are you sure,? We can do better than this but he liked the mosaic feel to it all. So he is the boss. (lol) But I look at it with a touch of fondness & regret as I recall sitting in the pub for many hours on a borrowed laptop putting ideas together, it was learning curve for both of us.
Brand New Morning… Again Tony gives me a brief. He asked for a weird landscape with junk everywhere. Some scarecrows included and the moon. Ok i thought I can do that.
The photo was taken at a scrap yard in Walsall, not far from where I lived. The silhouette of the scarecrows were actually Bob. We spent a day in the studio making Bob up and dressing him as a scarecrow. It was a lot of fun for us but i don’t think Bob was so amused, lol.
We came away with some very interesting shots of Bob that day. We wanted it to be less obvious that the scarecrows was Bob so we ended up only using his back and the silhouettes of him in the end. The image of him as a robot scarecrow is available on the web somewhere. The crosses and birds were hand drawn in photoshop and added later along with the moon.
The Visitation… as with many album ideas there is weeks and weeks of discussions about ideas that never see the light of day. I work on all the ideas we have but eventually end up going down the road of one final idea. It’s a long process and it can be hard work and a tad frustrating at times but we always come up with a good idea we think works well in the end. This idea of the time piece was completely had drawn in Photoshop to start with. It was a broach that Tony used to wear on his jacket and can be seen in old photos and footage if you look closely. Photoshop had progressed quite a lot by this time and I was getting to grips with filters and layers more so these days. This was a lot of fun to work on as I had complete freedom on this cover. Although the front cover of the jewel case version has Rodney`s artwork Tony really wanted the box set to carry the timepiece design. We both wanted the Magnum logo to be black and only visible as you twist and turn the album but the record label said this would be hard to market and so we returned to the Wings Of Heaven logo for this album. The inside of the box set had some interesting photography work. I had this idea of multiple band members spending time together in a bar, again. I had no real idea how to do this before hand as we wanted to do the shot with an ultra wide panoramic photograph. I learnt a lot around this time from a lot of good people. There are also photographs taken by my wife Rachael on this album. She took the band shot for this album which is still one of my favorites.
I have also worked on a few compilations Magnum had on release – The River Sessions & Evolution. Tony said he wanted something very different for the DVD cover of “Living The Dream” ; One day on tour I had written in the dirt on the side of our tour bus the words “Livin The Dream”. He like the idea and said we should use that for the new cover. That was that really. We were lucky when reproducing the idea later we had a cobweb in the wheel arch which Tony loved and gave it an even more ironic slant on things. It was fairly easy to put the rest of that design together. Escape from The Shadow Garden Live was really quite easy to do. Tony just said show me some ideas. I had some fantastic live photos sent to me by many photographers and this gave me great scope and color range to work with.
The band usually has Rodney Matthews do covers, but the ones you’ve done are quite fitting. I’m curious how its been decided to pick your option or Rodney’s? as well you always have a hand in the design with additional photos, etc…
We all go through a lot of discussions with Bob and Tony. We meet up with Rodney and discuss ideas. There has been times when we have swapped over who does the front and who does the booklet covers , etc. More times than none it will be Rodney’s work on the cover as this is what the fans love to see. Magnum and Rodney do seem to have symbiotic relationship and have done for many years. I am happy to work on the inside and other areas of design. It can be a bit more free and open to change which I like. I love working with Rodney and he is a real nice guy to spend time with.
I notice Jim Lea has a part in most Magnum albums. I presume this is the same Jim Lea from Slade? What’s the story behind his appearances?
I have known Jim for a very long time and even did some guide vocals for him back in the day when he was writing some new material. he is a very interesting guy, lots of stories, he literally is the guy who has been there and done that and has the t-shirt to show for it. He is the most amazing musician. Let alone being known for his bass playing and song writing in Slade he is a fantastic string player. He is quite simply a very inspiring man. I worked on some artwork for him as well… that reminds me he still owes me for that, lol.
We use the same studio for many years and often spend time chatting in the kitchen of all manor of subjects. Usually with Jim it always comes back the Beatles lol, he is obsessed with them. He is still writing and producing music at the studio. Tony often asks him to do some strings on the album when he feels real strings are needed.
Jim also appears stood in front of the moon on one of the Magnum booklets.
Of the band’s older catalogue [pre reformation] – what are your favorites to perform and do you have any favorite songs you’d like to perform some day?
I have said how lucky I feel to be able to play some great music from a great back catalogue. I would love to play a lot of older songs but Tony and Bob are for ever wanting to move forward. You have to think they have been there and done that already. To me it would be like a new song to play live but they have played them on tour already. Tony says he still has a lot more to say and the music we record now & perform live and record reflect that. Moving forward all the time.
Not to say they don’t reflect on what they have done in the past, but really don’t want to be seen as a nostalgic band resting on their laurels and just playing the shows doing older hits. I would love to play “Back in Your Arms” live and may be the full album version of “The Spirit”. You never know what may come in the future.
In my little knowledge of the band’s history, I was under the assumption On A Storytellers Night was one of the band’s best known tracks, but I don’t see it in the live set [or on latter-day live albums]!? As a fan of that song and album – when was it last included and why isn’t it a mandatory standard?
I really can’t answer that for sure. I would say the last time I remember playing it was in 2005 as it was the anniversary tour of that album. Those shows were recorded and released as “Living the Dream” So I think 2005. May be it might make a comeback soon, who knows.
There have been so many great songs since the band reformed. Wondering if you could share any insight to some of your favorites? [a few of mine would be Cry To Yourself, When We Were Younger, Brand New Morning, The Moon King, All The Dreamers, Live Til You Die, unwritten Sacrifice, The Art of Compromise, Sacred Blood, Gypsy Queen, Afraid of the Night, Forgotten conversation…. Geez…I should just do a list for another article]…
I have to say I love playing Black Tattoo live. It has a great riff and is heavy as hell and really gives me opportunity to just sit in the groove and supply the big rumble.
The past tours we have played a lot of new songs on the tours along with some of the classics. I love to play the classics, Vigilante, All England`s , etc. A couple of songs I really enjoy right now are “Unwritten Sacrifice” “Twelve Men” & “Your Dreams”. All great songs. They are all simple songs to play live so this really allows me to get my harmonies on point and then just sit back and sit in the groove again and almost watch the rest of the band enjoy the song as well. “Sacred Blood” & “Crazy Old Mothers” go down so well, I enjoy seeing the crowd loving hearing those songs played live.
“Gypsy Queen” was one of my favorite Magnum songs and really wanted to play it live, but it just didn’t work as well live, so it never got to be played on stage to an audience. It’s great song though.
When a Magnum album is recorded , is there much in the way of any leftover tracks or alternate takes that aren’t too bad?
Anything that does not make it to the final album literally does go right in the trash, never to see the light of day again. There is a reason it did not make it that far and if it was not good enough then it was probably not good enough later on. That’s the general rule but the odd idea of the song may remain and get reworked to point it is very different but as far as complete songs being kept and used later is very unlikely. Out takes are only sent out to other band members to take the piss and that’s as far as they go. Thank goodness.
Where did the idea for Valley Of Tears come from? And how did you guys go about selecting tracks?
The idea of the album was from a conversation Tony and his daughter had. She was saying to Tony – Magnum have so many great ballads you should do an album of them all. This was told to SPV as they had been asking for a book. Tony said he did not really like the idea of a book so would this ‘ballads’ release be ok instead. Everyone thought it was a great idea and it turned out to be well received.
It was going to be a simple idea to execute but it turned out to be a monster all of it’s own. It took a lot of back and forth, long hours and blood sweat and tears. With everything Magnum try to do, average will never be good enough, we have to go to to the extreme in everything we do to give the fans the best we can offer. It has sold very well and charted high on suppliers sites such as Amazon, etc
Have all the tracks been remixed or any new studio recordings?
All the tracks got a lot of treatment. Some being recorded again some having total remastering and all of them got remixed. Some had new guitar parts and new vocals , etc.
Is there any discussion on perhaps promoting the new CD in a mini-tour or something?
Right now we will be going back in to the studio to start to record the next studio album. Tony and Bob will be going on tour with Rock Meets Classic and then back to the studio for more recording. We have a few live shows planned for later in the year but it will be mostly time spent recording. There are no plans to do a ballads tour to support this album.
Mark Stanway recently left the band. Without getting into too much – was Mark’s departure a surprise and moving forward [as there is plans for a new album] – will the band be seeking a permanent replacement or carry on with guest players? [any names or suggestions put forward?]
It was quite out the blue indeed. It was mid tour. We had just played a show and Mark chose to follow another path. It was a surprise to the rest of us. We respect his decision and wish him all the very best in whatever he does in the future. It was his choice and he posted this on his social pages. We had a to put the remaining shows of that tour together pretty much over night. Due to us having some amazing crew and studio engineers we were able to play the shows we had remaining on the short tour. We also had Rick Benton, a keyboard player learn the show in two days and sit in with us at Wolverhampton and Edinburgh and he did a fantastic job. Even though we used a computer to play the Irelands show I was happy with the results and the fans seemed to have a great night.
Now we look forward to a new year and new songs. We don’t have plans set in stone just yet for what we will do as far as keys on the album and future live shows. Watch this space as they say.
The band has quite a following in the UK and Europe. Where are some of your strongest followings?
