More metal from Canada! Lethbridge, Alberta’s TYRANTS OF CHAOS will release their 3rd album next month titled Relentless Thirst For Power. I’m not big on every genre of metal (not in to the likes of Metallica, Anthrax, etc… the big 4.) But I do like checking out new Canadian rock! And there is plenty of killer riffs, solos, and tunes here to take interest in. This is a pure heavy album and fun listen, with some interesting lyrics. Lots of power, energy, and passion here. Fave cuts being “Indoctri-Nation”, “No Lives Matter”, and the blazing “Skull Crusher”. The band recently released their brand new video for “T.O.C.” – check it out! *For more info check out the press release / bio below.
Tyrants of Chaos is a no-holds-barred traditional heavy metal band in the vein of the big four with a modern twist. They are imminently releasing a new album Relentless Thirst For Power, which will be their third.
The new album Relentless Thirst For Power covers a lot of topics lyrically, listeners will also be able to dive into the classic Teutonic power metal track “Indoctri-Nation” that focuses on mental health issues; the “No Live Matter” ballad that forces one to confront their mortality; and the classic “Lucky Dog” that is reminiscent of the ’80s sounds of the Big 4.
Formed in 2013 for the love and passion of music by guitarist Curtiss Vaselenak and to fill a gap in the local scene, the band originally started as a fun hard rock and metal cover band. After some shuffling, he is now joined by guitarist Arik Wagner, bassist Sean Simpson, drummer Ryan Dyck, and vocalist Phil Sirias who complete the current lineup. With many years of experience between them, they bring professionalism and solid musicianship to both the stage and the studio.
Tyrants of Chaos already have two albums under their belts, The Calm Before The Storm (2016) and Into Oblivion (2019), and this new offering consists of ten fist-pumping, head-banging tracks that were written specifically for this album. It is just scratching the surface of what the band has in store, they don’t intend to slow down anytime soon.
Heavy and loud, Tyrants Of Chaos delivers a solid pummeling of pure heavy metal. No gimmicks, no gags, just passion, and honesty. They are recommended listening for fans of Judas Priest, Iron Maiden, and Megadeth.
Flash were an early ’70s progressive rock band which featured original YES guitarist Peter Banks. In a few short years the band released 3 albums, all worth checking out. This live set is for collectors, as it gathers the band’s live recordings over their short lifespan touring the USA. Likely bootlegged over the years, these recordings have been cleaned up as best as possible and are an enjoyable look at the band. Flash had lots of potential, but for whatever reasons didn’t last too long. These shows make a great companion to the band’s studio albums (which featured some cool cover-art!). *Check out the press release below for more details & track listing.
Prog Legends FLASH Featuring Peter Banks “In The USA Live 1972-73” 3-CD Set Available Sept, 9, 2022
Available on Sept. 9th, restored live recordings from 1970ʼs classic prog rock group FLASH featuring ex-YES guitarist Peter Banks. Twenty-two tracks from seven shows across 3 discs; a majority of them previously unavailable. Best known thanks to their YES connections, the band nevertheless held their own across three Billboard charting albums, and the top 30 single hit “Small Beginnings.” Includes 32-page booklet with exclusive band interviews, unpublished photos and tour itinerary. A true time capsule back to the golden age of US rock concerts.
• Carefully restored and previously unreleased recordings • For fans of progressive rock, guitar heroes & YES • Previously unpublished photos & essay including detailed US tour history with exclusive band interviews and memorabilia
“Capturing the collective during seven of their American shows of 1972-1973, one of those preserved for posterity in its entirety, the digipack will allow the listener to savor most of the three LPs in rather different performances than those laid down in the studio and the uninitiated will have the opportunity to see how brilliant these musicians were. Colin and Ray worked for a while under the old name relatively recently, but it’s the old recordings their followers are after, so there’s something to look forward to.” – Dmitry Epstein https://dmme.net
Says Ray Bennett: “What ‘Think Like A Key Music’ set out to do here, on this multi-disc set, is to gather together whatever was left out there of live FLASH stuff regardless of quality and present it in the best possible way. Whatever improvements could be made to the audio were done. Quite a bit of it is rough sounding, but I found that even with the poor sound issues there was something coming across from the live experience. Some surprisingly good moments. A fair bit of this material was fan-recorded, probably on cassettes, some possibly from rough mixing board recordings; some is much better studio type quality, and some has been online for years on obscure websites, but in the worst possible form – awful sound, complete with extraneous noise and talking in the recordings. So all that has been cleaned up and the sound mastered as well as possible. Overall, I think this is a worthy project for the historical record at the very least. Other than the ‘In Public’ CD which is already available, this new set is it as far as we know. Pretty much all that there is of live FLASH performance.”
Mirage is the 2nd album released by the partnership of George Kooymans (Golden Earring) and American singer/guitarist/songwriter Frank Carillo. This album was recorded over a number of years, prior to Kooymans ALS diagnosis that has left him unable to play and forcing his band Golden Earring to retire. However, this collection of songs will come as a nice surprise to Kooyman’s fans who assumed they’d not hear anything new from the legendary Dutch guitarist (as well as singer/songwriter). Mirage is also a follow up the duo’s 2010 album On Location. I haven’t got or heard the entire On Location disc (and judging by the availability and prices online – won’t be getting it anytime soon). Frank Carillo has been active releasing music since the late ’60s, his earliest bands being Hot Soup, as well as Doc Holliday along with Bob Mayo. Carillo would also play on the first few Peter Frampton solo albums, (Mayo would play with Frampton for decades).
