British rock heavyweights Leader of Down, who are the final band of the late great Würzel (Ex Motörhead) recently announced that following the bands critically acclaimed debut album “Cascade into Chaos” in 2018, they are ready to unleash a second album entitled “The Screwtape Letters” on April 8th 2022. Mixed by long-time Motörhead producer and Grammy winner Cameron Webb and mastered at Abbey Road Studios, the album will be available worldwide through US label Cleopatra Records and will be released on all formats including a special limited edition red vinyl and CD with full color 20 page booklet, featuring 10 blockbusting tracks with titles such as “Cat’s Eye Night” and “Holloway Motel” that will take no prisoners with their own brand of heavy rock ‘n’ roll.
Leader of Down launch the first single and video from the album Hitman on 3rd March. Hitman features special guest and long-term friend, ex Iron Maiden guitarist and member of Lionheart Dennis Stratton. “It was a great pleasure to be asked to provide a solo for Hitman and having guested on stage with Leader of Down on a recent UK show it was great to be back with the boys and appear in the videoas well”
Leader of Down’s career so far has seen them headline shows across Europe as well as supporting the likes of Phil Campbell and the Bastard Sons and Nitrogods receiving rave reviews for their live shows from around the world. Leader of Down will be supporting Tank on their spring UK tour before headlining the Heavy Metal Mayhem Festival in England, many more shows will follow throughout 2022 and the band have now been added to the Hard Rock Hell Festival in January 2023. The new album will see the band take a new journey as we sail out of the unfortunate circumstances surrounding the COVID-19 pandemic.
Leader of Down are: Matt Baker – Vocals / Alex Ward – Guitar / Tim Atkinson – Bass / Daniel Akaoui – Drums
*Leader of Down’s 2018 would also feature a guest vocal appearance from the late Lemmy –
Well, this is getting less fun as the ’80s goes on, as there seems to have been less albums each year, so I’ve had to dig well beyond my own collection (thank you youtube), but I did make a few fine discoveries. Remember, this is My list – If anything’s missing, leave it in the comments!
White Wolf – Endangered Species
The 2nd album from Edmonton’s White Wolf. An awesome album of AOR/Hard Rock. “Time Waits For No One”, “Run For Your Life”, the single “She”, and a cool cover “Just Like An Arrow” by British band Magnum. A shame it’d be 2 decades before a 3rd album from these guys. Just a great album…and great cover!
Honeymoon Suite – The Big Prize
The follow up to the band’s hugely successful debut from 1984. I actually prefer this album; better production [courtesy of Bruce Fairbairn] and songs, IMO. “Feel It Again”, Released February 4 [according to RPM], The Big Prize featured 4 hits – “What Does It Take”, “Bad Attitude” and “All Along You Knew” [featuring Ian Anderson].
Triumph – The Sport Of Kings
Hot off the excellent Live Stages double album, someone decided Triumph needed to come up with more mainstream pop rockers, more keyboards, and outside penned ballads! Not near their best, but contained the hits “Tears In The Rain” , “Somebody’s Out There”, and favorite “What Rules My Heart”.
Killer Dwarfs – Stand Tall
The Dwarfs 2nd album. Don’t think this [or the debut] made a dent on the charts, but they quickly gained a following with classic hard rockers like “Keep The Spirit Alive” , “Through Animal Eyes” and the title track. Cool guitar sound from Mike Hall [who later played in Carl Dixon’s band] and distinctive vocals from Russ Graham [who would later front Moxy for a few years].
Kick Axe – Rock The World
From Regina, Saskatchewan, this would be Kick Axe’s 3rd album in the ’80s, before a long break. A return to a more ‘metal’ approach than the one before, starting with the fast rockin’ title track (killer intro). It also included favorites “We Still Remember”, “Devachan”, as well as heavy cover of Fleetwood Mac’s “The Chain”.