We always do very well in Germany and Scandinavia. UK does well and slowly but surely the ticket sales increase with each tour. We have noticed now that we almost have three generations of fans coming to the shows. Even the youngest fans know all the words of the songs and it is quite fantastic to look out some nights and see the entire family rocking out to Magnum tunes. Not many bands can say that.
I don’t think Magnum has toured in North America since the mid 80s [!?]. Is Canada and the US still on the band’s radar, and what would it take [logistics, etc…] for the band to play over here?
I now live in USA and I will be receiving some CDs so I can try and get in touch with local radio stations and promoters over hear to see if we can get any interest in Magnum going. I live in Tennessee so it`s quite “country” but we can educate them I am sure. I have met a lot of Americans that have not heard of us of course but I have spread the word and I think we are gaining a small but passionate fan base. It`s early days but Rome was not built in a day.
What are some of your current favorite releases? Listen to a lot of music outside of the band?
Now if I told you what I have on my iTunes right now it would have many rock fans of the band running for them there hills, quite literally.
My wife and I spent a lot of time over the past years spending a lot of money travelling to this part of USA. We really like the new country rock music scene that this part of the country live and breath. I could list all of the bands and artists I follow now but it would not be recognised by many of the people reading this interview.
Then again, last tour we did had my iShuffle playing before the show and I got a few messages from fans saying how much they like how I had sneaked in some country rock and they were fans also, so may be I am not alone in this. I always go for a good production, a good singer and great lyrics and I find a lot of this in country rock. I do listen to some of the great Country names but I lean more towards the more modern, which I know is growing in popularity over in the UK also. So here are just a few then…
Tim McGraw, Hunter Hayes, Blake Shelton, Zac Brown Band, Justin Moore, Carrie Underwood, Brad Paisley…the list goes on.
What other projects [musically or photography] have you got on the go outside of Magnum?
I have been keeping myself busy with looking after the social media side of things with the Ballads launch. I have a few photographic things going on in USA but now I am looking forward to getting back in the studio with Bob, Tony and Harry soon. I am slowly trying to get a small recording set up here at home to start putting some ideas down. I have no idea what I am going to do or how that will pan out. Nothing written in stone or any rules to follow, so it really is an open book. After emigrating this time last year has opened my life up in so many ways. I have to be honest – it has taken some adjustments. This makes for some great ideas for some songs. You never really know what life will throw at you so you really have to grab it by the horns and go with it at times. it can be scary and exciting but never boring (LOL)
I would like to thank you for taking the time today to ask me some questions and I hope I have not bored you and the readers too much. Also a big thank you goes out to my wife Rachael for putting up with me. I hope it gives an insight in to Magnum and the people in the band. Also the plans we have & the passion we still feel for making new music.
We thank you all for continued support. Last but not least, we are looking forward to seeing y’all on tour some time really soon I hope.
A massive thank you to my Magnum, family-band & crew.
Licence To Rock is the name of the new album from British musicians Chris Rainbow and Paul Newton. Chris has been around for years, recording albums and performing; Paul Newton should be known to classic rock fans as the original bass player in Uriah Heep. Paul played on the first 3 albums, as well as contributed writing to a handful of songs on the first 2. Paul was also in The Gods and Spice – both pre-Heep bands, and it’s more than likely that without him – Uriah Heep would not have happened. In recent years Paul has returned to the Heep circle via Heep fan conventions and Heep Legends shows. But Licence To Rock sees Paul Newton return to recording – along with singer/guitarist and songwriter Chris Rainbow. The album is a fine mix of rockers, pop, blues, and a bit of country, as well as including a couple of Heep covers from Paul’s early days. [see review elsewhere on this site]. Here Paul & Chris give the details on the album and the making of. *thanks to Paul Newton for being a champ in responding so quickly [and well typed]! Enjoy the read!
How did this project come about, and how did it evolve into a full album?
I met Chris at one of his solo shows about three years ago and during the evening we talked music and found that we had a lot of common ground regarding bands, songs etc. I saw him again a few months later and he asked me if I would be interested in playing bass on a few of his originals. This commonly happens with musicians I meet, but, to be honest, I am always a bit wary as usually these guys have songs that are just awful things that they think are wonderful but are really just a waste of time. However, I agreed to have a listen and a few weeks later Chris came to my home with his guitar & a few demos which were surprisingly good so I agreed to play on a couple and in due course we had a day at Arena-sound studios and knocked out three songs which we were both pleased with. It became evident to me that Chris was a REALLY talented musician & songwriter. At that time there was no real plan to make a full length cd as Chris was just going to add these songs to the stuff he sells at his own gigs. Over the next few months we did a few gigs together and Chris regularly sent more songs to me and so the project just rolled along from there….he would send me demos and I wrote the bass lines & then added them to Chris’s recordings……simple !!. We originally made a CD of just four songs but as time passed we formulated a plan for a full length CD…which is what we now have.
Paul – What can you tell us about Chris Rainbow – what you knew of him before you got together and recording together? Chris – can you give me some insight into your own musical influences and style?
Chris lives in the coastal town of Clevedon which is just south of the city of Bristol…about one hour from my home in Ledbury. He has been a professional entertainer & musician all his life and has an interesting profile, having previously worked in a circus and with bands as well as his solo work. He lived and worked in California for some years where was married to an American lady for a while. His musical influences come from his general love of rock music and especially from his time in the States where he got into all the great southern USA bands.
Chris- Southern Rock and west coast American music is probably what l’m most familiar with from a songwriting and playing perspective. As regards to my musical taste, l am a fan of everything from Rockabilly jazz right through to Hard Rock and Metal.
Paul – How did the idea of re-recording the 2 Heep tracks come about? Your suggestion? What was the feeling revisiting those tracks 45 years later? Chris – Were you familiar with Paul or Heep and either of the Heep tracks before this project?
The idea to do the Heep covers came from Chris. He has a vast collection of rock albums from way back…all sorts of stuff he has accumulated over the years, including much of the Heep catalogue, and he was keen to include a couple of Heep songs as well as his original material. I was not so keen to begin with as I am not someone who lives in the past and the interest for me was to record new material, not rehash old stuff that could not really be improved on. Chris thought that the Heep covers would provide a link from the past to the new stuff and provide a bit of extra interest and so that is how we ended up doing the two songs that appear on the CD. The decision to do a cover of “Baby Please Don’t Go” was easy as it is a great song that we both love! Re-visiting the two Heep songs was really down to “how do we arrange them” and we decided to pretty much leave them as they were…just play them with Chris’s interpretation. To totally re-arrange them would have been pointless and with no actual gain…they are just two fairly simple songs and should be played that way. The original Chris Rainbow songs are a selection of his material…some already written and recorded & the rest written during the recording schedule. Ex-Heep drummer Keith Baker was due to play on some tracks but had to pull out due to personal problems so we used my mate Gary Harper on some tracks.
Chris- l was, prior to meeting Paul very familiar with Uriah Heep’s music. l grew up listening to all the Byron era aside from the first three LPs featuring Paul. Particular favorites of mine were Wonderworld, Sweet Freedom and Return To Fantasy. Also Firefly featuring John Lawton on vocals was a favorite – The Hanging Tree in particular.
Memories of doing the two Heep tracks are Paul doing the bass parts; the years just rolled away and he locked into the groove as if we were back in 1970 pure magic.
The album really is a good listen throughout and has a wide range of songs from hard rock to pop, to blues, and even country. …Do you have any personal favorites – either as songs or your performance?
As regards my personal favorites on the album I have to say that I am pleased with all the tracks…we only put down stuff that we really liked. “Watching My Last Chance” & “This Lonely Road” are probably top for me. As for my playing….well..I can only play as I play but I always try to find bass lines that work for a particular song and not overcomplicate things so I am quite pleased with what I have contributed here. Of course, as often happens listening back to stuff after the event you always tend to think that maybe something could be improved or played differently.. but you could go on forever….
Chris- Regarding the songs on the new CD the only song l had before meeting Paul was ‘All’s Not Lost ‘, which was originally intended as an acoustic number. The other songs were all written especially for this project.
The song ‘Watching My Last Chance Fade Away’, l always saw it as a west coast country rock type of thing the lyrics dealing with a relationship breakup and the person feeling that it is not the last chance gone with that person but possibly his/her last chance with love together. The other songs are generally about the benefits of keeping going despite the obvious difficulties that life can throw at you. ‘Satans Claw’ was inspired by the film ‘City Of The Dead’, starring Christopher Lee and the other Black Lion, Hammer and Amicus films. The short instrumental piece The Mage was part of a trilogy of short instrumentals dealing with Aleister Crowley. l thought it made a suitable prelude for Satan’s Claw.
My own personal favorites on the CD are ‘This Lonely Road’, Baby Please Don’t Go and Let The Dice Keep Rolling for no real reason other than they remind me of the fun we had doing this CD.
This CD was recorded on a very tight budget and is a very low key release in the big scheme of things. It would have been nice perhaps to have added another guitar player to do a bit of shredding, as my style is more riffs and rhythm… on the other hand some of the charm would have been lost, l think. The biggest thing for me on a personal level was when Paul rang me to say how pleased he was with the finished album.
Paul – you’ve really been embraced by the Heep faithful over the past decade via facebook and the Heep Legends shows. How fun has it been after being out of the spotlight for so many years, since you’d left the band in ’71?