Anyway, back to Mirage…. Golden Earring fans may know of Frank Carillo from his involvement on the band’s 2003 album Millbrook, USA. and 2012’s Tits N Ass , where he played slide guitar and had a few co-writing credits. Mirage features 11 tracks, 9 of which were co-written by Kooymans & Carillo, and recorded at a few studios in the USA and the Netherlands.
For the most part Mirage is a collection of largely acoustic based, roots rock, a bit of blues, and a bit of a country feel on many tracks as well. The lead off (and) title track is easily likeable, a smooth acoustic based country flavored tune highlighted by slide guitar and lead vocals from George, as well as vocals from Casey Kooymans, along backing vocals from Frank, who also adds piano, and there’s a bit of banjo provided by Paul Orofino. There’s a few good upbeat cuts like “If I Go There”, “Den Of Thieves” and “Crystal Cracking”, which is probably the most ‘classic rock’ track here, with it’s slide guitar and hammond organ, and Frank’s vocals.
The best picks for me tho’ are a few of the ballads, particularly “I Wish You Were Still Here”, which is just a very memorable song – if there was a hit single from this album, this would be it. As well the short “Christmas In Gaza” stands out as well. Mirage also features the light country rock tune “Ticket To Heaven” written by Eddie Seville, this one includes violin. The ‘bonus’ track here is “Seasons”, which is just George and John Sonneveld (who programs the drums and bass, adds flute and hammond organ) . It is a song George wrote decades ago and gave to Dutch band Earth & Fire, who had their first hit with it in 1969.
Lots of excellent lead vocals and shared vocals here that go so well together, great productions, and a few guests – such as Rinus Gerritsen on couple of tracks. Would be curious to know if Kooymans and Carillo might have anything left in the can. For Golden Earring fans that won’t be expecting anything further from the band Mirage is definitely something you’ll want to pick up.
You Keep Me Hanging On was a classic song written by the Motown production/writing team of (Brian) Holland, (Lamont) Dozier, and (Eddie) Holland. The trio had written and produced numerous hits for Motown’s biggest acts such as The Four Tops, Mary Wells, Marvin Gaye, The Isley Brothers, Martha & The Vandellas, and most notably The Supemes – who first recorded “You Keep Me Hanging On” in the summer of 1966, with the single released in October of that year.
It would be included on their album The Supremes Sing Holland-Dozier-Holland, released in January of ’67. The song was one of two #1 hits from that album. The other #1 single was “Love Is Here and Now You’re Gone” which wouldn’t have the lasting impact as “You Keep Me Hanging On” did. The single, besides being a #1 hit for The Supremes, and soon became a heavily covered song, with acts of different genres of pop music re-doing it in hopes of having a hit themselves.
And there are numerous versions of this song, so I’ve narrowed it down to 10 of the best known versions, as well a few of my favorites and more interesting ones – in chronological order. I have also only included properly released recordings (as I will try to do in this series), as opposed to any ole’ live version found on youtube. Feel free to drop me a line in the comments if you think I’ve overlooked any other covers of this tune that are well worth checking out.
Vanilla Fudge (1967)
New York’s Vanilla Fudge debuted with this single. The band featured Mark Stein (lead vox, keyboards), Carmine Appice (drums), Vince Martell (guitar), and Tim Bogert (Bass, RIP). The band’s album version (from their 1967 debut) was nearly 7 and a half minutes, with a heavily edited single version in June of ’67 that was a Top 10 hit in Canada, the US, and Australia, and a hit in the UK. It set the tone for what Fudge was about – which was to take pop hits and slow them down, and make them heavy, full of guitar, Hammond organ, and big vocal harmonies. This would be the band’s biggest hit, and the song they are best known for, and probably the best known version of this song after The Supremes. Fudge’s version of this song would inspire a number of other acts of the day to record or perform this song (live). The band had a major influence on some of the great British heavy bands like Led Zeppelin, Deep Purple, and mainly Uriah Heep. Pre-Heep band The Gods performed this song, and a live version of it can be found on The Gods : Live ’67 CD. Carmine Appice would also be part of Rod Stewart’s band when Rod record his version for his 1977 album Foot Loose And Fancy Free.
Index (1967)
This garage-rock band from Michigan released 2 albums in 1967 and 1968 with their trippy psych version of the song on their debut album. Originally consisting of John B. Ford, Gary Francis and Jim Valice. The band has no keyboard player, so the intro [the band’s version perhaps influenced by Vanilla Fudge] is played on guitar, minimal production, sounding very cool, very different. Their debut also included a cover of The Byrds’ “Eight Miles High”. The band split after their 2nd album with Valice and Ford continuing as Just Us, and releasing one album in 1969, which included a number of covers, notably a couple of Neil Young tunes.
The Tea Company (1968)
A pretty wild psychedelic version from this New York band that only released one album – Come And Have Some Tea With The Tea Company. ‘Tea’ being another word for marijuana. Clocking in at nearly 9 minutes, this one includes lots of different instrumentation, heavy psych solos….. Members later released an album in ’77 as the Spare Change Band.
The Guess Who
Recorded sometime in 1967-68 when The Guess Who was transitioning from a covers band to an all originals band they appeared regularly on the CBC show Let’s Go! Their version follows the Vanilla Fudge take with the organ, and slower pace, etc…very psychedelic. Released in 2005 on the CD compilation Let’s Go!
Tomorrow’s Children (1970)
These guys were a band from Jamaica, and there was not much released outside of that country. Described as pop, R n B, funk, reggae… This is a great version! The backing vocals give it a ‘gospel’ feel, and the lead vocals are excellent, the organ is there, and the guitar has a bit of funk feel. This was originally issued as a single in 1970, with a cover of The Ides Of March hit “Vehicle” on the B-side, as well it was included on the band’s 2nd of 3 album’s titled The Going’s Great With… Some of the band went on to form Third World. Would be nice if a repackaging label (Cherry Red??) would pick up and reissue the band’s recordings in 1 collection.
