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SAXON’s BIFF BYFORD – Hell, Fire and Damnation Interview

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SAXON released Hell, Fire, And Damnation in January, the band’s 24th studio album (excluding their 2 recent collections of covers). if you haven’t heard the new album, it is one of the band’s best in the past few decades (well, their best since 1999’s Metalhead, for me). See my review elsewhere on this site. In this conversation, Biff discusses the band’s change in guitar players, the songs and artwork for Hell, Fire and Damnation, and the band’s upcoming US tour (co-headlining w/ Uriah Heep).

*Check out the links and tour dates below.

First of all, the new album if you can tell me a bit about the title where the what inspired the title and the title song obviously in that context. I posted a review the other day.

Yeah, the first song’s about the battle between good and evil, really, that’s been going on for 1000s of years. I suppose it’s based on the prophecy, you know like the Omen films, that type of thing. I suppose it was good to write a song about good and evil and just a lot of bands just write about devils and demons and things, or occult. And it’s a saying my dad used to use when he was upset – ‘hell, fire and damnation’. That’s where the title came from, the idea for the words, anyway.

You got Brian in the band now. Prior to, when Paul announced he was leaving did you have Brian in mind already, when that came up?

Paul’s been thinking about leaving for some time. I think when we were touring during that particular period, he was quite tired and not really into metal music anymore. So he just wanted to play blues music and relax a bit. So that’s what he wanted to do. So we asked Brian – Brian was the first guy we asked actually. And the thing about Brian, is apart from Metallica connection, you know, the songs that they recorded of his; He’s a bit sort of frustrated, writing great riffs and things and playing great guitar and not being able to play in front of a lot of people, so he jumped at the chance to join Saxon. He’s still in Diamond Head, but he’s really enjoying himself, you know, getting the sort of interest that he deserves.

Yeah, did that change kind of give you guys a bit of a spark with the new album, so I think it’s great album. It’s very consistent, the songs are really good.

Well he wrote the title track with me, we wrote that time together – “Hell, Fire and Damnation”, so he’s come in to the band and done some writing. So dynamically, we’ve changed a little bit, which I think is for the better really. The album sounds fantastic.

A lot of the songs you write are kind of history lessons or history topics. So I always find myself when I get a Saxon album I gotta go look up something that – ‘what is this moment he’s talking about or this event’?

Haha… A lot of people do Google, you know – if they don’t know what happened in 1066. Or the Salem witches, you can go on Google and Wikipedia it gives you a short story of what it’s all about. I think in that way it’s interesting you know. And some of the Maiden tracks are quite history based. I’m sure some people google and find out what the tale of the “Ancient Mariner” is, you know!?

What kind of inspires each topic that you come up with – is it reading or a book or movie..?

A lot of it’s documentaries and things you see on Netflix or something. I read articles and watch films and things, so I’m always looking for something to write about. I was doodling with a song called “Remember the Alamo” for this album, but it didn’t quite make it. So that might end up on the next album (haha); you never know!

You also had a change with the artwork on this album?

Again, it’s dark and light – good and evil. So I wanted to an album cover that basically mirrored what I was saying in the song really – the fight between good and evil. And I got my friend, the actor. Brian Blessed to do the intro for all sounds pretty precious metal to me. I mean, I do like it.

Now you got Peter Selye doing the artwork this time? That’s first person you’ve had somebody new for, I guess for quite a few years, I guess.
We do usually use our other friend Paul Gregory who’s done a lot of albums since Crusader. But he wasn’t able to do this album. So I had an idea, you know, an idea of a cover, and we sent my ideas to different artists. And he (Peter) came back straight away with that concept of you know, the super angel and the shield in the middle of the battle. And it looked really great to me, you know,

How involved are you with each cover from album to album? Is it your ideas?

Yeah, a lot of them are based on my ideas, yeah, and where I think they should from. The album can do what he wants, but it all comes back from an idea I have. They’re not always great, and don’t always work, so we might have to move on to a different cover. but this one is pretty much how I wanted it to be really.

Well it’s a great cover

Looks great on a t-shirt!

And the title is very memorable…

And you can buy a box set with a patch in it, and put it on a jacket, and that’s pretty cool. I’m going to be wearing one of them on stage, I think.

If we can touch on some of the songs, because there’s a lot that stand out on this here for me – “Madame Guillotine”, “Fire And Steel”, “Pirates Of The Airwaves”… Can you tell me a bit about a few of the songs and if you’ve kind of decided or have an idea what you might put into the live show?

“Pirates Of The Airwaves” was based on the ’60s really. When I was a boy listening to music on a little transistor radio because the BBC the British government, wouldn’t allow people to listen to rock music, like The Rolling Stones in the 60s, so we used to listen in our in our bedrooms late at night, midnight, listening to these tracks coming through from these pirate stations. That’s what that song is about. You know, it’s just reminiscing from my youth, really.

“Fire And Steel” is basically it’s about a city in Yorkshire England called Sheffield, and that was a very behemoth city. It’s the place I used to go when I was a teenager to see all the bands. You know I saw David Bowie there, and I saw Uriah Heep, and Deep Purple – all the big bands used to come through this city called Sheffield, and I used to go so that’s what the song’s about really.

And obviously “There’s Something In Roswell”, I think a lot of people know what that’s about already.

Well, I’m a believer. I don’t know about you, but I think there’s something in Roswell. I think something happened there. Roswell was ground zero for UFO enthusiasts. Really.

Do you follow a lot of that stuff?

It’s interesting. I like conspiracy theories. Like something happens and then the government tells you something else. It’s interesting, isn’t it? I mean from Roswell millions of UFO sites and people talk about UFOs, Investigate UFOs, and it all started from Roswell, really.

“Kubla Khan And The Merchant of Venice”?

Again, that’s a bit of a history lesson really. You know Genghis Khan was a big warlord in Europe who conquered most of Europe and some of the Roman Empire. And one of his great grandsons was the Emperor of China, his name was Kubla Khan. And the first guy to go there and write about it was a guy called Marco Polo, who was from Venice. He discovered the Chinese used gunpowder, this fantastic pottery that they used to make – a great story really. I think that’s the most historic song on the album, but you can google it again if you want to find out what it’s about.

You guys are consistently putting out albums, like yearly – even when we were off during the pandemic you still managed to put out the two covers’ albums. What kind of drives you and how important is it to keep putting out new material when there’s a lot of bands at this stage who are just content to do one every five or six years or whatever?

We still have lots of things to prove. And we’re still always trying to write that perfect song on that perfect album. And we’re songwriters basically, well you know, I mean I look at myself as a songwriter not just a singer, so I’m very dedicated to make and produce new material. And then tour with it. We could obviously tour and just do the big hits from the ’80s, but we don’t really want to do that you know; we want to want to make music that’s relevant – you know people like it, like this album’s getting good reviews from around the world. It’s a good feeling you know; it’s good feeling that we can still write great songs – in my opinion that are just as good as the early songs.