Being “embraced” by Heep fans over the last few years has been a great & unexpected honour for me. Having only been a part of the band at the very beginning and then moving on to many other things during my life meant that I rarely gaveHeep a thought until 1999-2000 when John Lawton asked me to do Heepvention2000 in London….I had to dig out the old songs and re-learn them! Subsequent HeepVentions & related events over the years have been enjoyable and great fun and the continuing interest & support of the Mick Box Uriah Heep & related things have totally amazed me (and continue to do so). Sadly it is unlikely that there will be any more “Legends” shows or reunions but we have enjoyed what we have been able to do in recent years….good memories to have.
Paul – Overall, how was the recording experience compared to 45 years ago? How long had it been since you’d been in a recording studio last?
The recording process was spread over about 18 months…we were both busy with other work and so slotted in studio time when we were both available. There was no particular time scale discussed as we were doing this for ourselves and it was only ever going to be a very low-key project….but we have had a lot of fun during that time, which was our main intention. We will never be rich & famous….!!
I have spent a fair amount of time in studios since the Heep days…(did a few tracks recently for US band “Twisted Tapestry”)….. not so much the last few years but after leaving Heep I regularly did session work as well as gigging until synthesisers & computers took a lot of work away. Nowadays studio work is vastly quicker & easier due to modern technology & far more cost effective for guys like us.
What can you tell me about working with Twisted Tapestry? And of all the session work you did way back – is there anything of notoriety?
I got invited to play on the Twisted Tapestry album by their drummer, Merrick Crittenden who I have known for some years through Heepventions. They were playing with us in Belgium 2015 which is when the offer came up. They are a sort of eclectic band featuring a harp…bit different to what I am used to. As for sessions I did…I just put the bass down and got paid..! I sometimes hear things that sound familiar but cannot really name anything in particular so not much help really.[ed: I should have known this!]
Do you guys have regular gigs lined up? And is there any plans to record again in the future?
Chris & I will, no doubt continue the project with new material as and when we both have time…..we will see. “Licence To Rock” has been an enjoyable project for both of us and something we simply wanted to do for ourselves at this time in our lives. If a few others enjoy it with us then that is a bonus. I will continue with my own band “The Business”… another low-key but enjoyable gig & occasional gigs with Chris. In the UK nowadays it is tough getting gigs due to the lack of interest in live music…people just sit at home watching crap reality TV shows…!
Chris- Looking ahead, l have started writing with the possibility of doing some more recordings with Paul – new track ‘Face at the Window’ being nearly finished.
So, finally sat down and dug in to some new [and newer] releases…2016 was pretty good for new releases and vault releases — new Glenn Hughes, new BBC releases from Queen and Zeppelin, 2 disc reissues from Sabbath and Heep, and plenty more to come in 2017…. So here is the last of the latest.
Going to work on my faves of 2016 ….
Graham Bonnet – The Book [Frontiers]
Graham Bonnet was best known for fronting Rainbow after Ronnie James Dio, but sadly only lasted one album! I really liked Down To Earth, Bonnet having a unique voice and style [singing and stage], and it was a shame there wasn’t a follow up. He then formed Alcatrazz with Malmsteen and members of US band – New England; in fact they still perform [minus Malmsteen]. The Book does a good job in getting Bonnet back to that heavier rock sound and energy of his old bands. The songs are great and this is an easily likeable rocking album – tracks like Into The Night, Welcome To My Home, Dead Man Walking, and the title track are all memorable rockers . All 11 tracks make for a thoroughly good album of new tracks, with The Dance being the favorite. Bonnet’s band also features Jimmy Waldo [New England, Alcatrazz] on keyboards and guitarist Conrado Pesinato [from South America].
Disc 2 of The Book is 16 tracks from Bonnet’s past, re-recorded by Bonnet and his current band. I guess it’s a nice reminder and update that this guy was more than just another Rainbow singer, lots of classic rockers here.
Hardline – Human Nature [Frontiers]
I remember when the first Hardline album came out, and it something of a super-group with guys from Journey and this great new singer, and a fine cover of a Streetheart classic! Now Hardline is still fronted by the same guy [Johnny Gioeli], who also fronts Axel Rudi Pell’s band. The band here wanting to go back to a heavier sound. Not sure on the previous Hardline albums that came before, but if you like that 80s styled HR – heavy guitars, heavy riffs, big solos, big vocal choruses, a mix of rockers and power ballads… Solid performances and decent songs; but a bit predictable. May sound cooler in the car.
Jack Russell’s Great White – He Saw it Comin’ [Frontiers]
Without getting into the whole past of Great White, I must first confess I really enjoyed this band in my teen years – bought those early albums in the day. I thought these guys were ahead of the of usual 80s ‘metal’ bands, mainly ‘cause GW wasn’t a metal band, but a blues rock outfit with a great singer. However, at a certain point I didn’t feel I could listen to the band or follow any of the related news in good conscience – Great White just didn’t exist to me for many years. But over the past year or so I got curious and pulled those old albums out and picked up a Greatest hits CD. There is another version of Great White, but it lacks that distinctive voice. I will simply say – if you enjoyed GW back in the early days – you will enjoy this. Aided by a very good band, including former GW member Tony Montana, Jack Russell’s Great White has come out with a solid album of rock, blues, ballads – maybe a little lighter overall, but musically a very good set of songs; lots of variety and fine productions, and the vocals are as good as Jack’s ever sounded. Fave tracks- My Addiction, She Moves Me, Spy vs Spy , Don’t Let Me Go.
Newton/Rainbow Project – License To Rock [NRP]
Chris Rainbow is a British singer/songwriter/guitarist and Paul Newton was the original bass player in Uriah Heep. A guy who never gets enough credit for his early contributions to the band, having been the link that made the Heep happen in the beginning, and having played on the first 3 albums. Chris Rainbow has recorded a number of albums since the 80s, in various styles – country, rock, acoustic.. [plenty of listening at his website]. Not knowing what to expect, but as a Heep fan I wanted to check out this album with Paul, as well as the 2 Heep tracks they’ve re-done here. The Heep remakes being “Walking In your Shadow” [which leads off the disc] and “Real Turned On” – both from the 1970 debut with Paul in the writing credits. Chris has a good rock voice, and writes some memorable tunes, like the scary rock of “Satans Claw”, the anthem “Last Man Standing”, pop rocker “This Lonely Road”, and the country ballad “Watching My Last Chance Fade Away”. There’s also a worthy cover of the Big Joe Williams classic “Baby Please Don’t Go”. Check out more on Chris Rainbow and this project at Chris’ site:
Jorn Lande is one of the finest and in demand metal singers out there. He’s released a number of covers albums, most notably his Dio album – which was by far the best Dio tribute out there. On his latest, Jorn has chosen a big variety of rock, metal, and pop songs – from Frida to the Eagles to Foreigner, to Sabbath to Maiden, to Journey, Deep Purple, Queen,… it all sounds good – and Heavy! And that’s great if you like Jorn doing his Dio style, only thing is it’s ALL heavy. Big metal guitar sound, heavy bashing drums, and Jorn’s darker presentation – makes for a strange listen on a few tracks, but his versions of Paul Stanley’s “Live To Win”, Maiden’s “The Final Frontier”, and Purple’s “Stormbringer” all suit him well and sound fantastic.
Night Ranger – 35 Years & A Night In Chicago [Frontiers]
Night Ranger were a great band [may still be], with a couple of fine singers, Brad Gillis on guitar, and plenty of memorable melodies. For the most part they still sound great here, as they play out all the classic hits like “Sentimental Street”, “Four In The Morning”, “Sister Christian”…..and more. And I will likely pick this up. My only beef with such live albums is the reminiscing between songs and the crowd sing-a-longs! I don’t need to hear what the biggest movie of the year was before each song or hear the crowd sing the songs I want to hear. But, oh well. Again, just my own issues. Looking forward to putting this on more…but flipping through the chatter…
I did this interview with Glenn in late 2001 upon release of the Building The Machine album, one of my favorite GH records.
Always look forward to new stuff from Glenn, as he always has something new and exciting on the go! I saw Glenn perform in a club in Buffalo, NY a few years back, and it was an amazing show! A great energetic set of classics spanning his lengthy career, one of the best club shows I’ve ever seen! In 2011 Glenn released his autobiography as well. He is currently on tour in the US with The Dead Daisies (https://thedeaddaisies.com)
Anyway, enjoy the old read – as posted in December of ’01. In reading through this, I see that I must’ve done another interview with Glenn prior to this, which I will have to dig out. For more on Glenn check out: http://www.glennhughes.com
“Often cited as one of the Greatest singers in rock n roll for the past 25 years, Glenn Hughes’ career has been a roller coaster of ups and downs, personal tragedies and triumphs, and a musical class above most of his contemporaries. His story reads like a book, from a young guy in Wolverhampton, England fronting the funk-rock band Trapeze, who reached moderate success before he was spotted and brought in to Deep Purple, one of the biggest bands at the time in 1974, and then after DP broke up years of different yet unique and usually classic projects such as Hughes/Thrall, a short stint in Black Sabbath, numerous solo albums, and guest appearances, and up until a decade ago, a career often riddled with substance abuse and addictions. But in recent years, clean, sober, and in charge of what he’s doing, Glenn Hughes has become THE voice of rock. Check out guest appearances like Stuart Smith’s “Heaven & Earth” debut, or the various tribute albums he’s contributed to, and most notably his latest string of albums –“Crystal Karma“, “Voodoo Hill“ [a classic hard rock album with Italian guitarist Dario Mollo], and his best work to date –“Building The Machine“; my favorite album release of 2001.”