The Box Tops (1968)
Memphis band The Box Tops recorded “You Keep Me Hanging On” for their 1968 album Cry Like A Baby. Influenced by the Vanilla Fudge version they closely followed the organ intro idea and tempo . A good version, but not as heavy or all-round solid as the Fudge version, but excellent lead vocals from Alex Chilton. The Box Tops were best known for their 1967 hit “The Letter”. Chilton went on to success with 70s act Big Star (where he co-wrote the song that was later used as the theme song to That 70s Show), as well as a number of solo albums, with his last studio album being strangely titled Loose Shoes And Tight Pussy.
Wilson Pickett (1969)
Legendary American RnB singer Wilson Pickett had 40 hit singles on the RnB charts over 10 years (63-73), largely covers, though he was best known for “In The Midnight Hour” – which he co-wrote and “Mustang Sally”. He had a top 20 hit with “You Keep Me Hanging On” in 1969, The song appeared on his 1970 album Right On, which featured players from the Muscle Shoals Rhythm Section, as well as horns, organ, female backing vox, and Pickett’s own distinctive soulful voice.
Nightwing (1980)
A late add here. Nightwing were a British hard-rock / prog band along the lines of Magnum. This heavy-progressive version of the song is very unique, and well worth checking out. From their debut LP Something In The Air, which features cool fantasy artwork by Peter Andrew Jones (looking like something by Rodney Matthews). Nightwing was formed by keyboardist/producer Gordon Rowley (ex Strife) and this debut would feature ex Nutz members Kenny Newton and John Mylett, among others. Longtime members also included drummer Steve Bartley and guitarist Alex Johnson. The debut album also featured a cover of Graham Nash’s “Barrel Of Pain”.
Kim Wilde (1986)
A totally different take on the song. Wilde was an ’80s pop star, and she had a huge hit with this synth-pop / dance version of the song in 1986, from her 5th album Another Step. Features original Gillan (band) guitarist Steve Byrd. Wilde’s version likely inspired a later electronic/dance version of the song by Romanian born artist/model Anca in 2006.
Verity (1989)
Recorded for Verity’s 1989 album Rock Solid (lead by former Argent frontman John Verity). Verity has an awesome voice and this take is a bit more upbeat and brighter. A great version for the period, too bad it wasn’t a single. The album would include such guests as Rod Argent, Terry Uttley & Alan Silson (both of Smokie), Bob Henrit….
Mystic Prophecy (2018)
And finally, a metal version! This one comes from this German power-metal band, featured on their 2018 album Monuments Uncovered. Cool take, video as well…
07/’22
Added (09/25)
Booker T & The MGs (1968)
I am sorry I missed this one. Booker T & The MGs released a number of albums, a lot of instrumental covers of popular songs of the era. Lead by Booker T Jones, who played organ and arranged the songs. Booker T was a big influence on a number of British players too, such as Ken Hensley. This version of “You Keep Me Hangin’ On” comes from the band’s 1968 album Doin’ Our Thing.
Ken Boothe (1983)
Jamaican singer Ken Boothe released this reggae version of the song as a single in ’83. This guys been releasing records since 1967, and is still active. Most of his records, such as this single only got issued in Jamaica and the US.
Others– Nautilus, Irish thrash band released their version in 2016 as a single. Rod Stewart, from his 1977 album Foot Loose & Fancy Free, which featured Carmine Appice on drums, and Mark Stein & Appice both singing back up.
Arthur Brown recently celebrated his 80th birthday with the release of his brand new album Long Long Road. The legendary British singer may be best known as some sort of one-hit wonder for his classic 1968 hit “Fire”, released as The Crazy World Of Arthur Brown. Over the decades he released many albums that may have missed the mainstream charts, but he built a loyal following of those who appreciate his often experimental directions , sounds, mystique, theatrics, and his distinctive, powerful voice. He’s been a huge influence on many, most notably Alice Cooper (who took up the make-up and theatrics) and Iron Maiden’s Bruce Dickinson. I would think Rob Halford would’ve been a fan as well. Interestingly, Brown – who’s also big on blues here delivered a killer version of Fleetwood Mac’s “The Green Manalishi” several years ago that is well worth searching out… But anyway…. at 80, Arthur Brown can still perform, his voice is still powerful, and he (along with collaborator Rik Patten) can still create great new and interesting music.
Musically, the keyboards and other instrumentation here have that psychedelic feel, progressive, (as said) bluesy in places, and lyrically imaginative and often timely, as with the light and feel-good title track. Simply some awesome songs here, wide ranging, yet all flowing together nicely. “Once I Had Illusions” (part one & two) – 2 separate tracks, with the first version being lighter instrumentally and more haunting, the second take being more heavy blues guitar based – both outstanding! The title track (as mentioned) is easily likeable song, as is the lighter blues of “I Like Games”. There’s also the slower paced blues-psych rock of “Shining Brightness” (reminds me a bit of “Roadhouse Blues”), lead off track “Gas Tanks” which rocks hard with heavy guitar & organ, and a lighter break with a bit of piano and flute, and the Hammond driven “Going Down”.
I do not know how Arthur’s previous latter day solo albums compare (some catching up to do), but seeing as this one seems to be getting a good deal of attention, I think this one is a career high point – And at 80! The man still has it, and not just the voice, writing abilities, and the whole theatrical act, but he still seems to have the drive and passion as it shows in the new album, as well as the accompanying videos, and his forthcoming tour schedule. Great cover shot of the mask / fire helmet.