Yeah, I like following bands who have something new because it’s easy to fall off if there’s nothing new for a long time right, so yourselves and well Magnum, Uriah Heep… bands have that still put out albums consistently every year Or few years that are well worth having.

I think especially in the metal genre like Saxon, Judas Priest, and Maiden – we put out albums because you know we like to tour on those albums and that’s what really gives us the juice you know that keeps us alive, keeps us feeling young, playing music that’s new. It’s a really great feeling.

You’ve got a tour coming up in the US with Uriah Heep. So a couple things – when you go out on the road for these long journeys, like you’d be out here for a couple of months. What do you guys do? You know, what’s your kind of your routine as far as do you go visit a lot of historic sites yourself and or is it kind of all business?

Well we drink a lot definitely! (haha) And we keep ourselves busy really. And then we don’t have many days off, so, if we have a day off in a cool place then we’ll go off and visit the area or go shopping or something, just to break the monotony of traveling every day. We’re pretty much a family, it’s like a gang on the road. There’s a lot of fun, a lot of joking about, you know, it’s like being out with your friends really, like being out with your mates.

You’re touring with Heep, and you’ve mentioned them before, I know I read you’d picked Demons And Wizards as one of your favorite albums. And you covered “Gypsy” on the last covers album. How far back do you go with them as far as seeing them the first time?

The first time I saw them, I mean, they’ve been going on quite a long time. I didn’t see them in the late ’60s, I must’ve seen them on their second album tour, I think…and I think they were out with Purple. I’d seen them in Sheffield actually. So it must’ve been very early ’70s. But I didn’t need them until much, much later on. Because they weren’t really on our touring circuit, if you know what I mean, in the ’80s. I think they stopped touring the UK in the ’80s and had a bit of a hit in America in the ’80s with one of their albums. (Ed: Abominog, w/Peter Goalby). I didn’t see that band, but I saw Uriah Heep with a guy called John Sloman. Yeah, so I do like Uriah Heep, and I do know them, but we’d see them in restaurants and airports and it’s only in the last 3 or 4 years that we started playing shows together.

Metalhead was kind of my rei-ntroduction to you guys because I know you’d been over here in the ’80s, but when Metalhead came out, that really got me back into you guys and I’ve kind of picked up from there and been following ever since.

A lot of people got in to us on Metalhead. It’s kind of a dark album. It’s a great album, actually, I think it’s a really underrated album.
It now ended up in a lot of people’s like, you know, top 10 albums they play Saxon, so it’s getting the recognition, I think.

You did the King Crimson cover on the next album? Do you remember touring or sharing bill with a Canadian band named April Wine in 1980?

Yeah, we did some shows together. We did the Monsters Of Rock together, the very first big one in the UK. I remember watching them, they were a good band.

Yeah, because they had a bit of a radio hit with their cover of “21st Century Schizoid Man”? So, when you guys did “In The Court Of The Crimson King”, I thought that was a great connection there.

A lot of people do “21st Century Schizoid Man”, it’s such a hidden track, but I wanted to do something a bit more proggy, a bit more prog-rocky. which is why we used the other one.

What else do you have on the go as far as other projects you’d like to do or anything else you’re working on?

At the moment, we’re not really working on much. We only finished this album in October last year, so we’ve been working pretty hard on this album. No real plans yet, just to promote this album, tour this year and promote the album. We might do more videos, maybe I don’t know. Just to concentrate on the album. That’s the next thing.

I’m looking at the dates. And I don’t see any Canadian dates yet. So I’m hoping if there’s going to be dates added on, because there’s not really a lot of room in between all those shows that are listed.

We have some space after the summer to maybe come back and do some Canadian shows, and some West Coast; we’re not doing West Coast shows either.
It would be a good plan to do Canada, then shoot over to Vancouver and then on the West Coast and maybe go into New Mexico. So there’s a few areas that we aren’t playing on this part of the tour, but it’s just part one, basically. So we’ll see what happens.

LINKS:

https://www.saxon747.com

https://saxon.tmstor.es

https://www.facebook.com/SaxonOfficial

https://www.instagram.com/saxon.official/

https://www.ticketmaster.com/saxon-tickets/artist/736050


BLACK COUNTRY COMMUNION release new track, announce new album ‘V’

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Supergroup Black Country Communion Announce New Album ‘V’ and Lead Single “Stay Free”

Black Country Communion, the iconic rock supergroup featuring the talents of Joe Bonamassa, Glenn Hughes, Jason Bonham, and Derek Sherinian, is thrilled to announce the upcoming release of their highly anticipated fifth studio album, V, available worldwide on June 14. To celebrate, fans are treated to the immediate release of the album’s heavy funk lead single, “Stay Free,” out today on all major streaming platforms.


Produced by longtime collaborator Kevin Shirley, ‘V’ marks a monumental chapter in the band’s storied career, embodying a renewed spirit and an evolution of their unmistakable sound. Shirley captures the essence of the band’s journey, stating, “For a band that started out as a collection of the best practitioners of their instruments, they very quickly found a unique sound. This time around, it has more purpose, the riffs are tougher, and there are hooks! Yes, hooks! It’s the most cohesive record, full of soul and grit, and I think this is the one that’s going to be the benchmark for Black Country Communion.” 

Glenn agrees, “In my opinion, we had the best time recording this record at Sunset Sound in Hollywood, tons of fun & a magical recording. Meet you inside the Music.”

“Stay Free,” the lead single, is a powerhouse track that blends hard rock’s raw energy with a heavy dose of blues, channelling the spirit of legends like AC/DC and Led Zeppelin. It sets the tone for what fans can expect from ‘V’ – a testament to the band’s dynamic synergy and creative evolution.

Listen to “Stay Free” HERE 

Pre-order/save ‘V’ HERE

Since their debut in 2010, Black Country Communion has delivered a series of critically acclaimed albums, each showcasing the group’s ability to fuse British blues-rock with American soul in a way that captivates audiences worldwide. Their return with ‘V’ and the single “Stay Free” reaffirms their status as rock royalty and showcases their growth as musicians and storytellers.Kevin Shirley’s insight into the recording process highlights the unique chemistry and camaraderie within the band. “When we convened in 2023 to start recording the album V, it really was like picking up the day after the most recent gig,” Shirley reflects. “The camaraderie is immediately evident. Once they start playing, everyone is deadly serious, and the music sounds like this band, and nothing else sounds like it.”‘V’ is a milestone that celebrates the journey, talent, and vision of Black Country Communion. As the band embarks on this new chapter, they invite fans old and new to join them in experiencing the depth and power of ‘V’ and the electrifying energy of “Stay Free.”