What can you tell me about the new album, as far as making it different from the last one? Any new influences or ideas …?
I wanted to continue in a way I used to write for Trapeze, in a very acoustic formula such as guitar, bass and drums. I wanted it to sound simple; I don’t want a lot of over-produced things. Songs are more important to me than flash and grandiosity of it. So, I wanted to I wanted to back to a more commercial, ya know 3 or 4 chord things. And for me, it worked quite well.
It’s probably more of a mainstream Hard-rock album compared to most of the other stuff you’ve done…
It’s difficult in a way for me, and it should be easy, but I make things difficult because there’s so many different fans. I have fans that like the Hard rock Glenn, fans that like the bluesy Glenn, fans that like the extremely funky Glenn, and the soulful fans, the jazzy fans, … and if I do all of those on one album – in different forms, it confuses a lot of people. It really does, and I found this out to be fact, so what I tried to do on this particular album was I tried to give them a mix of them in all the songs, such as a song with heavy funk overtones, with very heavy, and very soulful; and also having acoustic moments like “Big Sky”. As I said before, … I didn’t want it to sound like ’70s retro, but it’s a lot more near to that form to sound the way it should.
The acoustic stuff is really good, like “I Will Follow” and “Big Sky”. Big Sky was written about Bill Eskridge
Bill was my best friend 10 years ago when I was in treatment for alcoholism, and he became my best friend over the years, and spiritual guide, and he passed away last December [a year tomorrow] of liver failure and kidney failure, even though he’d been sober a long time. He was a very dear friend to me. I wrote the song for him as a ‘good-bye’. Songwriters do that, we write about personal things, and this was one of those times I had to do that.
Do you get a lot of other personal stuff on the album?
Yeah, I do write about what’s going on with me. Obviously “I Will Follow You” is about my wife, and moments like “Can’t Stop The Flood” which is about my creativity and my aggression towards myself,…. I write, Christ I continuously write songs all year ‘round, and it occurred to me is ‘I’ve got an onslaught of songs, which should I write?’ … Other songs like “Don’t Let It Slip” can mean anything; it can mean your life, your spirituality, your emotions, and to me, it’s all of the above. “Out Of Me” is about 2 brothers fighting. A lot of stuff on there is autobiographical. There’s also stuff in there that’s subliminally written for those people that are having things going on in their life, that they can catch too and obviously understand.
“Can’t Stop The Flood” and “Inside” are probably my favorite 2, aside from “Big Sky”. It’s a hard-hitting intro.
Thank you.
When I wrote with my guitar player, and said to him ‘OK, now we’re going to write the opening cut’. Every album I’ve ever done in the last few years, I always go out and go ‘I know exactly what I’m going to write for the opening cut’ And when I wrote this opening, I was ‘Oh – this is going to be an amazing cut!’ And when the chorus comes in with those big harmonies that we haven’t heard from Glenn in a while, I just thought – ‘here ya go! Let’s make an album that is very hard to make, but let’s get those big harmonies back’.
You also do a couple of covers on here, like the one with Pat Travers. How did that come about?
He came here last year, and we were looking at putting together some songs, just having fun, and I said ‘I really wanna cover this old song by Rare Earth!’ It’s about 30 years old, and I always liked that cut, and we recorded it. And when I came to compiling songs for Building The Machine I asked Pat if I could use this particular cut and he said ‘Go ahead!’. But I do particularly like this version.
You also do another Deep Purple tune!
That was initially done for a Japanese bonus track, but when I finished it, my engineer and co-producer Mike Scott said ‘That’s too damn good to be used Just for Japan, you should put it on… It’s a great version of the song, you sing great on it, it’s got a great vibe, and it sits on the album.’ So, another old Purple song, but I think it shows what a good song it was and is.
That’s about the 2nd time you’ve done an old Deep Purple song.
I’ve done about 3 now.
I got the Voodoo Hill album you did last year, about a week after we spoke then, and you did ‘Gypsy” on there, and it’s excellent!
You know Dario Mollo, he wanted to do a Zeppelin song, and I declined. I don’t want to do Zeppelin covers. It’s not right for me to do that. And I said ‘I’d much prefer it if we did an old Purple cover.’ , and then he gave me a couple of suggestions, and I said ‘let’s do Gypsy!’
That’s a great song! It sounds good there.
Thank you.
You got a number of guests on this [new] album too!?
We got Pat Travers, who’s a dear friend of mine for years; also one of my dear close friends – Bobby Kimball from Toto. He actually asked me to write him a part to sing, because he’s always to sing on a record with me. I love Bobby very much, he’s got such a distinctive voice, so I wrote the part for him on “Don’t Let It Slip”. Brett Ellis plays acoustic guitar on “Big Sky”, and John Beasley, famous keyboard player plays on “I Will Follow You”; plays the Hammond. He’s just an amazing keyboard player, and Vince DiCola is my new Hammond player on the album.
I notice a good bit of Hammond. The Hammond is a bit more prominent with the heavy guitar and that.
I wanted that. I thought my previously couple of albums were lacking in real Hammond playing by real Hammond players. It’s like, Hammond organ is an instrument that has to be played with the right guy playing it, and with Vince DiCola, he plays it better than Jon Lord or Keith Emerson – To Me. I mean, on this particular album, he plays it devastatingly brilliant. And I knew when I heard him play that I had to get him to play on this record.
Where did he come from?
He’s a guy from LA. He’s a session guy.
“Beyond The Numb”…
My favorite.
Who’s it for, JW ?
OK, a friend of mine – Pete Way from UFO, his wife passed away. She was a friend of mine, and I was really really upset when I heard the news. And I wrote that song about that incident. Because, let me just say that I was close to them in a spiritual way, but I couldn’t get too close because I don’t use drugs, so I was hoping that my recovery would rub off on them, or her, and unfortunately she had to be another statistic to drugs. And I’m not being negative or anything like that, because she was a very very nice person; it just really hurt me when she passed away, and I was a bit angry about that. And this track deals with that subject.
How’s the response been as far the main stream media and reviews and that..?
This is the truth, this album, Building The Machine has got the greatest response from critics, and I think from fans as well, in the last 10 years. I’ve read reviews, like Q Magazine, and more cross-over ones that would review Sting or Madonna have been reviewing this record, so it’s getting a wider span of reviews and a wider recognition from the man on the street. People who haven’t heard Glenn Hughes before are hearing and going ‘this is great, who is this?’ What’s it given me is it’s given me the ammunition to write rock music in the form, which I think, is appropriate for me. As I’ve said before I’m my worst enemy in a way that I’ve been very gifted in that I can write and sing and play in 4 or 5 forms of music. Most, let’s call them ‘heavy metalists’ from ’70s, can play Hard rock well, but they don’t play jazz or R&B, or soul as well, but with me I can paint in all those pictures and I like to do that. And I think on this album I’ve done something that no one else has done yet. I’d like to continue that.
Can I ask you about the artwork for the album? Where is that taken?
It was taken in my wife’s office, in Venice Beach, California. I just wanted you and everyone to perceive that I was walking this stairway that’s never going to end, really. What Building The Machine means, ‘Building The Soul Machine’, Building The character which one has been given or one is working on, and mine is blood boiling all the time. I’m a flyer that continues to grow rapidly, so I’m always working on something, musically, and I’m this is the machine that I continue to build. I’m on my way to building that machine on the cover.
It’s a unique picture….
If you look at it, it’s not meant to be G-Q; I’m not really that sort of person. It’s basically an artistic cover; it really isn’t anything other than….it’s almost a stark photograph, I’m standing still, but I’m moving. It’s a good fit.
You do a lot of photo-shoots for the albums, and obviously a lot of different outfits and stuff…Are you in to the fashion stuff?
Yeah, I do have a lot of … materials [ha ha]
What else do you going as far as promotion goes? I know you did some touring, but nothing up here…
Well, what I’m going to do in North America, is promote via radio and maybe some TV promotion. As far as the live work, more will reveal as we see the sales. As you well know it’s difficult to tour in North America, unless you’ve got massive tour support from a record company. And that would mean having to be in a band, like a younger band where big companies get behind, like Universal Records or Interscope, someone that signs younger bands. So, for older artists like myself, who don’t have the promotional campaign and marketing campaign that younger artists have these days – it’s difficult to tour. So, the chance of seeing Glenn Hughes in a live situation is kind of difficult. My desire is to tour extensively around the world, but I only get to do that outside of North America where I have tour support. But, we’ll see…
Regarding Voodoo Hill, how did you come across Dario Mollo?
My office in Germany, sometimes we get like 5 or 6 artists a year that want me to sing on their albums – at least 5 or 6! And I normally decline them all because 1 – they’re not brilliant, and 2 – I can’t have that much more work going on. But when Dario Mollo sent me these 10 or 11 cuts without vocals, I heard them. And I thought, this is obviously Hard rock, not funky, soulful stuff, it’s more hard rock, which I did with Tony Iommi almost, and I said ‘this would be a chance for my classic rock fans to get in to this type of album’, and I did it for that reason, and also because Dario’s a really gifted writer and guitar player. It was a lot of fun working with him; I went to Italy and did the thing. They’re probably be another one coming soon; we’ll probably do another one next year.
It’s a great album. I really like “Sensitive” and “Disconnected”…
Thank you, I like it too!
A lot of people liked it, but I think it slipped by a lot of people because it’s under another name.
Yeah, I don’t know what’s going to happen next time around, but I think you might know it’s me next time because Voodoo will represent me as well, you’ll know. People should keep their eyes open in the next 6 months or so.