Pretty much everyone into rock music knows ARTHUR BROWN. Be it via listening to or watching The Who’s rock opera “Tommy” or spending time with The Alan Parsons Project’s classic debut album “Tales of Mystery and Imagination”, most people have encountered Arthur – even if they might not have realized it.
Yet when it comes to THE CRAZY WORLD OF ARTHUR BROWN’s iconic, career-defining 1968 transatlantic hit single ‘Fire’, everybody knows that this is Arthur – the self-proclaimed God of Hellfire!
But, we are getting ahead of ourselves, when we really ought to start with Arthur’s new full-length masterpiece “Long Long Road”.
Wild, vibrant, and crammed with rich musical textures, his new album is quintessentially ARTHUR BROWN, and can easily be construed as the apex and summary of a fascinating career that has spanned no fewer than seven decades.
Scheduled for release on Arthur’s 80th birthday on June 24, “Long Long Road” effortlessly shifts from progressive rock and soul to pristine blues rock, with the much-loved singer summoning his full vocal range with a mature mastery that comes only with the experience of a lifetime.
Make no mistake; ARTHUR BROWN is a true rock legend – luckily, one whose star still burns very brightly, making audiences’ jaws drop whenever he takes to the stage.
Born in 1942, this outstanding vocalist and pioneering performer has recently been experiencing a renaissance. Arthur’s ground-breaking work over several decades was honored at the 2019 Prog Awards, when he received the Visionary Artist Award. In 2021, Arthur was given an HRH Legend Award that celebrates the best of British rock music. Prior to these, Classic Rock magazine bestowed a “Showman Award” on Arthur in 2005. This renewed attention by fans, media and peers in the autumn of his artistic endeavors can be recognized as a long-overdue tribute to an iconic musician, similar to that enjoyed by JOHNNY CASH late in his expansive career.
ARTHUR BROWN‘s legacy has been long appreciated by fellow musicians, writers and dedicated rock fans far beyond the vast shadow cast by his gigantic number 1 hit single ‘Fire’. The iconic track from his 1968 album “The Crazy World of Arthur Brown” still maintains its mesmerizing power with audiences and peers today. At the same time, it could be argued that the omnipresence of ‘Fire’ has partly obscured Arthur’s many outstanding accomplishments over the 54 years since its release.
To understand the massive impact and influence of ARTHUR BROWN‘s wild stage persona, flamboyant theatrical performances, and charismatic multi-octave voice, one only needs to listen to these rock icons:
“Without Arthur Brown there would be no Alice Cooper.” ALICE COOPER
“Now there’s a man who was ahead of his time.” ELTON JOHN
“Arthur Brown was a big influence of mine… Arthur Brown has the voice of death.” Bruce Dickinson, IRON MAIDEN
“Arthur Brown is as much a dancer as he is a singer.” Pete Townshend, THE WHO
“I owe a lot to Arthur Brown; he gave me the confidence to come out of my shell, so to speak. In other words, let it go, banish my inhibitions, forget about formulaic deliveries, loosen up and be myself.” Ian Gillan, DEEP PURPLE
ARTHUR BROWN is widely recognized as a pioneer of shock rock and progressive rock, and a significant influence on heavy metal. His live performances include iconic classics, dance, poetry, visuals and a subliminal soundtrack of new electronic music. Whenever he plays, Arthur still brings the dramatically elegant and always extravagant style that he established as the gold standard onstage.
During his long and distinguished career, Arthur has been the lead singer of various groups, most notably THE CRAZY WORLD OF ARTHUR BROWN and KINGDOM COME, along with a cameo in the cult film “Tommy”, in which his dramatic vocals were backed by ERIC CLAPTON and THE WHO. Collaborations include the debut album of THE ALAN PARSONS PROJECT, DAVID GILMOUR, THE PRODIGY, BRUCE DICKINSON, THE STRANGLERS, KULA SHAKER, DIE KRUPPS, and many more.
With each note on “Long Long Road”, ARTHUR BROWN makes the impressive statement that he remains as authentic, challenging, creative, and compelling as he was at his career’s fiery beginning. This record is not a swansong, but the thrilling beginning of the final phase of an utterly singular career.
Tracklist 1. Gas Tanks 2. Coffin Confession 3. Going Down 4. Once I Had Illusions (Part 1) 5. I Like Games 6. Shining Brightness 7. The Blues and Messing Round 8. Long Long Road 9. Once I Had Illusions (Part 2)
Line-up Arthur Brown – vocals, guitars, piano Rik Patten – multiple instruments
Recording at Sonic Scoops Studios UK Produced by Arthur Brown with Rik Patten Arrangements by Arthur Brown and Rik Patten Mix & engineering by Rik Patten Mastering by Marc Urselli
Artwork by Laurie Avon Photography and imagery by Harvey Waller Layout & design by Jean Valnoir Simoulin
Available formats “Long Long Road” is available as a box set including a 48-page hardcover 2CD artbook, a gatefold 180g orange marble vinyl-LP, a bonus 7″ vinyl single, a wall flag, 4 30×30 cm art prints, and a certificate of authenticity personally signed and hand-numbered by Arthur Brown. The 2CD artbook is also available separately and includes liner-notes by Arthur Brown, enhanced artwork and photography, and two exclusive studio recordings. “Long Long Road” is furthermore available on black 180g vinyl LP, on transparent red 180g vinyl LP, and as a Digipak CD.