Brighton Rock – Young, Wild and Free
The debut album from Niagara’s Brighton Rock, which had followed an EP the previous year. Featured the hits “Can’t Wait For The Night” and “We Came To Rock”, and featured favorites like the title track, “Assault Attack” and “Barricade”. (RIP Gerry McGhee)
Sacred Blade – Of The Sun + Moon
Prog-metal band from Vancouver. Cool stuff, featuring lots of heavy guitars, acoustic guitars, metal rockers like “Salem” and “In The Light Of The Moon”, to some progressive influences on the likes of “Legacy”, “Moon” . Main writer Jeff Ulmer would re-do a number of things on his next project Othyrworld in 2005. (RIP Jeff Ulmer)
Frank Marino – Full Circle
His first studio album since 1982’s excellent Juggernaut. Full Circle saw more use of keyboards, and more lighter tracks, but still some good rockers, and good tracks overall. Favorites include “Hang On”, “Breakin’ Away”, and “Imagine”.
Sword – Metalized
Quebec metal band’s debut album. I think I saw these guys open for Alice Cooper in the ’80s. A pretty solid heavy record, on Aquarius (recorded & mixed by former April Wine guitarist Gary Moffett). Includes the great opener “F.T.W.”, plus “Stoned Again”, “The End Of The Night”, and “Out of Control”. A shame these guys only released 2 studio albums.
Jon-Mikl Thor – Recruits Wild In The Street
A fun album of hard-rock / metal, with rockers and anthems like “Ragnarock”, “Warhammer”, “Who’s To Blame”, and “We Live To Rock” (w/ Aldo Nova contributing to vocals on this one). Produced by Peppi Marchello (The Good Rats), who also wrote album track “Heartbreak Choir”.
Other releases: Kim Mitchell Shakin’ Like A Human Being / Deaf Dealer Keeper Of The Flame / Tom Cochrane & Red Rider s/t
Swedish singer Rick Altzi (aka Rickard Thornberg) has recorded with a number of bands, such as At Vance, Masterplan, Gathering of Kings, and Herman Frank. This being Altzi’s first solo project, and it’s a very good set hard-rock tunes, a bit o’ metal, a bit of AOR, with Altzi’s vocals being not too far off from fellow Masterplan alumni (and Norwegian) Jorn Lande.
Lots of AOR-type keyboard intros, followed by heavier guitar driven rockers. The first 4-5 tracks are worth checking out alone, before things lighten up a bit. But really, no real dodgy cuts here, tho’ I think most albums should end at 10 tracks (there’s 14 here, but oh well) . Favorites include “Point Of No Return”, “Run To You”, and “Tossin’ and Turnin'”. Lots of great guest guitarists doing solos , notably Joel Hoekstra (Whitesnake), Oliver Hartmann (Avantasia), and Andy LaRocque (King Diamond),
Press Release:
RICK ALTZI is an artist from Helsingborg, Sweden who started to play bass at the age of 14. He was a member in various tribute and original bands until 2004 and switched over to the microphone in 2005. His first album as vocalist saw the light of day in the year 2007 with the band AT VANCE. Since then, he has worked with a lot of outstanding musicians from bands such as Helloween, Accept, King Diamond, Pain Of Salvation, etc.. In 2020, Rick Altzi started to work on his first solo album under the moniker of ALTZI. Rick Altzi also is writing and recording with the bands Masterplan, Gathering Of Kings and Herman Frank.
In 2021, ALTZI has released a couple of successful singles and videos from the brand new album “All Eyes On Me” in advance. The full album, which will be available on CD and digitally from March 25th, 2022, now contains 10 more new songs.
Rick Altzi recorded all vocals in Outhouse Studios on the west coast of Sweden, Drums were recorded at Parental Studios in Cologne. The album is mixed by Victor Ohlsson in his studio located in Gothenburg and produced by Rick Altzi and Ulrick Lönnqvist. Thomas ”Plec” Johansson took care of the mastering at The Panic Room.