I also got the new Nazareth tribute that you are on…
Those guys are good friends of mine. The producer [Lea] sent me the rough backing track, and to be honest with you, at the time, there was no background vocals, and it was very raw guitar, bass, drums, and it was more retro and edgy than the finished product. The finished product to me sounds to me sort of generic. It didn’t turn out as good as I wanted it to. The performance was OK, but the production was a bit too ‘white’.
I want to touch a bit on Trapeze and related… Have you ever heard of a guy named John Lawton? He used to be in Lucifer’s Friend and Uriah Heep in the ’70s. I got a CD of his and he does a version of “You Kill Me” on it.
Lawton!!? Yeah, he’s a nice guy. I haven’t seen him for years! Actually he’s a good singer.
[RIP John, 2021]
Do you recall back after your Trapeze days they carried on and made a couple more albums? What did you think of those albums?
I loved those albums. I think Hot Wired is f**king tremendous! I wish I could’ve been on that album; really – I mean that sincerely! I think when I left the band Mel Galley really strengthened himself as a writer. The songs on Hot Wired were amazing! And the album Running, which I actually helped write a couple of songs and never got credit for, I thought was brilliant.
Which ones?
“Running” and another song “Don’t Break My Heart”. And then the Trapeze record that I sang a couple of cuts on when I left and I was in Purple. Trapeze was my baby, that was the band I formed when I was very young, and anything to do with that now always comes back to Glenn Hughes. I sometimes get people who mention Trapeze before they mention Deep Purple, which tells me they’re a big fan of Trapeze.
Do you recall seeing them away back at the Lafayette Club in Wolverhampton? (I’m talking about the late ’70s when the new line-up came out)
I’d already moved to America in the late ’70s, but I used to go home at Christmas, and I saw them a couple of times back then, yeah.
What did you think of the singer they had, Peter Goalby?
Good singer! A different sort of singer to me, but I recall him more of a pop-rock singer. He was a great interpreter. He wasn’t a bluesy singer, but he was a great rock singer in that genre, very much so. And a nice guy!
What else have you got on the go?
I’ve just done a new record with Joe Lynn Turner, and it’s called ‘H.T.P.’ [Hughes-Turner-Project]. It comes out in the spring and it’s f**king great! I will say this; it’s a classic rock masterpiece. For me it’s a very strong vocal-rock record. For anybody who likes the Deep Purple – Rainbow, and the modern rock stuff, they will love this album. It features 2 big voices, and I think it’s going to creep up on people.
Does it have a lot of guests on it?
My band, the same guys as the Building The Machine record, and as guests and solos we’ve got John Sykes, Paul Gilbert, and there’s others that you’ll probably know of.
The last time I touched base with you, you mentioned being a ‘fan of Ken Hensley’s writing’. Can you give me any songs or anything?
Well, what it is about Uriah Heep stuff for me is it’s “Gypsy”,.. It’s the way those guys wrote very, and I say this very loosely, those very simple melodic rock tracks like “Gypsy” and “July Morning” – all these sweet classic songs. And I don’t know if Ken knows this, or the guys in Uriah Heep, but I thought they were very good! World’s apart from what I do or what I listen to normally, I have to say that I thought Uriah Heep, in the early years were very much overlooked. They were always looked upon like a ‘2nd rate Deep Purple’ – that’s what people thought of them, but I thought they had a place in rock, and I want to wish all the guys in Uriah Heep and Ken Hensley all the best because they’re good guys.
Anything else you wish to add?
Just to say ‘Hi’ to all my fans and tell them to look out for ‘Big Daddy’, he’s coming to get you!
One of Canada’s longest running and most successful hard rock bands originally hailed from the Maritimes, and then relocated to Montreal for the start a very busy and brilliant 14 year run.
If you lived in Canada throughout the 70s and 80s, you likely heard plenty of April Wine songs on the radio. The band had a huge string of hits right from their debut album in 1971 with “Fast Train”. Their second album saw 2 more hits, including a cover of “You Could’ve Been A Lady”, which made the US charts. But the band never played south of the border and would continue to be a Canadian only phenomenon for a number of years with a few line up changes, more hit singles, and massive tours across Canada. That changed in 1978 though with the addition of guitarist Brian Greenway to beef up the line up of founding member and main singer and writer Myles Goodwyn, guitarist Gary Moffet, bass player Steve Lang, and legendary Canadian drummer Jerry Mercer. The band’s album “First Glance” would include their breakthrough US hit “Roller”, and for the next several years and albums it was large arena and stadium tours and huge selling albums throughout North America, as well as a UK tour.
When the band split in 1984 following the “Animal Grace” album and farewell tour, it was a shock and a shame to fans, and very little reason [or dirt] was given. Band members went on to various projects – Moffet went in to music production, and playing on other albums, Mercer joined the Buzz Band, Lang got out of music, Greenway released an underrated solo album [with a large cast of guests], and Goodwyn would release 1 more contractual April Wine album [with session players and Greenway], and a solo album. He’d also relocated to the Bahamas. Goodwyn reformed the band [with a slightly different line up in the early 90s and the band has been performing since then, with a few further changes and a few albums during that period. Over the past year or so the band has scaled back tour dates, and both Goodwyn and Greenway have started up new projects.
And that all brings us to this – Myles Goodwyn “Just Between You And Me”: A Memoir. I don’t think Myles has ever been a huge fan of doing interviews or airing band issues in the press. In his memoir though Goodwyn opens up about a lot of his own issues – band and personal, as well as conflicts and changes in the band over the years that were never discussed in the press. Give him credit for discussing his divorces, his issues with past band members, his alcohol abuse, and numerous other topics. He sets the record straight [from his perspective] about former AW members Jim Clench [RIP], Gary Moffet, David, Jim and Richie Henman, Jerry Mercer and Carl Dixon [Carl has slightly different tale in his own book..]. To his credit he also takes responsibility for his own troubles within the band. The book also includes quotes from other band members [via new quote or from old press], which helps to add to the details, so it’s not all just Myles’ point of view on some touchy subjects. Despite everything though Goodwyn was/is the driving force of April Wine’s success and contributed greatly to Canadian music. Very few bands or musicians have had such success and longetivity.
Just Between You And Me may not be an end-all history of one of Canada’s greatest bands, but is close. A good run through of April Wine’s history and a fascinating read in to the man’s early years and upbringing. Highly recommended for any fan. I read through most of this in a day, having been a huge fan and familiar with the band’s history I was eager to read on and fill in things I didn’t know. Now I’m going back and reading more thoroughly [380 pages!]. Plenty of old pics of Myles early life, family, and private band pics. Check it out via Amazon or at any book store.
*I was going to add on a list of favorite April Wine songs, but frankly that would take too long and change too much before I could finish it. I view the band’s output up until 1977 differently to the band that struck it big from 1978-84. So, I will give you a short list of my favorite LPs – highly recommended.
Electric Jewels (1973) – this album saw a mix of songs contributed by Myles Goodwyn and bass player Jim Clench. The 2 also shared vocals on a number of songs. It also includes the Richie and David Henman, as they left during the making of the album and replaced by Gary Moffet and Jerry Mercer. Richie Henman told me years ago that on the title track the original band fades out during a change up in the song and the new AW kicks in. besides that epic track, this album also boasts the hits Weeping Widow, Lady Run Lady Hide, and a number of classics like Come On Along, Cat’s Claw, and The Band Has Just Begun
Stand Back (1974) – with Myles Goodwyn now the main writer and singer [Clench contributed just 3 tracks here], the band has a more direct hard rock sound, and a fine production. Again, lots of hits and classics, most notably Oowatanite [by Clench], 2 ballads Cum Hear The Band and Tonite Is A Wonderful Time, as well as a number of guitar rockers in Victim Of Your Love, Don’t Push Me Around, and Highway Hard Run [originally to be titled Highway Hard On!]
The Whole World’s Goin’ Crazy (1975) – Jim Clench had left, thus leaving Goodwyn as the band’s only writer and singer And producer. A great album though, includes rockers Gimmie Love, So Bad (featuring Frank Marino),as well as the ballads Wings of Love and Like A Lover Like A Song.
First Glance (1978)- the first to feature 3rd guitarist Brian Greenway, who contributed the track Right Down To It [and sang it]. Included the band’s big US breakthrough hit Roller, as well as hits Rock n Roll Is A Vicious Game and Coming Right Down On Top Of Me. More so though it featured a new found energy and more hard rock with tracks like Get Ready For Love, Hot On The Wheels Of Love, and the darker Silver Dollar. First and my favorite of the new era.
Harder …Faster (1979) – a great follow up and more success with hits Say Hello and I Like To Rock. Also included my favorite Brian Greenway tune Before The Dawn. Greenway sang that, as well as the band’s 3 guitar masterpiece cover of King Crimson’s 21st Century Schizoid Man.
Nature Of The Beast (1981) – the band peaked with this album, so many classics and hits, so much radio air play … Sign Of The Gypsy Queen, Just Between You And Me, Wanna Rock, All Over Town, Big City Girls, Future Tense….fantastic production from Myles Goodwyn and Mike Stone.
The follow up albums, albeit had their moments were definitely not as hot.