Very Heepy Very Purple XIIIis the latest in Avi Rosenfeld’s series of original hard rock influenced by …..Uriah Heep and Deep Purple! Rosenfeld, born in 1980, is from Netany, Israel and has 63 albums to his credit (tho he says it may be 64 by the time I publish this article!). The 2 bands that Avi sites as his favorites are obviously noticeable throughout this album – there’s harmonies, Hammond organ, various keyboards, and plenty of hooks and solos sounding like Blackmore was his major guitar influence. But there’s more than just a Heep/Purple combo thing going on here -lead off track “Icarus Dream” starts off with a symphonic rock keys and piano before the riff [band] kick in, which sounds fairly Iron Maiden, but the song quickly progresses with harmonies, lead vocals, some Hammond organ in the mix, … a good lead off track. There’s bits of blues, symphonic rock, even a bit of an Indian inspired intro on the non-lyric track “Nigun”. Fave cuts include “Silver Shines” [gotta love when the Blackmore-type solo kicks in and it all speeds up], the fast paced “Knights Of The Castle” [Rainbow?], and “Marching To Nowhere”.
Avi Rosenfeld writes all the music & lyrics here, and works with a number of players and different singers on this album, presumably through online connections. He also plays some great guitar throughout. Cool album artwork, as it seems to be with all of Avi’s releases. Very Heep Very Purple – sounds like an interesting series I’ll need to check out further. Avi notes of the album – “Heavy Metal is the cure for these crazy times that we live in. This is another chapter in the Very Heepy Very Purple saga with influences from times where music at its best and played from the heart. From times where people actually had patience to listen and waited for the cool guitar solo, or even to the end of the song. From times where you could hold up the cover art and imagine the sounds and feelings. Times where every power chord made you move, and every note had a meaning..”
Legendary guitarist Steve Hackett is pleased to announce, ‘Genesis Revisited Live: Seconds Out & More’, the visual document of his 2021 UK tour celebrating the classic Genesis live album. Set for release on the 2nd September 2022 (with vinyl following on the 25th November), it sees Steve and his band perform ‘Seconds Out’ in full & in sequence, as well as a selection of solo material including tracks from his most recent studio album ‘Surrender of Silence’.
Steve comments: “I’m so happy to release my Seconds Out & More show… A spectacular night with a band on fire tearing into that magic music combining the true spirit of Genesis with a fresh virtuosic approach and an extraordinary sound under amazing lights. This show is a feast for both ears and eyes. The best of so many worlds!”
‘Genesis Revisited Live: Seconds Out & More’ will be available as Limited 2CD + Blu-ray & Limited 2CD + DVD, both including 5.1 surround sound, behind the scenes documentary & promo videos. Steve Hackett and his band comprise Roger King, Rob Townsend, Jonas Reingold, Nad Sylvan & Craig Blundell, and they were joined by Amanda Lehmann as special guest on the night.
Steve Hackett & his band have just completed a run of shows in New Zealand and Australia, and will continue their ‘Seconds Out & More’ tour in Japan, Europe and North America throughout the rest of year. In September and October 2022, they will present their ‘Foxtrot at Fifty’ 25-date tour in the UK. For the full list of dates and to buy tickets go to HackettSongs.com.
About Steve Hackett
Steve Hackett joined Genesis at the beginning of 1971 and gained an international reputation as the guitarist in the band’s classic line-up alongside Peter Gabriel, Tony Banks, Mike Rutherford and Phil Collins. Hackett’s intricate guitar work was a key element of Genesis’ albums from Nursery Cryme (1971) to Wind And Wuthering (1977) including the classic Selling England By The Pound.
After leaving Genesis at the end of 1977, Hackett’s solo career, which now spans more than 30 albums, has demonstrated his extraordinary versatility with both electric and acoustic guitar. Hackett is renowned as both an immensely talented and innovative rock musician and a virtuoso classical guitarist and composer and this was recognised in 2010 when he was inducted into the Rock Hall Of Fame. He has also worked alongside Steve Howe of YES in the supergroup GTR.
Hackett’s compositions take influences from many genres, including jazz, classical and blues. For his later studio works The Night Siren (2017) and At The Edge Of Light (2019) Hackett has explored the influences of world music. Recent tours have seen Hackett celebrate his time with Genesis including a spectacular 2018 tour in which he realised a long-held ambition to perform the works of Genesis live with his band and an orchestra.
The lockdown enforced by the 2020 global pandemic has proven to be a particularly creative period for Hackett. He began by releasing Selling England by the Pound & Spectral Mornings: Live at Hammersmith, a live recording of 2019’s hugely successful tour celebrating that Genesis classic together with the 40th anniversary of one of his most-loved solo albums. Lockdown also gave Hackett the opportunity to write and record two new studio albums, the UK Classical Chart hit Under A Mediterranean Sky and the forthcoming Surrender of Silence.
From Sweden, Lugnet release their 3rd album full of 70s hard-rock influences August 26. Cool guitar rock, heavily influenced by the likes of Deep Purple, Rainbow, and Black Sabbath, Lead off track “Still A Sinner” charges out , reminiscent of late ’70s Rainbow, dig the heavy guitar sound. “Pale Design” is another solid rocker here that sounds sounds like it could’ve been penned for Down To Earth.
Plenty of darker epic heavy rock here in track’s like “Another World”, which is a slower and darker tune that builds up in to a massive heavy mid-section before coming back down. Best pic here is the 8 minute+ epic “Black Sails”, with it’s Sabbathy groove, and I get a definite “Sign Of The Southern Cross” feel on this. A solid heavy album, which includes a couple of lighter passages in the acoustic break “Svary” and album’s closing organ instrumental “Tåsjö Kyrkmarsch”. Well worth checking out. Love the ’70s vibe and overall production.
“Tales From The Great Beyond” will be released on CD, LP and digitally on August 26th, 2022 via Pride & Joy Music.