The news follows the announcement of the band’s upcoming performance at the Culture Room in Fort Lauderdale, FL  on Sunday, March 17th. This rare appearance will be the first live performance in America from the band in over 11 years. Presented by Joe Bonamassa’s Keeping the Blues Alive Foundation, all profits from the concert will be donated to support music education and musicians in need. The band is also set to appear on the Keeping the Blues Alive at Sea cruise, sailing from Miami to Cozumel, Mexico from March 18-22. The album ‘V’ is available for pre-order now.

For more details, exclusive content, and updates, please visit  https://joeb.me/OrderBCCV.About Black Country Communion

  • Photography by Rob Bondurant
  • Album cover artwork by Hugh Syme

WEBSITE | FACEBOOK | SPOTIFY | INSTAGRAM SHOP | TWITTER | YOUTUBE 

CRASH KELLY to release MÏXX TÄPE VOL. 1 

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Canada’s CRASH KELLY has a new album coming in April titled Mix Tape Vol 1. It will be CRASH KELLY’S first release since 2008. Featuring guitarist/vocalist Sean Kelly (Lee Aaron, Coney Hatch) , Mix Tape Vol 1 features covers of classics by Alice Cooper, Ratt, Motley Crue, New York Dolls, Cheap Trick, and more, as well as 1 Crash Kelly original. The album is inspired by Sean’s best- selling book Don’t Call It Hair Metal : Art in the Excess of ‘80s Rock, (see links below)

You can check clips from Mix Tape on YouTube –

*For more info, tracklisting and pre-order: https://rockpapermerch.com/products/mixx-tape-v1-2024?_pos=2&_sid=05983e380&_ss=r

*For more on Sean’s latest book –https://ecwpress.com/products/dont-call-it-hair-metal-80s-rock

THE END MACHINE – new singer, new album ‘The Quantum Phase’

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2024 launches with a bang thanks to the announcement of ‘The Quantum Phase‘, the highly anticipated new record from supergroup THE END MACHINE. The announcement signals a notable change in personnel as well. Singer Robert Mason has officially parted ways with the group, paving the way for Girish Pradhan, the rising superstar vocalist known for his work under the moniker Girish And The Chronicles and, more recently, with Joel Hoekstra’s 13. The addition of Girish Pradhan to the band is a testament to the keen discernment of Serafino Perugino, president, and founder of Frontiers Records. Perugino, who serves as the executive producer for THE END MACHINE, recognized the incredible talent and potential in Pradhan and brought him to the attention of the band.

To herald this fantastic change and new album, THE END MACHINE shares their first single off of ‘The Quantum Phase,’ entitled “Silent Winter.” The track is accompanied by a new music video.

Jeff Pilson comments on the new track:

“‘Silent Winter’ is a song about the bleak prospects for humanity if we keep on our current trajectory. ‘Quantum Phase’ – the album – deals with what we must do to change course.”

Established in 2018, THE END MACHINE released their eponymous debut album, ‘The End Machine,’ in 2019 bringing early acclaim for not only contemporary production and a modern attitude, but also their perfectly crafted songs, paying homage to their roots and the music that they love. This attitude and talent was equally on display with their 2021 sophomore album, ‘Phase 2‘. 

In delivering 2024’s ‘The Quantum Phase,’ THE END MACHINE has not only surpassed expectations but has penned the record of their lives! With each note and lyric, they have exceeded their own artistic aspirations, collectively crafting the album they always wished they had written. This monumental work stands as a testament to THE END MACHINE’s evolution, showcasing not only their musical prowess but also their unwavering dedication to pushing the boundaries of their creative expression.

To Be Released on March 8th – Pre-Order HERE

Tracklisting:
1) Black Hole Extinction
2) Silent Winter
3) Killer of the Night
4) Hell or High Water
5) Stand Up
6) Burning Man
7) Shattered Glass Heart
8) Time
9) Hunted
10) Stranger in the Mirror
11) Into the Blazing Sun

Produced By: Jeff Pilson for Pilsound Music Inc
Studio: Pilsound Studios, Santa Clarita CA
Recorded By: Jeff Pilson and Girish Pradhan, additional engineering: Olivia Pilson
Mixed By: Alessandro Del Vecchio
Mastered By: Alessandro Del Vecchio
 
Band Members:
George Lynch 
Girish Pradhan
Steve Brown
Jeff Pilson
 
THE END MACHINE Links:
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LOVERBOY to release 1982 live show on CD & DVD

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Loverboy to launch previously unreleased live show in fully restored and remixed sound & vision through earMUSIC.

The story of Loverboy is akin to a Hollywood movie. Overcoming rejection to eventually become one of Canada’s most successful rock bands of all time and selling millions of albums in the process, is a feel-good story for the ages.

“Live In ‘82” has been lovingly restored by Paul Dean from his personal archive of 16mm film, the joyous energy of a band who helped define the golden era of 80’s music captured like lightning in a bottle. With their great music, colorful clothing, outrageous hairstyles (and headbands!), and terrific soundtracks for movies like ‘Ferris Bueller’s Day Off’, and ‘Top Gun’, Loverboy has stood the test of time.

“Live In ‘82” will become available on limited CD+Blu-ray, limited LP+DVD and digital streaming and download on June 7th. Today’s announcement coincides with the launch of the first live track: ‘Turn Me Loose’ is available as digital single and live video.

Listen to the single HERE

For more than 40 years, Loverboy has been “Working For The Weekend” (and on the weekend), delighting audiences around the world since forming in 1979, when vocalist Mike Reno was introduced to guitar hot shot Paul Dean – both veterans of several bands on the Canadian scene – at Calgary’s Refinery Night Club. Along with Reno and Dean, Loverboy still includes original members Doug Johnson on keyboards and Matt Frenette on drums, with Ken “Spider” Sinnaeve replacing the late Scott Smith on bass.

With their trademark red leather pants, bandannas, big rock sound and high-energy live shows, the band has sold more than 10 million albums, earning several multi-platinum awards. Their string of hits includes, in addition to the anthem ‘Working For The Weekend’, such arena rock staples as ‘The Kid Is Hot Tonight’, ‘Take Me To The Top’, ‘Turn Me Loose’, ‘Jump’ and many more. Loverboy are not only masters of their craft as songwriters, but also renowned for being a formidable touring act, spending years on the road sharing stages with everyone from Def Leppard to Journey.

In 2009, the group was inducted into the Canadian Music Hall of Fame, and more recently the Canadian Walk of Fame, in the fall of 2023.

And there is no stopping the band this year, as they embark on a Live Nation promoted North American tour supporting Sammy Hagar, starting in July.