Attitude (1993) – the band’s comeback album. back to being a huge rock album, lots of radio play and hits, a few videos, Jim Clench was back in the band, and [guitarist] Steve Segal added a lot to the more hard rockin approach. Givin It Takin It, That’s Love, Here’s Looking At You Kid, Strange Kind of Love – all first rate ‘Wine rockers, plus hit ballads in If You Believe In Me and Voice In My Heart. Fantastic disc beginning to end. Sadly the band struggled to follow it up well, and then fewer albums would happen down the road.
Here’s hoping there’s more to come – new music, archival releases, nice re-issues, etc…
‘Don’t Fear The Reaper’ was Blue Oyster Cult’s first and biggest hit in 1976, after 3 albums. The song became etched in American pop culture in 2000 when a skit was made of it on Saturday Night Live with Will Ferrell and Christopher Walken; having fun with the recording of the cowbell [which in turn inspired the song “More Cowbell” by Blue Coupe!]. BOC fans know the band was one of the best from the US in the ‘70s, originally signed by Columbia in hopes to be a response to the heavy bands on Warner Bros at the time – mainly Black Sabbath, but BOC were never simply a heavy ‘metal’ band, loads of variety, rockers, ballads, with 5 guys that all wrote and could sing lead. They had their own themes and stories in the songs and albums [see my interview with Albert Bouchard], a cool symbol [an idea taken on by other bands], noted for their lazer show in the ‘70s, but to us fans – a string of classic albums from ’72 to 81! The band’s output [and quality of] declined when [drummer] Albert Bouchard left, and then [bassist] Joe Bouchard a few years later. Main singer [and guitarist] Eric Bloom and lead guitarist [and often lead singer] Donald “Buck Dharma” Roeser still tour with BOC today. The Bouchards have an excellent little band [and a few cool band and solo albums] called ‘Blue Coupe’ [along with Dennis Dunaway of the original Alice Cooper group]. There was no one else like the original Blue Oyster Cult. So, here’s my recommended list of BOC classics, more so for those thinking they were just the band with the cowbell song!
From the first album in 1972. The band’s first great rocker, an anthem and permanent live favorite, penned by Donald Roeser and Al Bouchard. Those first 3 albums were in a class of their own.
Wings Wetted Down
Not exactly sure what this eerie tale is about, vampires[!?] , but always loved this from Tyranny & Mutation, penned by Albert and Joe Bouchard. A dark heavy riff, playing around piano / acoustic verses, cool lengthy solo, and heavy chorus.
Hot Rails To Hell
From the second album, one of Joe Bouchard’s biggest contributed tracks in BOC. A classic early rocker; Joe drives this song with the bass, and it’s a killer. Fast paced, heavy on the guitars…BOC was not so smooth sounding early on, made to be played loud.
Career Of Evil
The opening cut to Secret Treaties, penned by Al Bouchard with Patti Smith. such an energetic track. Based mainly on Allen Lanier’s organ sound. creepy, gothic stuff about doing anything imaginable wrong to somebody. – “I choose to steal what you choose to show, And you know I will not apologize.”
Astronomy
Epic from the Secret Treaties in 1974; written by Albert & Joe Bouchard with Sandy Pearlman. Originally composed on piano and keys, so eerie and cool. Not exactly sure what this all about [some interesting discussion at > www.songfacts.com] . I like the various versions [the Some Enchanted Evening live version and the 1988 Imaginos re-do],but the original is my fave BOC track. – “it’s the nexus of the crisis, and the origins of storms”.
Al Bouchard – “Pearlman was always reading every kind of esoteric book imaginable so that had a lot to do with our subject matter.”
Flaming Telepaths
I think I grew to love this dark rocker because it leads in to “Astronomy” on the album, and since there no break between the songs, I always play[ed] them together! Cool and rare synth & piano solo, followed by a classic Buck Dharma solo. Co penned by Donald Roeser, Albert Bouchard, Sandy Pearlman, and Eric Bloom. …”and the jokes on you” …. I really gotta figure out these stories in the songs…
This Ain’t The Summer of Love
The lead off track from Agents of Fortune – such a strong album [see ETI, Morning Final, Debbie Denise..]. Great guitar chugging intro and then band crashing in; a short, powerful rocker! Co-written by Al Bouchard, Murray Krugman and Don Waller, but given a fitting vocal from Eric Bloom. Lizzy Borden did a decent cover of this.
Sinful Love
A classic rocker from Agents of Fortune, penned by Al Bouchard [who also sang it] along with Helen Wheels. Love the chorus and harmonies, great lyrics – “I love you like sin – but I won’t be your pigeon”.
Searchin’ For Celine
A classic Allen Lanier penned track. kicking off with piano, a bit of funk and lots of changes, melody, and a great vocal from Eric Bloom. Love this one; very different!
R.U. Ready to Rock
One thing BOC almost always managed to do was have kick ass rockers open each album side. This song was written with the live show in mind; great riff and intro, short and to the point! Written by Al Bouchard and Sandy Pearlman.
I Love The Night
BOC did so many different tunes, and some classic ballads, such as this haunting one from Spectres.Also penned and written by Buck Dharma. Great melody and harmonies. – “the day is ok and the sun can be fun…”
The Vigil
From 1979’s Mirrors. This had some great songs, but the production was a bit too tidy, attempting to perhaps pull some radio friendly tunes!? But “The Vigil” [co-written by Donald and Sandra Roeser] stands out as a late in the game BOC epic; lots of changes, lots of guitars, harmonies, and big production. One of Buck’s best!
Divine Wind
Written by Donald Roeser for Cultosaurus Erectus, as a reaction to the Iran hostage situation. Great vocal from Eric Bloom, a slower paced, guitar heavy, dark classic. Produced by legendary heavy producer Martin Birch [Sabbath, Deep Purple, Maiden..] to bring the band back from the aor approach of Mirrors. – “If he really thinks we’re the devil, then let’s send em to Hell.”
Joan Crawford
From Fire Of Unknown Origin, the last to feature the original line up. Love the classical piano intro and then the band stepping in. great lyrics, with humor, very theatrical. The band even shot a video for this song in ’81.
Al Bouchard – That song was inspired by the book “Mommy Dearest” and also the behavior of my ex-wife one day while David Roter, Jack Rigg and I were trying to record a demo. Joe wrote the intro but Allen played it.
Burnin For You
The band’s other top 40 hit, and probably 2nd best known song, from Fire Of Unknown Origin. Penned by Richard Meltzer with Buck Dharma, who sang it. A more mainstream rocker about the rock n roll life. – “Burn out the day, burn out the night.”
*Drop me a note and let me know what ya think! BOC fans – feel free to add in omissions and insight. [thanks]
I like doing these lists, as long as there’s a different theme to it, I guess. Being a fan of Uriah Heep and Ken Hensley’s solo works, there was a time when no one thought we’d ever see or hear anything new from the guy, after his mid ‘80s ‘retirement’ . This was the guy who wrote Easy Livin, Stealin, Look At Yourself, Free Me, etc.. and then seemed to disappear. And then came the From Time To Time CD release in ’93, and talk of possibly recording again. In 1999 Ken released his first album of new material since 1981’s Free Spirit. This list is compiled from his albums since his comeback, and although I didn’t include much in the way of ballads, there’s been plenty of good ones And that could be a whole other list. Ken’s been pretty consistent for the past 16 years, and seems to have picked up creatively better than he left off in 1981. I started this list with close to 20 songs and dwindled it down to 10… and a few of those choices could change next week! This was a bit of fun, so feel free to drop me some feedback on this article and Ken Hensley’s records over the past 15+ years!
*For Ken’s solo / post-Heep discography, check out:
Arguably the strongest and most epic thing Ken wrote since Heep’s glory years. It’s got a great story, that sits alongside the likes of “The Wizard” and “Wiseman”, with acoustic guitar and build up, and a dramatic instrumental section, and finale; solid playing and a cool production. There’s been a few versions issued, but I’ll take the original from the album of the same name – with Ken’s vocals. Can’t help but imagine how this song would’ve fared if it had been recorded during Heep’s glory days!
Okay [This house is down]
2007’s concept Blood On The Highway release remains my favorite album since Ken’s comeback, and I enjoy every track here. This track is THE rock hit here, and is full of energy, memorable; and I dare claim the best big rocker Ken produced since the early ‘70s. It also helps that Jorn Lande sang this, as well as a number of others here.
The Return [live 2005]
This was a ballad, a song about Ken’s beliefs on his Glimpse of Glory album in ’99. A good song originally, but I am going out of the lines and picking this 2005 live version from a long out of print DVD. Why I chose this is just for the pure ‘70s rock n roll feel of it – extended solos, jams, very energetic, without drastically altering the song, and clocking in over 11 minutes! Would be cool if someone mastered this and gave this show a CD release! Until then….
Overture: La Tristeza Secreta De Uncorazon Gitano /Prelude: A Minor Life / Out of My Control
So I strung these 3 together because that is how I hear them , like one long epic. But they all lead nicely into the next, and “Out Of My Control” is one great rocker. A stand out on this album [Running Blind, 2001], a stellar performance and vocal from Ken. This album included a number of songs that had a previous life on other projects, as well as some less than stellar production and mixes.
This Is Just The Beginning
From Blood On The Highway – this song, which kicks this album into gear, is a cool rock track, with plenty of sounds of the classic Heep – it’s catchy, Ken’s distinctive guitar sound, the harmonies ….Jorn Lande….