Lugnet is: Johan Fahlberg – lead vocals, Lennart “Z” Zethzon – bass, Matti Norlin – guitars, Fredrik Jansson-Punkka – drums, Micke Linder – guitars.
There’s no escaping the motherlode – that eternal continuum of high drama and overheated ampstacks fit to raise the pulse and revivify the spirits. It’s merely an unmistakable band chemistry that transforms base hard rock into gemstones, and this process is an increasingly rare phenomenon in the here and now. Luckily for Stockholm’s alchemists LUGNET, they are one of the few. Here in these steamrollering grooves and strident anthems is just the kind of swagger and bravado on which rock built its foundations in the ‘70s, yet without any of the cliches or the bloated self-importance. The roots of LUGNET may be visible to see, and the primal stomp of early Deep Purple, the apocalyptic sermonising of Black Sabbath and the cinematic majesty of Rainbow can easily be detected in the almighty sturm-und-drang. Yet this sound is delivered with charisma and maverick energy that effortlessly summons fresh vibrant life to a classic form. The spark that lit LUGNET originates in 2009, when Fredrik Jansson-Punkka (also drummer of Angel Witch, and whose storied history includes stints in Witchcraft, Abramis Brama and Count Raven) met bassist Lennart ‘Z’ Zethzon at Sweden Rock Festival and the two first discussed getting together to jam. Three years later this finally came to fruition and guitarists Bonden Jansson and Mackan Holten joined the fray, alongside vocalist Roger Solander. An original plan to play ‘70s blues-rock with Swedish lyrics was ultimately warped and transformed into the monumental attack of 2016’s self-titled debut proper on Pride & Joy Music. The road to ‘Nightwalker’ saw changes afoot in the band, as Solander was replaced by the soulful pipes of Johan Fahlberg, who matches the swashbuckling charm of the Dio/Coverdale tradition with flourishes and personality all his own, whilst Bonden Jansson made way for wunderkind new guitarist Matti Norlin. This was a quantum leap on from the debut, replete with fiery interplay and incisive songwriting, from the slow Zeppelin-esque catharsis of ‘Death Laughs At You’ to the monstrous ‘Stargazer’-esque grandeur of the mellotron-assisted finale ‘Kill Us All’. The aftermath saw Lugnet traverse from strength to strength, a notable highlight being packing out their tent at Sweden Rock Festival in 2018 even whilst a certain Birmingham-birthed Prince Of Darkness himself occupied the main stage across the field. Michael Linder (formerly of Troubled Horse) soon replaced Mackan Holten, and this line-up has subsequently amassed enough material for two albums, with all members throwing their hat into the ring songwriting-wise. One of these ‘Tales From The Great Beyond’ has already been recorded at SolnaSound Recording with the dream-team of Simon Johansson (Wolf/ Soilwork) and Mike Wead (King Diamond/ Mercyful Fate) at the helm / mixed by Marcus Jidell (Avatarium/ Candlemass). Just like for the debut album, the front cover artwork was designed by Vance Kelly. Whatever the future holds for Lugnet, only a fool would bet on the result not being a spectacular explosion of righteousness. This machine is firing on all cylinders, and rockers of all persuasions would be well advised to get on board or get out of the way.
Tracklisting: Still A Sinner / In Harvest Time / Another World / Out Of My System / Svarv / Eaten Alive / Pale Design / I Can’t Wait / Black Sails / Tåsjö Kyrkmarsch
The new album from New York area band LIPS TURN BLUE features an eye catching cover created by artist Martin Kornick, aka Man In The Mountain. Martin has designed numerous album covers over the past 2 decades, notably for prog artists like Neal Morse, Mike Portnoy, Keith Emerson, and Kinetic Element. Admittedly, when I looked in to Martin’s work intending just to inquire about the LTB cover, I found a lot more of his work that I couldn’t avoid asking about! In this interview Martin details how he created the LTB cover, as well as a few others, such as those by John Wetton & District 97 and Keith Emerson, as well as his lengthy working relationship with Neal Morse. He also shares his background in the business and future plans. I’ve included images of some of Martin’s covers as well as pics of him with a few of those he’s worked for (all provided by Martin). *For more on his work as an artist, and various projects check out Martin’s site – http://www.maninthemountain.com (see more links below)
Can you give me a bit of background as to how you started in doing album covers (aside from your other works)?
I got my start doing album covers thanks to Neal Morse back when he was in Spock’s Beard – the ’90’s era progressive rock band that I was quite smitten with upon discovery. Floored really. I couldn’t believe the interweaving keyboards and lush prog arrangements I was hearing spinning “The Doorway” on my stereo. I quickly became obsessed with the band. I distinctly remember getting their newest album Day For Night and being entranced by the cover art by German artist Thomas Ewerhard, which had a strong Pink Floyd Hipgnosis vibe to it. As I examined it further it struck me that Thomas was using a lot of Photoshop techniques that I was already experimenting with in my personal art. I thought, “I can do that! How can I do something like that for Spock’s Beard? I must find a way!”
Shorty after I was thrilled to see Spock’s Beard were playing at Martyrs’, a Chicago area nightclub. It was such a magical night, as anyone who was anyone in the Chicago prog scene was there in attendance. I truly made several long-lasting friendships with people I met there that night. But what then happened is at the start of the show, Neal Morse ran out on stage with a video camera, then leaned over and gave me (randomly) the camera to continue filming the show. And honestly, I am the most insane prog fan/bootleg collector you could ever give a video camera too. Haha! After the show, I had to somehow get a copy of this concert video. So, I contacted Neal by email to ask for a copy, and we hit off a friendship talking about old Genesis and Gentle Giant Bootlegs. We even traded a few things. During our correspondence over the next few months, I mentioned to Neal that I was a graphic artist and hit him up if needed any art for a CD project. Nothing became of it until one more time I asked and by chance he was working on a fan club CD. He asked me to shoot him some ideas for it. And I ended up working for Neal for the next 20 years. How is that for fate? And of course, led to doing artwork for other bands as well.