Pre-order the live album HERE

https://www.loverboyband.com

ZAKK SABBATH release ‘Doomed Forever Forever Doomed’

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I’m not normally a fan of ‘tribute’ albums, especially when they consist of various big names doing a predictable run through of the hits. But Zakk Wylde has made an impressive act covering the Ozzy era of Black Sabbath. I picked up Zakk Sabbath’s ‘Vertigo’ LP a couple of years ago, a track by track re-do of Sabbath’s debut album, and quite liked it. I should say I was not a huge Zakk fan previously, be it his albums w/ Ozzy or Black Label.Society, but his recordings of full Sabbath albums I can get into. Zakk remains faithful to the originals, and he does a pretty decent Ozzy vocal. This new double album sees Zakk Sabbath covering the next 2 albums in the catalogue – Paranoid and Master of Reality, and both sound excellent! So, I am looking forward to adding this (on vinyl) to my Sabbath related collection. *Check out the press info below, as well as ordering link, tracklisting, and tour dates!

ZAKK SABBATH are back with an even more massive dose of pure BLACK SABBATH worship! Celebrating more than 50 years of Birmingham ‘s most famous four, the ‘inventors’ of heavy metal are being honoured by the preeminent tribute trio led by guitarist and singer Zakk Wylde with the double album “Doomed Forever Forever Doomed”. This loving tribute contains the Americans’ brilliant take on BLACK SABBATH’s second and third full-lengths, the classic heavy metal masterpieces “Paranoid” (1970) and “Master of Reality” (1971).

ZAKK SABBATH were founded by BLACK LABEL SOCIETY guitarist and singer Zakk Wylde, who is widely renowned for his many years as lead guitarist for OZZY OSBOURNE and now PANTERA, as a tribute to the English heavy metal pioneers BLACK SABBATH.

Initially playing shows with a rotating lineup, ZAKK SABBATH released a 12″ EP entitled “Live in Detroit” in 2017. 

Having solidified a stable cast with the addition of OZZY OSBOURNE and ROB ZOMBIE bass player Blasko and Joey Castillo on drums (also of DANZIG and QUEENS OF THE STONE AGE), ZAKK SABBATH were inspired by the 50th anniversary of BLACK SABBATH’s self-titled debut full-length, tellingly released on Friday the 13th in 1970, to enter the studio for a proper homage to a record which changed music forever. 

In a productive DIY process, the songs of the “Black Sabbath” album were faithfully recorded live in the studio following the spirit of the original, which was famously captured in just one day in 1969. ZAKK SABBATH respectfully added their own flair to make for a slightly different flavour, revisiting various live renditions and extending a solo here or slowing things down there, because that’s what the originators tended to do on stage.

ZAKK SABBATH released their tribute to the monumental heavy metal milestone under the title “Vertigo” in 2020, a nod to BLACK SABBATH’s legendary label Vertigo Records. 

“Vertigo” was heaped with praise from critics and fans alike.  The trio’s first full-length also became a massive global success, underscored by impressive Billboard chart entries such as #5 on the US Hard Music chart, #7 on the Current Rock Albums chart and #27 on the Billboard Top Albums chart. Abroad, it was ranked #1 in Metal Albums in France and #3 on the German Album chart, as well as #9 on the UK Top 40 Rock/Metal chart.

Love will get you far, and pure passion for classic metal drives ZAKK SABBATH beyond all else. With the double album “Doomed Forever Forever Doomed”, they erect an even more monolithic monument to BLACK SABBATH than before. Time to bang heads again to these beautifully revisited songs that easily rank among the most influential and consequential ever composed by humans!

Tracklist “Doomed Forever”
1. Sweet Leaf
2. After Forever
3. Embryo
4. Children of the Grave
5. Orchid
6. Lord of this World
7. Solitude
8. Into the Void

Tracklist “Forever Doomed”
1. Sweet Leaf
2. After Forever
3. Embryo
4. Children of the Grave
5. Orchid
6. Lord of this World
7. Solitude
8. Into the Void

Line-up
Zakk Wylde (BLACK LABEL SOCIETY, OZZY OSBOURNE, PANTERA) – guitar, vocals
Blasko (OZZY OSBOURNE, ROB ZOMBIE) – bass
Joey “C” Castillo (DANZIG, QUEENS OF THE STONE AGE) – drums

Recorded at the Black Vatican & Clear Lake Audio
Produced by Zakk Wylde
Engineered by Jay Ruston & Adam Fuller

Artwork layout by Łukasz Jaszak

Shop: http://lnk.spkr.media/doomed-forever

Available formats
“Doomed Forever Forever Doomed” is available as 2CD Digisleeve, and as a Gatefold 2LP on transparent red vinyl, on transparent purple vinyl, on black vinyl, and on tape cassette.

NEKTAR – to release Journey To The Other Side : Live At The Dunellen Theatre, 2023

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For more than 50 years, Nektar has taken legions of fans on audio-visual journeys to far reaches of the universe and the depths of the ocean with their immersive blend of sight and sound.

Formed in Germany in 1969 by British expats, Nektar soaked up the musical freedom they found in their new home, favoring extended compositions and concept albums over the constraints of pop. They were among the progenitors of the progressive rock movement of the 1970s as well as the jam-band scene that arose in the late 1990s. Their sound traveled well to the States, where they enjoyed Top 40 success with “A Tab in the Ocean” (1972) and “Remember the Future” (1973). Nearly 20 albums and a half-century later, the band’s artistic and personal charisma has earned them masses of devoted fans.

As they begin the next 50 years of their career, they kick it off with “Journey to the Other Side – Live at The Dunellen Theatre June 10, 2023”. The band captures this with a 2CD/Blu-Ray set with a 5-camera shoot and multi-track recording. Clocking in at over 2 and 1/2 hours and spanning the band’s entire career with classics like “Remember the Future Parts 1 & 2”, “A Tab in the Ocean”, and many more. 