Track list: 1. Point Of No Return, 2. Crash and Fall, 3. Into The Fire, 4. Run to you, 5. Legacy, 6. You Don’t Believe In Love, 7. Strangers in the Real World, 8. Desire, 9. Hurting Kind, 10. Motherless Child, 11. Wind & the Rain, 12. Tossin’ and Turnin’, 13. Final Warning, 14. Where Dreams never Die
Line-up: Rick Altzi – Lead and backing vocals, Pete Alpenborg – Guitars, Keyboards Nalle Påhlsson – Bass guitar, Kevin Kott – Drums Ulrick Lönnqvist – Acoustic guitar, backing vocals Victor Ohlsson – Additional guitars, backing vocals Teresia Svensson – Backing vocals Kimberly Kott – Backing vocals Musicians on the song ”Into the Fire” Rick Altzi – Vocals, Magnus Berglund – Guitars, Morgan Jensen Guitars, Ken Sandin – Bass guitar, Kevin Kott – Drums
Guest solo guitarists: Joel Hoekstra (Whitesnake, Cher), Matthias IA Eklund (Freak kitchen), Per Nilsson (Meshuggah), Olaf Lenk (AtVance), Oliver Hartmann (Avantasia), Morgan Jensen (Swedish Erotica), Victor Ohlsson (Gathering of Kings, Saffire), Magnus Karlsson (Freefall), Andy LaRocque (King Diamond), Magnus Berglund (Arctic Rain), Stefan Lindholm (Vindictiv), Eric Rauti (Dreamland)
BIBLE BLACK was a New York based band that featured former ELF / RAINBOW members Craig Gruber and Gary Driscoll, who after playing alongside Ronnie James Dio in the ’70s, formed their own band in the early ’80s. The band survived a few years, fronted by such singers as Jeff Fenholt (Joshua, Driver), Eric Adams (Manowar), and Joey Belladonna (Anthrax) and recorded a number of tracks with them. Keyboard player Mickey Lee Soule (also ex of Elf) was also in the band at one point, though there’s not a lot of keyboards here. This was a great heavy 2 guitar band, as evidenced by the songs here. Standouts include “Gone”, “Down On The World”, “Ain’t No Crime”, and “Deceiver”. Highly recommended as a great set of early ’80s American metal, and not just for the big name connections here. More in tune with the NWOBHM stuff happening at the time, along with ’70s Judas Priest and Dio than what was happening in the US at the time (IMO).
Press Release:
Bible Black was an East Coast American band formed by former Elf/Rainbow musicians Gary Driscoll and Craig Gruber, along with Andrew “Duck” McDonald.
The bands longest tenured singer was Jeff Fenholt, well known for his very brief stint with Tony Iommi/Black Sabbath and his work with the band Joshua.
The band also featured in its ranks 2 well known vocalists: Lou Marullo who later became known as the one and only Eric Adams…and Joey Belladonna who of course went on to join Anthrax.
All three vocalists recorded demos with Bible Black between the periods of 1981-1983. This cd for the first time compiles all recorded works of the band in one place.
Sadly Gary Driscoll, Craig Gruber and Jeff Fenholt have all since passed away, making this release a fitting epitaph to their time together as Bible Black.
Restored and remastered by Patrick Engel and licensed directly from the last surviving member Andrew “Duck” McDonald” we can now hear one of the great “lost bands” and a piece of Heavy Metal history.
Track list: 1. Gone, 2. Metal Man, 3. Back To Back, 4. Down On The World, 5. Ain’t No Crime, 6.Fighting The Wind 7. Back Door, 8. Paint It Black, 9. Fires Of Old, 10. You Got Me Where You Want Me, 11. Deceiver, 12. Midnight Dancer, 12. Gone (Jeff Fenholt vocals), 13. Metal Man (Jeff Fenholt vocals)
A new Focus era has arrived, bringing with it a rejuvenated passion amongst the band. In 2019 Focus released their first studio album for 6 years: Focus 11, which came complete with brand new Roger Dean artwork. The year was then spent touring from South America to Japan and everywhere in between in support of the new album.
With the dawn of 2020 came the 50th anniversary of the formation of Focus. Unfortunately, celebrations had to be put on hold due to global events. 2021 brought the 50th anniversary of Moving Waves, as well as the deluxe boxset Focus50 featuring Blu-ray and CD of the Live In Rio concert as well as a studio rerecord of all the Focus numbers.
Finally, 2022 means a return to touring in a real way, and the band are delighted to be performing again! The classics such as Hocus Pocus (which has been featured in a global ad campaign for Nike, Top Gear and feature films such as Baby Driver), Sylvia, and House Of The King will, of course, be on the bill… and of course some of the Focus numbers make an appearance!
band photo: Johnny Price
The band, consisting of Thijs van Leer (Hammond organ, flute and vocals), Pierre van der Linden (drums), Menno Gootjes (guitar), and Udo Pannekeet (bass), are delighted to get back to their fans and return to the stage to play the music they love.