Martin with Neal Morse
Growing up – what were some of your favorite bands, albums, and album cover artists? [Any artists influence your own work? ]
Looking back at my youth, I did have an affinity for bands that had cool artwork and graphics. I easily fell for KISS who were the most graphic art-oriented band ever, from the face paint, the photos, to the album art. KISS were super easy to the draw, and I even made my own KISS comic books. I had a sort of musical awakening when I went to see the movie The Song Remains The Same and watched Jimmy Page make all these otherworldly sounds with a cello bow, while he turned into a wizard and drew an electric rainbow across the sky. My tastes then shifted to Led Zeppelin and bands like RUSH and Styx who also explored more cinematic musical landscapes and science fiction. RUSH used all that dystopian Hugh Syme artwork like A Farewell To Kings, Permanent Waves – two of my all-time favs. Bands like Judas Priest started attracting me because they were operatic in style and had gothic album art like a Sad Wings of Destiny and Sin After Sin. Plus the logos… AC/CD, Van Halen, Def Leppard, Styx, Judas Priest, all of them… which sharpened my skills by duplicating the logos all over my high school desk. They didn’t understand, that WAS my schooling!
After graduating high school in 1981, instead of listening to the popular music of the times, the hair metal and MTV, I fell in love with older music from the ’60’s and all the ’70’s progressive rock music like YES, ELP, Pink Floyd, Genesis, and Rick Wakeman. And certainly, that artwork delved deeper artistically into fantasy, science fiction, and mind-altering photo manipulation from Hipgnosis. Off the top of my head, artwork for albums like Wish You Were Here, Yessongs, The Myth & Legends of King Arthur, ELP’s Trilogy and Brain Salad Surgery… were among my favorites. It’s a world I’ve been in artistically ever since. Roger Dean made a huge impression on me, and I started covering my apartment walls with his work. All of this was my school, my formative training
Martin w/ the legendary Roger Dean
You’ve done a lot of covers for Neal Morse, as well as Transatlantic and Mike Portnoy. – can you tell me a bit about where ideas come from and how much collaboration [or input] there is from the musical artists when designing a cover?
Typically, there is little “idea” input from the musicians, but not in every case. I usually draw from the album title and maybe some lyrics. Sometimes I’m given the raw music to get a feel of what the music sounds like. I’ll listen to it over and over while creating images in my mind. No matter what I am fed at the start, my artwork is always developed organically in a stream of consciousness. I do not create my art in a formally trained manner, as I do not make sketches or roughs. I hit the digital canvas and go where it takes me. I keep fishing about until I see something good forming, and then tighten it up to a viable well developed idea that I can present to the client.
Collaborating with Neal Morse was fantastic, he has a certain aura about him, that’s hard to explain, it’s a unique energy. We had such a great symbiotic relationship in that we could read each well for any project that came before us. Neal allowed me tons of freedom, letting me develop ideas, but sometimes he suggested ideas too. With Neal becoming a Christian artist, I had to work within a more spiritual mindset, which could take me out of my comfort zone. God spinning the Earth on the cover of Momentum was an idea Neal suggested after he didn’t feel my attempts were hitting it. But how I created the cover from that suggestion, was all from my imagination. So, when talking about collaboration, to me it’s more about listening to the artists and their needs, rather than shooting ideas at each other or watching me every step of the way. It’s important to be responsive with artists and very reliable professionally. At the end of the day, you need to deliver on time, and not have a plethora of errors coming from the printing plant, that’s when you’ll get a call to do more.
Working for Mike Portnoy is always so fun. He’s hilarious and has an M family like I do (all names starting with an M), so we M’s get on great. Seeing my artwork end up on his drumhead is surreal to say the least. Mike is a terrific guy, who is inspiring to work with because he continues to be excited like a child when working on his music projects. He cares a lot about his fans.
w/ Mike Portnoy & Neal Morsew/ the late Keith Emerson
One cover of your’s I really like is the Keith Emerson Band album from 2008. Any recall on creating that and working with Keith?
Thank you, that’s nice to hear. Yeah, how much room do you have in this interview? Let’s just say Keith Emerson was extremely excited about this release. He saw it as a return to form after not having any significant output for years. His desire was to have the type of cover artwork he loved from the ’70’s. Detailed enough to keep you looking at a vinyl copy for years. That’s what attracted Keith to my work. I do recall having a bit of a false start on ideas for the album which Keith was initially planning on calling “Ganton 7” about a distant planet. He did however let me do my thing, with Keith explaining that “there was a cow’s arse on the cover of a Pink Floyd album, so anything is possible.” – That’s a direct quote. Marc Bonilla was also involved with the album art, and I had many long conversations with Marc on development.
Eventually, Keith liked a piece I had already completed that was displayed on MySpace (of all places) depicting a Mellotron rusting in the desert under a red sky. Keith suggested changing the Mellotron to a Hammond B3, feeling this image represented the state of his music career, but also somehow wanting to show it as a rebirth. Along with Marc, we batted around a few ideas until I came up with igniting the organ on fire. That was the moment – I had nailed it! If you look closely, the fire is restoring the organ to its former glory. Keith pointed out to me that the opening section of the track “Miles Away” is based on my cover art. He had the art hanging in the studio. If you look at the cover while playing that intro, the synergy is strikingly clear. Keith was an amazing person to work for, with an unarming humbleness that made you feel comfortable to even disagree with him. He also had no problems calling me on the phone to discuss the album, which is rare – most everyone sticks to email. Nothing can top getting an unlisted phone call, picking it up and hearing in a British accent, “Hello Martin, this is Keith!” I miss him so much.