Nektar - Journey To The Other Side Live Blu-Ray+2CDs  
TRACKLIST Introduction
The Light Beyond
A Tab in the Ocean
SkyWriter
I’m On Fire
Dream Nebula
Drifting
Cast Your Fate
A Day in the Life of a Preacher
Recycled 2
Show Me The Way
Remember the Future Part 1
Remember the Future Part 2
Look Through Me
Fidgety Queen
Good Day 
Bonus Track:
Devils Door/King of Twilight – (Blu-Ray and Download Only) 

https://www.dekoentertainment.com/product-page/nektar-journey-to-the-other-side-live-cd  

https://www.dekoentertainment.com/product-page/nektar-journey-to-the-other-side-live-t-shirt-bundle

KILLINGTON PIT announce new cover of Judas Priest’s ‘Riding On The Wind’

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FOR IMMEDIATE RELEASE:

  •  FEATURING MEMBERS OF EVANESCENCE, ALICE COOPER AND GRANNY 4 BARREL, KILLINGTON PIT ANNOUNCE NEW COVER SONG ‘RIDING ON THE WIND’ OUT NOW
  • As Killington Pit prepare to release their first original material later in 2024 and play their first live shows, the band recently released another of their hugely popular cover songs. On Friday, February 16th the band released a stunning cover of the Judas Priest classic “Riding On the Wind”. The track comes from Priest’s seminal 1982 “Screaming For Vengeance” album and is another perfect showcase for the sound and chemistry of newcomers Killington Pit.The track features a stunning performance video from the band HERE
  • The new cover version follows the bands initial two single releases. Their cover of Accept’s “Balls To The Wall” & Rainbow’s “Kill the King” now have over one and a half million streams on Spotify and hundreds of thousands of views on YouTube.The members of Killington Pit connected during the pandemic lockdown and began recording together. As time progressed friendships grew and a core band formed with Terry LeRoi, Will Hunt, Troy McLawhorn and Chuck Garric. “Kill The King” also featured veteran guitarist Stef Burns (Alice Cooper/Huey Lewis & The News) and vocalist guitarist Jeff Blando (Slaughter/Lynchmob/Vince Neil).Will Hunt says, “‘Riding on the Wind’ was always my favorite Priest tune, before Scott Travis, of course. I definitely tried to approach it in a way I thought Scott would play it to give it some modern energy. The fellas and I had a lotta fun with this one!”Troy McLawhorn comments,“Glenn and KK were my teachers when I was learning to play the guitar. Not literally, but I listened to Priest constantly when I was a kid and spent a lot of hours trying to figure out how to play their songs on the guitar. Judas Priest is one of my all-time favorite bands! It was a lot of fun and a challenge to try to recreate the guitar parts for our rendition of ‘Riding on the Wind’. Again, I stuck pretty closely to the original because I respect and honor what they wrote and recorded, and I wanted to do it justice. I’m not trying to re-invent the song. I just wanted to feel the joy of playing it!!!”Chuck Garric adds, “Ian Hill of Judas Priest is a Bass icon! Thats what you get from a Metal God.”Terry LeRoi says, “Screaming For Vengeance is one of my all time favorite records. It’s been a huge inspiration for me over the years. ‘Riding On The Wind’ is the stand out track for me. Rob Halford’s voice is nothing short of amazing on this song and his midrange tones are ear shattering. His singing style and his willingness to pushing vocal limits is unparalleled and has always been my reference point. When Killington Pit started exploring possible songs to cover…this one was at the top of our list. It’s been such an honor to play with Will, Chuck and Troy and a privilege and great joy to pay tribute to Judas Priest!” LeRoi adds, “Over the coming months we will be releasing our full length covers album with accompanying videos. 2024 will see us playing select shows worldwide and releasing original Killington Pit music. We’re looking forward to sharing this with all of the fans!”
  • Killington Pit is:
    Vocals – Terry LeRoi
    Drums – Will Hunt
    Guitar – Troy McLawhorn
    Bass – Chuck Garric
  • FOR MORE INFORMATION VISIT: 
    https://killingtonpit.com/

MICK MASHBIR – 2013 interview with Alice Cooper touring guitarist (reposted)

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For serious Alice Cooper fans the name Mick Mashbir is well known. Mick was brought in to the band to help out on the Billion Dollar Babies and Muscle Of Love recordings and tours. Along with keyboard player Bob Dolin, Mick w as added to add to the albums’ sound and as a well needed guitar player on stage. Mashbir had a history with the Cooper gang before that 1973-74 period, so he fit right in. In this exclusive interview Mick gives us his story of his roots in music, his hooking up with Alice Cooper, his post Cooper years, And his fantastic 2007 solo album Keepin’ The Vibe Alive. 

*While writing a retrospect on Billion Dollar Babies, I thought to revisit and re-post this interview, and add a few links.


For more on Mick [and ordering his album] check out his website:  www.mickmashbir.com

Also check out this feature on Mick:  http://www.sickthingsuk.co.uk/musicians/m-mickmashbir.php  

You grew up in Phoenix[?] what was your association with various members of the Alice Cooper band prior to ever working with them?

I went to High School with Neal, dated his sister [who is now Dennis’ wife]. I gave guitar lessons and was friends with and recorded with Mike Bruce, prior to his being the ACG.   The other guys I only saw at the VIP club when I was hanging out or sharing the stage.

Who were some of your own musical influences, heroes, favorite bands and/or albums in your younger years?

Seeing Elvis in 1958 on TV got me on the path. I’m not a big Elvis fan, but he was the first rocker I ever saw. The Ventures “Smash Hits” was my first album, and “Ghost Riders In The Sky” was the first song i learned off that album. My first band The Jaguars – was pretty much a Ventures cover band until The Stones and Byrds came along. We played a lot of that and some Yardbirds and Beatles, as well. I bought The Who’s “My Generation”, then Jimi Hendrix, Cream and Free showed up and totally changed the game for me. I only wanted to play in classic trio form with lead singers. Early guitar influences would be Nokie Edwards, Pete Townsend, Jeff Beck, Clapton, Keith Richards, Jimi and Paul Kossoff. Milestone albums for me were “Meet The Beatles”, “Rolling Stones Now”, “Are You Experienced”, “The Who Sell Out”, “Tons Of Sobs”, and “Fresh Cream”. 

What was your own musical history prior to Alice Cooper – bands, any recordings, major shows or venues?

I formed the first band at my high school. We were the “Jaguars”. Mike Bruce’s band “The Duals” were from a rival high school. Mike and I met at a Battle of the Bands and became friends. He and I recorded together as the “Wildflowers”. It was Mike’s first project and he wanted me to play on it.

I then moved to Hawaii for college and founded the first multi-ethnic band, “the Blues Crew” which later evolved into “Lukes Pineapple Store”. We played the first Hawaii pop festival with “Moby Grape” and “Canned Heat”.
Went back to Phoenix and joined a band called “Thackery Rocke”. We opened for “Tommy James and the Shondels”, “The Animals” and “Blue Cheer” among others.

I then formed my first blues rock band “Sun House”. That was short lived. I formed “Joshua” a power trio. We released a single, broke up after about 18 months. Then I moved to London.



[Ref to the SickThings interview] – You were invited by Dennis [?] to come back from England and play on Billion Dollar Babies. What were the circumstances or reasons that they wanted you there, baring in mind – they had 2 guitar players and had already been using the likes of Dick Wagner, Steve Hunter [?] …?

It was actually Mike Bruce that made that happen. GB was basically on strike. He didn’t want to be in the same room as Michael or Bob Ezrin and they were rehearsing for the next record, B$B. Mike was also looking to the future because he didn’t know what GB was gonna do. He knew I would fit in with the other guys from Phoenix.