Ready To Die
From Trouble, Ken’s heaviest rock album, and closest to ‘metal’. This song was a killer opener. Great hook and intro, going off like a siren. His band [Live Fire] delivers it heavy, and it suits them well. Love the combo of the Hammond organ with Ken Ingwersen’s guitar sound. [the Live Fire guys would become Wonderworld, and now have 2 records out]. The only album to feature Roberto Tiranti on vocals. Would love to hear another album like this!
The [high] Cost of Loving
From Glimpse Of Glory, a very different track. Based mainly on keyboards, pretty atmospheric, written about someone from his past. Could’ve used another verse, but what the heck, a great vocal and production.
Set Me Free [From Yesterday]
The lead off track to 2011’s Faster album. love the initial build up of guitar parts and Eirikur Hauksson’s vocal coming in before the band kicks in. Definitely a ‘70s feel and reminiscent of early Heep here.
Romance
Ken’s reworking of a song from an old Russian opera. Somewhat of a ballad, but pretty dramatic, very different, and a great vocal and production. From the Elements: Anthology [2005].
Letting Go
This is one track I always enjoy, from The Last Dance. A pretty straight forward rocker, catchy, and the lyrics say a lot.
Rare Albums By GUNHILL feat. John Lawton “Nightheat / One Over The Eight” Now Re-Released and OUT NOW! London, UK – GUNHILL is a band from the 90’s which featured JOHN LAWTON, the former lead singer of URIAH HEEP. This twofer collects together the cassette / fan club ONLY release ONE OVER THE EIGHT and the long since out of print and VIRTUALLY IMPOSSIBLE to find second album NIGHTHEAT!
Both discs feature bonus tracks with the intention of making this set the COMPREHENSIVE collection of all the Gunhill studio recordings!
This re-release has been prepared with the full input of JOHN LAWTON personally and has had a 2016 re-master.
“These two CDs are part of my musical history when I played together with some fine musicians, some quite young and some a bit more experienced. It was an opportunity to cover some tracks that I look back on as really great songs and a few original tracks that have stood the test of time.” – John Lawton Amazon 2 CD set: http://geni.us/bRI2uzB One Over The Eight on iTunes: http://geni.us/Q00UXvr Nightheat on iTunes: http://geni.us/PYNQ
This release is available on JLB Media via Cherry Red Records Ltd.
* Back in the early ‘90s, John Lawton returned to the attention of Uriah Heep fans via the UH Appreciation Society. The official fan club at the time put out a fantastic quarterly magazine, and had taken to making contact with Lawton for interviews and to promote his new projects. In 1994 he put together a blues-rock covers band named Gunhill. In early ’95, the band issued a 10 song cassette, featuring 7 covers and 3 new tracks of their own. The cassette, I recall was intended for use as a way to promote the band for further gigs, thus it wasn’t a huge production, and although the sound quality wasn’t great – it was good to hear John performing all those classics. It was also sold [autographed in fold] through the UHAS. There were even Gunhill t-shirts available at the time – and I still have mine!
GUNHILL was formed in 1994 by singer John Lawton, and consisted in the beginning of guitarist Riki Robyns, keyboardist Mike Raxworthy, drummer Lloyd Coates, and bassist Neil Kavanagh. In early ’94 the band released a 10 track cassette of some of the covers they performed regularly, as well as including a few originals. The cassette, “One Over The Eight” was recorded, produced, and mixed by Neil in his own “Old Barn Recording Studios”, and sold through the Uriah Heep Appreciation Society, and at the band’s gigs. Since then, GUNHILL has gone through a number of guitarists and drummers, lost the keyboard player, and got a new one on occasion.
In 1997 the band – with guitarist Brian Bennett [ex of Brian Connolly’s Sweet] and drummer Chris Jones. recorded and issued their first CD release – again consisting of largely covers along with a few outstanding original songs. Lawton contributed one of his better self penned tracks with “Don’t Stop Believing”, as well as outstanding performances of such classics as “Ready For Love” [Bad Co], “Nobody Loves You The Way I Do” [Melissa Etheridge], and the Beatles’ “Eleanor Rigby” [an upgraded version from the band’s first release].
The band continued to go through changes, as Bennett [a great blues rock player] left, as did Jones. The band ended early in 2000, following the release of “Live In Germany ‘99”, this featuring keyboardist Roger Wilson, guitarist Reuben Kane and drummer Justin Shefford. The latter 2 would join Lawton as he reunited with Ken Hensley and original Heep bass man Paul Newton for the Heep fan convention in 2000, and subsequent Hensley/Lawton tour, and “The Return” release. Gunhill also performed at that eventful weekend.
*The bonus tracks from the CD reissues are taken from the Heepsteria [UH tribute] release, with “Sympathy” and “Come Back To Me” both credited to John Lawton and Gunhill, cool inclusions here, as well as “River of Dreams” [as told by Dave White below]
*The following is an interview I did with John in 1999 to promote the first CD release of One Over The Eight. I also did interviews with Jay Pearson and Dave White who played a part in that venture. Their stories are still relevant to this new release, so I’ve included here.
*Have also included parts of an interview I did many years ago with former GH guitarist Brian Bennett, who left sometime after the release of Nightheat.
JOHN LAWTON
Q: When you set out doing Gunhill, what was the intent? did you foresee it still going 5 years down the road, and more recordings?
JL: No! to be honest with you. I felt we had some mileage in the band, but not 5 years. Did Mick foresee so many years for Heep??
Q: Looking back on that release, what do you think of it as a whole? -how much of the stuff from One Over The 8 is still in GH’s live set? any of the originals?
JL: Overall, I think that it represented Gunhill at that time. It was a fun time and we were just starting out, so yes, in that respect I think it’s okay. I think the only song from OOTE still in the set is “Eleanor Rigby” and that is only by popular demand.
Q: Yourself and Neil are the only members left from the original line-up, have you had any contact with the former members – in particular Riki Robyns or Lloyd Coates who co-wrote the originals? what are they up to these days? JL: No unfortunately not, apart from Mike Raxworthy. Riki as far as I know, is still flying planes for a living and the last I heard is that Lloyd is settled down with a lady in Wales.
Q: What are some your faves from the ‘one over the 8’ tape?-you re-did Eleanor Rigby for the Nightheat CD. Is there any others from the original tape that you’d consider re-doing?
JL: I think the two questions can be answered together. Eleanor is obviously a favorite and I felt that we could do the song more justice by re- recording it again, taking our time. “Ain’t No Sunshine” became a standard song in our live set, but we did it so different live, that we could never get the same feel on tape that we got live.
Q: Was the response to the tape more than you expected?
JL: Decidedly more than we had hoped for.
Q: You’ve gotten a great deal of support from the various Heep fan clubs, how has this and your affiliation with Heep meant to Gunhill’s direction and live set?
JL: Not as much as people think with regard to the live set. We do include Heep songs but only from my time with the band. We have Sympathy, Free Me, Firefly, Come Back To Me and One More Night in there and we do play Lady In Black, but again slightly differently. We have had a lot of support from the various fan clubs around the world and met a lot of them personally. It never ceases to amaze me, how much the feeling towards Heep the fans have and hopefully a bit of that has rubbed off on Gunhill.
Q: You’ve had a number of German / Euro tours and things like that. What are some of the biggest highlights [gigs?] so far for Gunhill?
JL: There have been so many, I think the last two trips in 99′ were the most rewarding. We went on the road with two new members Reuben and Justin who really came alive after an initial nervous start. We met a lot of new fans on this last trip and that’s what makes it worthwhile.
Q: What’s your version of recording River of Dreams? how did your vocal come about, and what did you think of the song?
JL: Simple really, I was asked by some members of Heepsters on the Net if I would put a vocal on a song that Dave White had written, as a surprise Birthday present. It’s a very nice song, so how could I turn it down. I think he liked it :-))).
Q: What are you listening to these days?
JL: I am listening to a lot of Glenn Hughes at the moment don’t ask me why!! I am just re-discovering his voice again. Haven’t had much chance to listen to music recently, must rectify that.
JAY PEARSON
Q: What’s the appeal to you [apart from Lawton’s vox] that will make fans want to check it out [for those who ain’t ever heard it]?
JP: Anyone who’s a fan of classic rock/blues rock will enjoy this album, especially fans of the Paul Rodgers/Bad Company or David Coverdale/Whitesnake-type sound. John’s style has evolved into one very similar to Paul’s, and his voice has improved greatly in the 20+ years since he left Uriah Heep.
Q: What’s your fave track[s] from this album? and/or what track do you think will most appeal to Lawton/Heep fans?
JP: Walking In The Shadow Of The Blues is my favorite, which I think is superior to the Whitesnake version! Eleanor Rigby is quite good, not as polished as the Nightheat version, but I think the raw edge helps. Angel is probably the song that sounds the most Heepish. This is more an album for fans of John Lawton than Uriah Heep or Lucifer’s Friend, as the songs are much more in a blues-rock style than a progressive/hard rock style.
DAVE WHITE
Q: How did “River Of Dreams” end up being a ‘bonus’ track here, as it is quite different from the Gunhill sound displayed on One Over The 8!?
DW: Well, in 1998, one of the Heepsters on the Web, Graham Hulme approached John about singing the vocals on a tape of “River of Dreams that I had sent to him before. John did the vocals at Neil’s studio, and on my birthday, my wife gave me the cassette of the song. The cassette was packaged by Graham, and looked really great ! I was blown away…Richard Wagner originally wrote the song, and Michael Keuter (Easy Livin Band) sang for us on the original version. John took Michael’s version, and “re-did” it his way. The song has become very special to a lot of u…
Q: What’s your fave track[s] from this album? and/or what track do you think will most appeal to Lawton/Heep fans?