The band has toured extensively in the UK and Europe, including some great festivals, and already have the below dates confirmed so far for 2022, with more to be added.
Among the Heep faithful there are 3 albums that tend to stir up the most controversy and conversation, and often one of them is cited as the band’s ‘worst’ album by many fans or rock historians. I’ve already written previously my support for Conquest and for Equator, both albums that land at the bottom of any Heep album ranking, and the 3rd in that trilogy would be 1976’s High and Mighty – the last to feature original singer & founding member David Byron. Frankly, none of these 3 land in the bottom 3 for me, in particular High and Mighty, an album I rank in the top half of the band’s catalogue.
High and Mighty came at the end of a very busy period for the band. In ’75 – the band had changed bass players, adding John Wetton in place of Gary Thain, who had been fired, and the band got down to releasing Return To Fantasy in the summer of ’75. Ken Hensley also had his 2nd solo album Eager To Please released not too far off from that. A huge world tour followed the release of that Heep album, followed by David Byron’s solo album Take No Prisoners, and a Best of Uriah Heep issued in most markets (except for North America). So, to say High and Mighty might’ve been rushed soon after is more than likely. Despite Return To Fantasy being a huge success in the UK, the band’s last few albums were selling less in North America, and with this perhaps was the motivation to ‘fire’ Gerry Bron as the new album’s producer and produce it themselves. But, where as RTF had many more band co-writes and member contributions, High and Mighty would consist of entirely Ken Hensley penned tracks, with Wetton getting 2 co-writes. Ken has stated in the past the album felt more like a solo album, and both he and Wetton noted that not much of the band were around at the time, leaving the 2 of them to take on most of the production, aided by engineer Ashley Howe.
John Wetton’s presence is felt immediately on the opening track “One Way Or Another”, in which he takes the lead vocal. A fantastic beginning to this album with the opening guitar riff coming in with a fresh new strong sound, before Wetton’s bass, then drums and organ join in. This is a standout track, and a shame it never got a proper single release. There would be no global single from this album, with this song being issued in the UK (limited), and nothing in North America. David Byron was apparently off with chicken pox at the time of recording this track, so that was the reason given for Wetton’s lead vocal. John recalled in an interview that when David did come back he went in to sing the song, part way through stopped, saying that it was fine the way it was. “Weep In Silence”, a heavy guitar driven ballad, with Hensley’s distinct guitar sound throughout and a great vocal from Byron remains a fan favorite from this album, though it was never played live. “Misty Eyes” starts out gently with Byron singing the opening lines alone before the band comes in softly with acoustic guitar, organ and drums. A good lighter pop song that would’ve made a catchy single, IMO. The first side ends with “Midnight”, the longest track on the album, and most progressive,. An often overlooked epic in the band’s catalogue, and although Wetton didn’t get a co-write on this Or on “One Way Or Another”, his performances (bass, guitar, keyboards, vocals or backing vocals) make these 2 tracks his greatest contributions to his time with the band.
Side 2 opens with the anthem “Can’t Keep A Good Band Down”, a response and dig at the band’s critics. A good upbeat rocker that would’ve (again) made for a fine single. A shame the song would never feature in the band’s live show back then or ever. Next up was the pop-rock of “Woman Of The World”; a good tune, tho’ a bit on the lighter side. Might’ve made a decent single, but like a number of tracks here it lacks an extended solo or something unique as the song merely fades out quickly after the last chorus. “Woman Of The World” would include the band’s message to Bron in the harmonies – You can stick this contract up your flue “Footprints In The Snow” is a favorite of mine on this album, co-credited to Wetton. Love the mix of acoustic and electric guitars organ, and harmonies. An underrated classic from the Byron era, IMO. From here, despite how much I love this album, I can see how critics might disagree with my enthusiasm, as the next 3 tracks drop off a bit, especially the funky keyboardy “I Can’t Stop Singing”. I never ‘got’ this song, and listening to it now, I still don’t. . tho’ it’s not bad, and David sounds convincing on the verses, but the chorus… meh…. “Make A Little Love” is a guitar blues n boogie number, featuring slide guitar. Sounds like it could’ve been a good old school jam rocker, but it ends too early, like a few tracks here, sounding rushed . This one did make it in to the live set on the High & Mighty tour, but like the rest of the album was never played again (aside from Ken resurrecting a track live with John Wetton). The album ends on a high note, but a sad one with “Confession”, with David delivering an apologetic lyric on Ken’s piano ballad. It’s an excellent, moving ballad that sits behind the band’s previous ballads “Rain” and “The Easy Road”. A shame it ends so soon.