How much of B$Bs did you play on? Any favorite performances? And how involved was Glen at this time?

I played on every track except “Elected” “Sick Things” and “Generation Landslide”. My favorite song was “No Mister Nice Guy”. I was happy with all my parts, GB was around as little as possible. We were recording in the bands mansion and he didn’t bother to come downstairs.


On the Billion Dollar Babies tour Bob Dolin was also brought in on keyboards. What can you tell me about Bob? And how did you get along with him as well as various other members of the band and surrounding entourage?

I’d only seen Bob play in one band and Mike Bruce wanted a keyboard player for the live show, so we auditioned him. Bob was a gifted player with a fabulous ear. On tour we got along quite well since we were the hired guns. Whenever there was a press conference at the hotel the local promo man would show Bob around town so we would not be interviewed by the press.  On the B$B tour everyone from both bands got on tremendously. The openers Flo and Eddie hired Bob and me about 5 years later.

You then wrote and played on Muscle Of Love. I really like this album. A couple of things…. What songs did you contribute to writing and play on and why [OH why] – did you go un-credited in the writing and specific song performances?  What are your favorite moments from that LP?

I wrote the verse in “Never Been Sold Before” and Co-wrote “Hard Hearted Alice” with Mike. I knew nothing about the music biz so I didn’t really know what to ask for. The album credits were on the book cover insert and I was credited as “additional guitar”. Shep didn’t want the public to know that GB wasn’t involved.   My favorite moment was when we have been trying to get a basic track for “Muscle” and Neal kept fuckin’ up the take. Then after about a dozen or so tracks, I fucked up and Neal threw an empty vodka bottle at me. There was a lot of tension because this was the follow up to B$B.



Though you were brought in as a sideman to the band, did you ever feel you a bit disappointed or ‘cheated’ [for lack of a better word] about not being included in the spotlight?

In the beginning I was just happy to be a part of it all. After the B$B album and tour, GB won an award for his slide work on the “Slick Black Limousine” Flexi-Disc. That was my work that got me thinking that I might be getting the short end of the stick.   During the recording of the MOL album there was talk of making me a permanent member but Alice left the band before that could happen.

One thing regarding Muscle of Love I am curious about, is if Glen wasn’t around much for this album [did he play on anything?] – how would he have ended up with a number of co-writing credits? [if you’d have any insight to that]

There were a bunch of writing sessions with only the band.   I was not asked to be there.  GB was there but I don’t know what he contributed if anything. They were trying to get him back into participating and probably thought giving him songwriters credits was a way to keep him interested.  But, since he didn’t know how to play any of the songs when we were rehearsing for the MOL tour (I had to teach him the songs) I don’t think he actually “wrote” anything.

I take it [ref to other interview] that you preferred working with Jack Douglas more so than Bob Ezrin?

Jack’s style and vibe was much more “Rock n Roll” than Ezrin’s. Don’t get me wrong – Ezrin was a trained musician with a lot of talent, but he just wasn’t fun to work with. If you can’t have fun while workin’ or playin’, what’s the point?

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What do you recall of the winter tour in support of Muscle Of Love? Was the tour and response to the album a bit disappointing from your perspective? 

First let me say that touring in the winter in the Midwest and Northwest is not pleasant. Some days the weather was so severe that I didn’t expect anyone to show up at the arena, but the fans did.   We were using a modified version of the B$B stage and because of the storms the stage didn’t make it to the gig, but the equipment did so we performed as a flat stage rock band.   I think those were some of the best shows for me and the band. It was the first time I could go to the edge of the stage and engage the fans.  It was hard for Alice because he relied on the props to do his thing and they weren’t there.   When we went to Rio we were a flat stage band and we kicked ass.  I wish there were some bootlegs of that show.  Anyone out there have any?

What was the state of the band at the end of the tour and what did you do immediately after?

Actually the state of the band was cool because the Billion Dollar Babies book hadn’t come out yet.   I was sharing a house with Mike and Bob Dolin and we continued working on songs in our home studio. That is where I began teaching myself to produce and engineer.

You worked on albums by Neal and Michael. What can you tell me about those sessions and some of the songs you played on?

Neal had a home studio and some over dubs were done there.   I didn’t remember playing on “Platinum God” until it’s re-release.   I was given lead guitar and harmonica credit on “Baby Please Don’t Stop”..Harmonica!?!..That was a surprise..   I worked with Mike on “In My Own Way”, from conception to completion. I played lead on every track. We recorded in L.A. at the Record Plant.   It wasn’t the most pleasant experience because Mike chose the guitar player and drummer from The Young Rascals to produce it.   They changed everything we have been working on for over a year, as far as songs and arrangements, and not for the better in my opinion.   The album was conceived as more of a rock album but they turned it into a weak pop record.   We could have had Bill Szymczyk (The Who, The Eagles, Bob Seger, Joe Walsh) produce, but Mike Bruce didn’t want to wait for him to be available.

Dennis, Neal and Mike Bruce got back together [w/ Bob Dolin] to record the “Battle Axe” album, but you were not included.   Why?

I was offered the gig.   But I had just relocated to L.A. and I was not ready to go back East again.  I was also a little burned out on the guys in the band so I just turned it down.

What did you think of that album?   And were you disappointed not to be involved?

I thought it was nice in it’s own way, and after hearing how it ended I have no regrets.

What else did you work on following the Alice Cooper stuff?    Any name bands, recordings, tours…? 

Besides “In My Own Way” (Mike’s solo project), I worked with Flo and Eddie on a short tour of the north east in 78’ and then again with them in 85’ for an eight month tour, when they reformed the Turtles for the first  “Happy Together” tour.   I spent a lot of time in the trenches trying to get something together. I had a couple of offers but turned them down.. and those acts went nowhere.   Since there was no real credit for my work and zero publicity attached to my time with AC I was just another guitar played in L.A.  I was involved in a number of promising bands but the management in all cases were not able to get the labels to pulls the trigger.

Keeping The Vibe Alive was recorded in 1996 [?].   Was this your first attempt at a solo project? 

No. I had also written a one man musical play in ’76 that almost made it to the stage but the lawyers could not agree on a fair deal, so it died. I got my first 4TRK Porta-Studio and carried on writing songs.

How is this album been being distributed, just through your site?

I don’t sell it on my site but you can link through my site www.mickmashbir.com directly to ITunes or CDBaby.

I understand that the sad passing of the drummer, Donald Lindley, really set you back and the album did not get mixed or issued for another 10 years.   Can you touch briefly on this period and how you eventually got the project completed?