DW: My fave is “Solider Of Love”…last track before River of Dreams…has a great beginning, and good energy all the way through. Oh, and NO question…if you are a fan of John Lawton, you will LOVE this CD…
BRIAN BENNETT [ex GUNHILL]
Q: Who were your biggest influences on guitar and music?
BB: In the early days- Steve Cropper, Peter Green and Clapton.
Q: Who are your favorite guitar players?
BB: So many, incl. Dickie Betts, David Lindley, Mick Taylor.
Q: What do you recall of playing with Brian Connolly?
BB: Gigs were mainly college & university, but the members kept to themselves. I did prefer the blues/rock material I was into, rather than the glam rock- but still a good band…. My time with Sweet was short,(short and sweet). After Connolly and Scott fell out, I joined them for a short time. I was too committed to another band (Mike Stuart Span).
Q: Prior to Gun Hill, what sort of other bands did you play with?
BB: Started with Rhythm, Blues type bands, touring Europe, Scandinavia and France for 12 months.
Joined a band living in Italy for 8 months (mixture of American, Irish and British.). Met Mick Ralphs from Doc Thomas Group and Mott The Hoople, hitched a lift back to England with band from the south of England (incl. Martin Barre who later joined Jethro Tull).I then joined Psychedelic rock outfit Mike Stuart Span who later became “Leviathan”. We worked on the same bills as The Nice, Ten Years After, Cream, Fleetwood Mac, Pink Floyd, Peter Frampton and the Walker Bros in Europe. In Britain Jimi Hendrix joined us twice on stage in Londons’ clubs playing my Fender Strat I still use today. We were the first British band on the Elektra label. After this band folded, I auditioned with a bass player and a drummer in the basement of the American Embassy in London for Miles Copeland. A week later, I was asked to return to London with another guitar player but I did not want to move to the city. The band later became “Wishbone Ash”. I played a few local gigs with Nick Lowe of Brinsley Schwarz. I then joined another band working in Hamburg, Oslo and Munich called High Broom. We had a top 40 hit with “Dancing in the Moonlight”. We signed to Island Records and supported Grand Funk Railroad at the Albert Hall and supported Leon Russell and Mott the Hoople at various gigs. This band later folded to become an Electro/Acoustic trio called Montage, 2 albums recorded for Island and Decca (re-mastered cd.available this summer). The band folded and I bought a pedal steel guitar. I was approached by Noel Redding to play steel and guitar in his band, but nothing materialized. For several years anywhere and anything-a few minor hits across Europe with a band called Vendetta (TV shows in Italy, France and Germany)
Q: How did you hook up to Gun Hill?
BB: Gunhill advertised for a replacement guitar player. I had also briefly worked with Neil K! some years ago. The rest is history.
Q: Although you are not credited in the songwriting credits of “Nightheat”, are you a songwriter?
BB: No. sadly as yet, not. No time for writing since Montage days. Some change of arrangements and chords and licks created with Neil K. eg. first track, slide licks.
Q: What are some of your personal favorite moments on the CD?
BB: Pleased with slide effect and Spanish guitar on track 2, and solo on track 8.
Q: I found your solos to be one of the greatest aspects of Nightheat.
BB: Solos generally spontaneous- usually better to record in the 1st couple of takes.
Q: Do you have any ideas for the next Gunhill album?
BB: A few loose ideas and numbers have been put forward. I would like to see the band doing bigger gigs perhaps further a-field.
So in one week the world of classic rock has seen [or heard] 2 new directions, both of which I think are misleading, in bad taste and showing a grim and desperate road for bands and managers from an era that has already lost a number of aging rockers earlier in the year.
The first being a new album by Blackfoot… or in reality a band named Blackfoot, who’ve been handed the name and back catalogue to start from. The southern rock band that began in the early ‘70s after Rickey Medlocke left Lynyrd Skynyrd [as their drummer] and moved up to guitar, lead vocals, and major songwriter. The original [and only line up for most fans] included Greg T. Walker [also ex of LS, bass], Jakson Spires on drums [RIP], and Charlie Hargrett [guitar]. From 1975 to 81 the band released 5 albums, most notably Strikes in 1979 [their most successful] – which featured the classics “Train Train”, “Road Fever” and their best known song “Highway Song”.
Strikes was followed up by the underrated “Tomcattin”, which was a bit heavier, and featured such classics as “Warped” and “On The Run”, and then 1981’s Maurauder with faves “Fly Away”, “Dry County” and “Rattlesnake Rock n Roller”.
The band added Ken Hensley on keyboards for 1983’s Siogo and the follow up Vertical Smiles. The latter didn’t feature Hargrett, as he’d left before it was done. The new commercial 80s sound didn’t stick with longtime fans and following Hensley’s departure, and Bobby Barth’s joining the band band soon broke up. Medlocke would reform a new band as Rick Medlocke & Blackfoot for a contractual album, and carry on a few years with changing line ups and a few more albums, before he joined Lynyrd Skynyrd. Hargrett, Walker, and Spires reformed Blackfoot with Bobby Barth soon after [leasing the name from Medlocke, presumably], but after numerous changes, and the loss of Spires, Medlocke stepped in, took back the name and branded a new group as Blackfoot in 2012. So, that is my Blackfoot history in a nutshell…
Fast forward to current days… And this ‘new’ younger band that’s been given the name has released a new album as Blackfoot. And I will say – before ANYTHING else – regardless if Rickey manages, or contributes to the writing or production [I’m not totally sure, nor do I totally care!] because this is NOT Blackfoot! Regardless if the album is decent or has any similarities to the original band [I’ve heard the single, watched the video – it’s ok, somewhat generic], or if these guys are great players and writers – it is a band branded and being sold as something that no longer exists. It may be a great Blackfoot tribute band live – but that’s all it can be. Imagine if Paul McCartney did something similar with the Beatles name and catalogue or Jimmy Page with Zeppelin, etc… ? there’d be global fucking outrage! This may be a good band, but I won’t be duped into buying it as a Blackfoot album – to compare and sit alongside the rest of the BF collection I have. And I am a huge fan of Rickey Medlocke, and would love to hear him doing new material outside of Skynyrd! But, frankly I am cynical enough about bands still out there calling themselves Lynyrd Skynyrd, Thin Lizzy, and Foreigner! [And this is a whole other debate]. Tribute bands may be the best way to experience bands no longer able to perform, but call them what they are – and record under a different name. [Even Scott Gorham realized the backlash he’d likely get if his incarnation of Thin Lizzy used the name on a new album].
The other disturbing occurrence this week was the use of a hologram of Ronnie James Dio at Germany’s Wacken Festival. Dio’s former wife and manager, who supports the tribute Dio’s Discpiles also came up with and supported this hologram idea. Dio’s Disciples were put together less than a year after the guy passed away, and consists of players that replaced his original band – that band [Vivian Campbell, Jimmy Bain and Vinny Appice] reassembled 2 years back, called themselves Last In Line, and issued an album of new material earlier this year. Sadly, things went south when Jimmy Bain passed away suddenly on the Def Leppard cruise. And for me [and many others] – THAT original line up was the Dio band, and I’d be far more interested in seeing them [if they come around with a sub bass player], playing the classics they wrote and recorded, as well as new material.
So, back to this gimmick of a lazer / light show and vocal of Dio, which was played along to by his former bandmates for the finale [“We Rock”], and there’s talk about taking this kind of creepy circus act on the road next year!? Yeesh!
Sorry, but why bother – aside from former colleagues cashing in and creating a fake experience for everyone, mostly fans. If these guys are out there doing their regular act as a tribute to RJD – fair enough, but resurrecting him on stage is in poor taste, IMO. It would also wind up being predictable and uninspired with the band playing the same thing note for note – no room to change, and no between song banter from a dead guy fronting the show! Frankly, this is something one would think Sharon Osbourne would try [she’s likely pissed someone’s beat her to it]. Imagine going to see a full show of this by your favorite band, with a hologram of their long deceased frontman? Where would it end? Imagine worse if this sort of thing got put on to a recording with band playing along to the same vocal performance from years before? and geez – who would be on the t-shirt?? and what dying rock star would say “sure, make me into a hologram when i’m gone to keep the band going and employed!” [?]
The golden era of rock is long gone – there won’t be any more Led Zeppelins, Beatles, Thin Lizzys, or the classic line ups of Uriah Heep, Queen, Rainbow, etc… but you can get out there and try to enjoy those still performing, while we can. Forget the gimmicks and the tricky branding and packaging of once great rock acts. I saw a band called Thin Lizzy 5 years ago, and being a huge fan, and having never seen the real deal – I thoroughly enjoyed it, but I understood that it was a tribute to the band – there’s no Phil Lynott, just the same as there’s no Ronnie VanZant – so the latter day Lynyrd Skynyrd doesn’t fool me either, but I can enjoy it for the fact that it’s the closest thing to the real thing we’ll ever see nowadays, and that can’t be replaced by a new group using the name or a hologram!
![GUNHILL - Nightheat + One Over The Eight [Expanded & Remastered] back](https://i0.wp.com/outsiderrock.ca/wp-content/uploads/2016/08/gunhill-nightheat-one-over-the-eight-expanded-remastered-back.jpg?w=134&h=115&ssl=1 "GUNHILL - Nightheat + One Over The Eight [Expanded & Remastered] back")
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