In 1995 I interviewed John Wetton and he recalled no leftover tracks being recorded, but sure enough 2 outtakes would eventually be released. “Sunshine”, a good upbeat number; love Lee Kerslake’s intro and playing here. The other cut is the guitar heavy “Name Of The Game”. This song appeared in another version on Ken Hensley’s From Time To Time album in ’94 (an album of solo outtakes and demos), as Ken had recorded the track in the late ’70s with members of Bad Company. A great heavy riff to open this song, fantastic delivery from David and slide guitar from Ken. To me, this sounds like it wasn’t totally completed or mixed well enough, hence it’s lack of inclusion on the album, but a crying shame this wasn’t totally finished and cleaned up and included – could’ve made for a very different outcome of an album that is often brushed off as “lightweight”.
High and Mighty received a huge press bash at the time in Switzerland, where James Bond was filmed. But after that the album dropped – with no worldwide single, and little push. As the band toured the US before it’s release – with no single on the radio or record in the shops, High and Mighty was kinda doomed. The tour saw Ken Hensley leave the band and return, and David Byron fired at the end of the European tour. John Wetton had already made up his mind due to the internal conflict, and and left as well. Many fans wrote the band off after David Byron was dismissed, and the band’s profile and album sales would continue to sink in North America.
But really, I kinda love this album. I realize it may be seen as lightweight or too much of a Ken Hensley solo project by many old Heep fans, but to me it had a new fresh approach and sound following Return To Fantasy and Wonderworld. The band experimented, did something new, and High and Mighty offered up a number of tracks that would’ve made fine singles. With John Wetton having a major hand in it, it sounded much more modern in tune with UK nd Asia, and a forward step from the band’s previous albums. Heck, I even think the album cover art is pretty cool!
Released in November of ’99 Metalhead was the first SAXON album I actually got – and really liked! I vaguely remember a track from the Rock The Nations album received some radio play over here at the time (“Northern Lady” or “Waiting For The Night”), and I picked up that album in a cut-out bin not too long after. It didn’t make a huge impression on me and through a few moves the album was lost or given up (I hated packing things up, so on a few occasions parted with some records). Anyway, Saxon was not on a major label here, nor did I hear much else from them, aside from that cover of Christopher Cross’s “Ride Like The Wind”. In late ’99 I received the Metalhead CD (and bio) and put it on. The title and cover was certainly appealing to me, as a metal fan, and one looking for a great ‘new’ (old) band to discover and pick up on. Metalhead featured the founding members – Biff Byford and Paul Quinn, along with guitarist Doug Scarratt, bassist Nibbs Carter, and German drummer Fritz Randow (ex of German prog bands ELOY and EPITAPH).
From the opening build-up leading in to the title track I was expecting something big, and by the time I got to the end of the 4th song – I had to go back and re-listen! “Metalhead”, “Travelers In Time”, and especially “Conquistador” (love the acoustic intro before the band kicks in and the song takes off). These had my hooked and I listened to the first 3 songs repeatedly before I even got to the rest of the disc. And after that there’s really no duds here, this is a full-on classic metal album, with further great tracks like “All Guns Blazing” (killer intro) , “Watching You”, and epic finale “Sea Of Life”. Love the production, the big guitar sound, Biff’s distinctive voice; it all worked so well. A great album, and the follow up (w/ the same line up) made for a fine pair. Killing Ground featured another outstanding title track, as well a cool cover of King Crimson’s “In The Court Of The Crimson King”.