Donald and I had been working together on and off since 71’.    We had a real musical chemistry.   He was living in Austin in 97’ when he found a 24TRK Studio that was struggling to stay open.   “The Hit Shack”, Has a neve desk and a studer 24TRK tape deck.   It was exactly what we needed to capture the classic rock vibe we were going for. We got a killer deal for a two week lockout.   Donald brought in John Chiambotti with whom he had been working with for the park 8 years to play bass.   They had also had great chemistry. All but 2 of the 10 basic tracks on the album were first takes.   I also did most of the solos only three vocals, but not everything was tracked. This was in early September 1997.   Donald had been playing in a jam band with the famous Ian McLagan of the Small Faces and Rolling Stones fame.   He added some killer Hammond B3 to “Waiting For my Wings” and the Title Track “Keeping the Vibe Alive”.   About nine weeks later Donald was diagnosed with cancer and he passed Nov 4 of 1998.   Losing my friend and musical ally and the future we planned (we had even discussed being just a drum and guitar duo) knocked me on my ass and I just could not listen to the tracks.   This was way before the days of Kickstarter and I didn’t have the cash or desire to get back to it.

In 2006 I finally got a version of Protools, version 6 I think it was, and I began finishing the tracks. I was at a loss as to where and how I was going to mix it.   I had become friends with Alan Parsons through a mutual friend and we spent a lot of time partying together at the beach and occasionally up at his house.   I was trying to mix my record in my home studio.   On different occasions as his house I would has him if I could go into his studio to listen to my work.   After 4 or 5 times of this, he asked me “if I would mind if he had a listen?” of course I said yes.   As we were listening to my crap mixes he asked me “Is this the was you want the album to sound?”   I said no it wasn’t even close.   He said that I should try mixing it in his room.   So we set up the dates he gave me a 10 day lockout and I went for it.   He had a lot of things on his plate but he would occasionally pop in to listen.   He made a few suggestions in the beginning and that was about all until I was almost finished.   I needed help placing my vocals in the mix so he went through all the tracks with me.   He also suggested the track sequence for the album.   If it hadn’t been for Alan’s generosity the album may never have been released.

Bob Dolin plays on 1 track , “Hold On”.   What was / is your contact / relationship like with Bob, and why did he only end up on one cut and what do you recall of it?

Bob it turns out, an amazing keyboard player, was really a frustrated guitar player.   When he showed up to play the first words out of his mouth were “don’t expect me to be creative”!?!WTF! Bob was one of the most creative players I had ever worked with. Needless to say the session was like pulling teeth but in the end I got some string parts and piano in the coda.   All the other keyboard parts were mine.   We haven’t spoken since. 



You handle vocals on the album. how did you feel about doing them?    I take it you’re a guitar player first.

When I began to revisit the material I put an ad in the “Music Connection” in L.A. looking for tapes from singers. They were all crap. So, in order to move forward I had to just do it myself.   A very difficult proposition.   Some of my vocals were definitely better than others, but I made the decision that as long as the lyrics could be understood and there was some emotion in the track I could live with them.   If I could do it all again I would have found someone to help me.

Regarding the songs…  “American Weirdo” was written during your time with Alice Cooper!?   Interesting, as it certainly seems to fit in with the AC feel musically and lyrically.   What inspired the lyrics?

“Weirdo” was actually written in 1979, post Alice. The reason it had an AC feel is that when I played on B$B and Muscle, my playing helped create the AC feel you are referring to.  Someone who reviewed my album thought I was a second rate Alice.  There was no intentional aping of that sound.  That sound was what I was doing before I played with AC.   As I mentioned earlier every one of us in the band at that time had played in cover bands and we all covered the same bands, so our influences were all the same.   That is why I fit in with them musically. If I walked away with any influence it was how to arrange songs, thanks to Ezrin.

The lyrics were a work in progress until they were recorded.   The politics in America had shifted radically. It was getting hard to tell one political party from the other.   Also, it was becoming clear that freedom and liberty as it was supposed to be in America was disappearing.

How many guitar parts are there in American Weirdo? [3?] I’m curious how you would ever do this live. I love this song, it’s kinda’ become my theme song around here [and in the car] – despite my being Canadian!

Thanks Kevin.   It’s cool that it knows no borders.   When MySpace was really a great place for musicians, I got comments from all over the planet.   I remember someone from an Eastern Bloc being very pissed off that I would talk that way about America.   There are four parts.   Electric rhythm, lead, slide, and acoustic rhythm.   The acoustic was really to get the “Gimme Shelter” feel in the chorus. Live?   I would just forget about the Slide part and play it straight as a trio with the Wha-Wha solo.   Donald and I also discussed having a B3 player to fill up the sound.   When we rehearsed the tunes it was just the two of us so we knew it would work as a duo or trio.


And, did you write any other songs during this period that haven’t surfaced yet [or surfaced elsewhere]?

The one man play I mentioned earlier “Lightin’ Up” was all written during that period, and all I have are some of the demos.

Who was “Hell Of A Man” penned about? [kind of a Zeppelin groove-riff to it].

Zeppelin! Thanks for the compliment!   The idea for the album was to let all the bands that influence Donald and I shine through the songs.   I didn’t try to write like the Who or Zepplein, the songs just came out that way.   We agreed if the influences showed up to just let them stand on their own.

Those lyrics were written by the late, great Curt Phillips.   Curt must have been hangin’ out with a pretty tough crowd at this time of his life.   He captures a great snapshot of the lesbian biker-chic chick of the 80’s. 

What can you tell me about some of the ‘70s soul / funk style on “Mirror Image”.

That was Donald’s influence.   Being a drummer, he was always interested in different grooves.  Hip-hop was coming into its own and he really wanted to try to incorporate some of that funky feel.   We both loved Otis Redding so it wasn’t hard to find our way in that groove.

“Workin For My Wings” ?

That track was as close to a Hendrix influenced track that we had at the time.   It was the only track that I played a Stratocaster on.   It’s a song about searching for personal freedom and identity.   It was influence by my psychedelic experiences from the 60’s.

The title track seems to have an old British blues feel to it, almost like early Fleetwood Mac, and I swear I hear a lick from AC’s “Killer” in there.    What can you tell me about this song, musically and lyrically?

“Keepin The Vibe Alive” has many influences. It sums up the whole concept of the album.   Keeping the classic rock sound and 60’s “Peace and Love” vibe alive.   When we recorded this album, most albums had piles of guitars, so we wanted to sticks to the open guitar sound of classic rock.   The lick you are referring to is probably in the raga part of the solo, but is not intentional.   The Who style rave-up at the end was a total jam and the very ending was an example of the way Donald and I played together.   We didn’t rehearse the ending.   We just both ended at the same time cause that’s how much unspoken musical communication we had.

Do you have any favorites or stories behind a few of the other tunes?