As a fan of the late John Wetton, can you recall working with him in creating the cover for the live album with District 97? [They are from Chicago!?] Also, were you at that show and have any favorite albums with JW?
District 97 is a Chicago area prog band that caught my attention with their 2010 debut album “Hybrid Child.” They had a youthful energy and a remarkably proficient singer, Leslie Hunt, that set them apart from most other prog acts at the time. Being local to Chicago, I thought I would introduce myself to the band’s founder & drummer Jonathan Schang and offer my design services. Jonathan was quick to take me up on that and hired me to design show posters and on-line promotions. Soon afterwards, John Wetton also became a fan of District 97 and started to collaborate with the band. A tour was then planned to have D97 play the music of King Crimson with none other than John Wetton on vocals. Because I was their tour poster guy, I was lucky enough to have the opportunity make the graphics to accompany the tour, which later turned into a live CD package. I can’t say I worked directly with Wetton, but was Cc’ed among conversations regarding the artwork. I do recall Wetton being indecisive about what photo of him we could use, insisting the CD color be red, and that the title of the album be changed from “One More Red Nightmare” to “One More Red Night.” Which probably was a good call! I didn’t catch the Chicago show that was recorded, but I caught them earlier up in Milwaukee. The CD is fantastic, don’t you think? I might say it’s my favorite Wetton album! I do love the first Asia album, Crimson’s Red, and Night After Night with UK is on top of my list. “Rendezvous 6:02” is my favorite song featuring John Wetton.
Your latest cover is the Lips Turn Blue cover, and its real eye catching. How did you wind up with this project? Were you familiar with any of the band?
Thank you! I was asked to do the project by the band’s manager, Bruce Pilato. Bruce and I have known each other for many years working with The Carl Palmer Band. I’ve designed many of Carl’s t-shirts and DVD covers, as well the “ELP Lives On” logo that Carl uses on the huge stage backdrop. When Bruce asked me about working on LTB, I was familiar with Phil Naro and the band Talas. The other players had strong resumes as well, so it sounded like a hot project to take on.
w/ Carl Palmer
Where did the idea for the cover shot come from? Can you give us details on the photo and how you transformed it into the final piece of art [including the logo and the city scene in the girl’s glasses]?
I’m not sure who in the band came up with the idea, but Bruce described in detail what they were looking for. A beautiful female face, similar to those in the Robert Palmer video “Addicted to Love”, with a silver painted face and bright blue lips. That’s very descript. Selecting the particular model and just the right pose, with her hand on her chin, was entirely my call. People see a face, but it’s really about shapes working together in balance, and the selection and framing of those shapes is key to it’s strength. The city lights in the glasses were my way of adding some extra flash and depth to the image – putting the model in a place rather than just a flat image. The logo played off that, with neon lettering. With CD artwork now reduced to tiny icons on the internet, I needed to create a simple bold image to draw attention. The contrasting silver/blue color scheme worked well to that effect. Another interesting part of the development of the cover were instructions to put photos of all the band members at the bottom of the woman’s face. I did that, but then ending up having a disagreement over it. When I removed the band photos, Bruce argued that without them, people would think the woman is the recording artist on the CD. I reminded him that many male bands used a woman on the cover, like The Cars and Roxy Music. So, in that spirit, I guess I won out! I was also told Phil Naro approved the final artwork just before he passed, so that’s quite nice to think my artwork was among his last images on Earth.
Do you have any favorite tracks from the LTD album? and might we see you work on the next LTB cover?
All the tracks are consistently strong. “Pray For Tomorrow” is quite nice. And I love “Blood Moon”. Probably because it has a prog feel to it with prominent organ and synths, and I’m a synth player myself so I dig that. I’m certainly open to another LTB cover, but I think their current plans are for a tour.
Any upcoming album art you are working on [or will be] ?
I’m open for business. So, if Rick Wakeman or Peter Gabriel want to drop me a line, I’m ready and available! I appreciate you taking the time to talk with me, Kevin. There are many modern-day cover artists like myself that don’t get enough recognition because everyone seems fixated on the classic artist. So, good on you and Outsider-Rock for spending the time with me.
Singer/Songwriter Robert Tepper to release new single, album on July 30th
On Saturday July 30th, Robert Tepper will be releasing a new album entitled Feels Like Monday. Tepper, 72, will be sharing this release via Facebook Live, a first for the rock musician. Kendee Hughes of Kendee Hughes Productions will be overseeing the event.
“Robert will simultaneously release the music video for the single “Feels Like Monday,” and the album of the same name.” Kendee said. “It’ll be a virtual viewing party for his fans. Robert will perform live, answer some fan questions, and tell folks about what he’s got coming up.”
Robert will be supporting his new album Feels Like Monday with singer/songwriter/guitarist Chris Cameron and a small semi-acoustic ensemble. He is performing his hits along with new music in concerts and listening rooms across the US in 2022.
Robert Tepper is a singer/songwriter who lives in Los Angeles, CA. He is best known for the 1986 hit song “No Easy Way Out” as heard on the Rocky IV soundtrack, as well as the 1980 hit “Into the Night” that he penned with singer Benny Mardones. He also wrote and performed “Angel of the City” for Stallone‘s 1986 action film, Cobra, and wrote the Pat Benatar hit “Le Bel Age”, from 1986. His latest album is 2019’s Better Than The Rest.
Outsider Rock 