“Golden Touch” was inspired by books I was reading about Elvis and Jim Morrison.   It seemed to me it was fame and fortune that killed them, not drugs.   “Heartache Train” was another Curt Phillips lyric about a crazy relationship, which Curt had more than his fair share.   He always wrote with a sense of humor, not anger.   He wrote the lyrics to “Gods Gotta Gun” as a comment on mans inhumanity to man with god as the judge and jury and the biggest fuckin’ gun you’ve ever seen.


Since you did the artwork, were you an art student as well? [as some of the AC guys].

No, I wasn’t an art student.   I can’t draw for shit, but I’ve always been able to come up with visual concepts.   Once again it was out of necessity and I had trained myself to use Adobe Photoshop and Illustrator, so I just went for it.   I am very pleased with that.   The whole concept as I mentioned before was to keep the “Classic Rock” vibe alive so the cardboard CD Cover and the enclosed CD (that actually looks like a vinyl record), completed the package.   It looks like a miniature record album.   It’s gotta be a collectors item just for the packaging alone and because it’s not in a plastic case, if someone buys it internationally from CDBaby, they don’t have to pay a premium for shipping.

And how has feedback been?

The feedback has been mostly positive and I’m happy for that.   One of my favorite compliments was that my CD was the closest sound to a vinyl record that Alan Parsons had heard in years.   If you go to CD-Baby you can read some other very cool comments.

What are you currently up to?   Do you play regularly live or have any plans to record a follow up album?

I miss playing live, but there’s really no opportunity to play out where I live.   I have since released a couple of new tracks on ITunes and have some more in the pipeline and I have a few instrumentals that I will eventually release.   I recorded some tracks for a cool band “The Velvet Saints”, but those haven’t been released yet.

Have you have any contact with or keep in touch with any of the AC guys — Neal, Dennis, Alice or Michael? 

Mike”s a “ghost” – no one can find him.. no contact with Neal or Alice. Dennis and I were in touch for awhile through Myspace because we both released solo projects at the same time and that was 5 years ago. So, basically, no.

In regard to the AC band songwriting…… what did you think of Mike Bruce as a songwriter and Alice as a writer? and was there a good bit of competition going on at the time you were there? [w/ Alice being Alice and Mike being the major writer.

I think the success of their work answers that question.   I rarely hear any post ACG songs on the classic rock station, just songs like “Schools Out”, (every year at the end of school) and “No More Mr. Nice Guy”, my favorite.

I know that Mike presented a lot of the songs in finished form, lyrics and all, like “Be My Lover” and if Alice felt they fit what he and the band were trying to present then he would leave the songs as is. If the lyrics didn’t fit , Alice would rewrite them. I can’t give you any specific examples of the rewrites but I know that it frustrated Michael and that led to his desire to express himself with a solo album. The easiest way to understand this is, Mike embraced the Beatles music,[ listen to “King of America on his solo album] and the rest of the guys were a Stones band before he joined. I remember that during the tracking rehearsals Alice didn’t sing, he sat and listened and worked on his lyrics. What competition there was led to a more creative working situation, as it often does in bands.

In reference to Mike’s solo album…. were you happy with any of the songs or your performances [as they were produced)?

As far as my performances,  I felt my work was just what those songs needed.   The Beatles pop feel let me play my George Harrison style slide work which I quite enjoyed.   If you listen to the bonus tracks on the double album release you will hear the tracks we recorded with Jack Douglas producing.   Comparing the demo of “As Rock Rolls On” with the finished product, you will have a perfect example of how the work was watered down to a pop sound.  The whole guitar solo section on the demo was left out of the final arrangement by Gene and Dino.  The Slade cover, “So Far So Good”, came the closest in energy to what I thought the album should feel like. It was sad to me that other songwriters were brought in to the project.   I was disappointed that Mike allowed that to happen , but it was his solo project, not mine, so I respected those choices and supported that with my playing.   And in the end none of the above really matters, because I don’t think that many people have heard that record.   I will add that the engineer David Palmer did a nice job.

What happened to Michael after this album [from your view?] – being that he was such a prolific writer for years.

Well, a writer needs a place for their song to live. First there was the ACG, that ended.   Then Mike’s solo project that never really got off the ground, for lack of management, and finally the failure of the “Battle Axe” project. Mike kept writing, did another solo project and that was the last I heard from him until years later, when he did the Iceland recordings. But, don’t forget that last year (2012) Alice released his latest record and did a semi-reunion with Mike, Dennis and Neal. Mikes song “When Hell Comes Home”, was in my opinion, the best song on that album.   It was truly classic Alice Cooper.[My apologies to Mike for any omissions that I may have made].

Kevin I just want to say thanks for giving me the opportunity to tell more of my story.

‘Now’ was recorded in 2013. Mick sent it to me then, mentioning that he had been inspired to write it after the interview we did. *thanks to Ron Mann for his help with a few questions and posting the original interview.

Links:

http://www.mickmashbir.com

http://martinpopoff.com/html/easy-action-the-original-alice-cooper-band.html (*bits of the above interview feature in Martin’s book on AC in the 70s)

https://www.discogs.com/artist/1609412-Mick-Mashbir?noanv=1

http://www.musicxray.com/xrays/316863

YES announce Classic Tales Of Yes Tour, plus new edition of ‘Mirror To The Sky’

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Photo by Gottlieb Bros

YES released their latest studio album ‘Mirror To The Sky’ in May 2023, and following an acclaimed US tour late last year, the band will return to the UK & Europe for ‘The Classic Tales of YES Tour 2024’. To coincide with this, they have launched a brand-new video for an edited version of the album’s epic title track, and you can watch that now here:

A new Limited 2 CD+Blu-ray Digipak edition of the album will also be released on the 5th April. This edition features the full album, plus the blu-ray including Dolby Atmos, 5.1 Surround Sound & Instrumental Mixes of the album and is available to pre-order here: https://yes-band.lnk.to/MirrorToTheSky‘

The Classic Tales of YES Tour 2024’ will include many iconic tracks from the YES back-catalogue covering fifty-plus years. The tour will also include a celebration of the 50th Anniversary of ‘Tales from Topographic Oceans’ as well as music from their current album ‘Mirror To The Sky’. “We’re all excited to be bringing our show home to Europe and the UK!” says Steve Howe, “We’ve selected a new playlist of Yes music but with some firm favourites in there too, of course! To keep our performances fresh, we ‘now’ carry our own lights, so we can present a consistent show each night, designed for us by William Succuso …….. Looking forward to seeing you out there!”

“We are very much looking forward to the 2024 European leg of our YES Classic Tales Tour. Having recently completed the US, we are now really excited to bring that out to all our fans in the UK and Europe. It promises to be one of our most interesting sets to date, scanning through much of YES’s history and with some previously unheard pieces as well as music from our latest album, ‘Mirror To The Sky’. Bring it on and see you all out there!” Best, Geoff Downes.