It has been a lengthy journey for John Sloman, once seen as a rising star, after stints with Uriah Heep and Gary Moore, along with his unique voice and wide range, his talents on multiple instruments, his songwriting, and his looks then that drew comparisons to Robert Plant. But after 1989’s Disappearances Can Be Deceptive solo album wasn’t a huge hit, not much was heard from John for years until he resumed making solo albums in 2003, mainly by himself. One thing that is evident on John’s latest creation, Two Rivers (on Red Steel Music) is that there is no one like him. John does write formatted pop-rock songs, or produce with any commercial approach in mind. There’s no simple 10 tracks of riff / verse/ chorus/ verse/ chorus/ solo/ chorus/ fadeout. What you get on John’s journey in time dealing with his childhood and past (I haven’t grasped all the lyrics, so I can’t be precise on the entire concept) is a very atmospheric, very different type of album. everything flows together nicely with John often having a few words between songs or during the intros. It makes more sense and more enjoyable listening to the whole album as opposed to picking out single songs. But, if I had to pick out highlights – the title track, “Scenes From An Old Biscuit Tin”, “Charing Cross Moon”, and “Walking Along The Taff”. Much of what is enjoyable about this album is listening to the stories John tells in the songs. Again, if you’re expecting any kind of conventional rock type album, this is not it – this is 14 storytelling tracks put to John’s unique musical approach. This is all acoustic guitars, piano, bass ,vocals [lots], choirs [all John], keyboards, etc….. no electric guitars, no big solos or riffs. Influences of Zappa, acoustic Led Zeppelin, and Pink Floyd.
Best listened to on headphones -with an open mind, without any ‘rock’ expectations, and enjoy the journey. Love the artwork, btw, and am told the packaging is excellent (might we see a vinyl release?) .
Red Steel plans to follow up Two Rivers with a compilation containing tracks from John’s previous solo albums to be titled Conspectus.
“Memoir of a Rascal…From Pelham, NY To The Rock & Roll Hall Of Fame” features a forward by famed rock ‘n’ roll deejay Cousin Brucie. The cover is an original photograph by Linda McCartney taken during The Rascals’ New York City’s The Phone Booth concert. Cavaliere’s gregarious writing is enhanced by heartfelt memories of the magic of the Rascals, his spiritual journey and guru Swami Satchidananda’s lifechanging influence, and professional accomplishments like being named to the Musicians Hall of Fame. A bold memoir that touches laughter, loss, lawsuits and love, “Memoir of a Rascal” is a first-hand account of rock ‘n’ roll history from a man recognized as one if its most celebrated artists—but who also sees himself as one of the genre’s biggest fans.
Fans can also expect Cavaliere’s new album, “Then & Now,” to arrive the end of summer 2022.
“I know fans have been asking me for years to finish my autobiography,” Cavaliere said. “This is for the fans. It’s a blessing to revisit memories and hopefully my story can inspire the next generation of singers and songwriters.”
With No. 1 songs like “Good Lovin’”, “Groovin’”, “A Beautiful Morning”, “I’ve Been Lonely Too Long”, “People Got To Be Free” and “How Can I Be Sure”, The Rascals are considered the best ‘blue-eyed soul’ group to come out of the 1960s. For Cavaliere, making people feel good is fundamental to his illustrious career that includes the Rock & Roll Hall of Fame, Songwriter Hall of Fame, Vocal Group Hall of Fame, Grammy Hall of Fame and Musicians Hall of Fame. As a solo artist, Cavaliere connected with a new generation of fans with his hit “Only A Heart Sees” in 1979, and in 2008 Cavaliere worked with Steve Cropper on the Grammy-nominated “Nudge It Up A Notch.” In 2019, Cavaliere was inducted into the Musicians Hall Of Fame. Cavaliere is a 2022 recipient of the Free Speech in Music Award presented by Middle Tennessee University and in April embarks on a Legends Live Tour with Micky Dolenz of The Monkees in select markets.
Felix Cavaliere’s Rascals 2022 Tour
February 26 | The Casino @ Dania Beach | Dania Beach, Fla.
March 28-31 | Flower Power Cruise
April 1 | Southwest Florida Events Center | Bonita Springs, Fla.
April 2 | Center @ Anna Maria Island | Anna Maria Island, Fla.
April 8 | Seneca Niagara Resort & Casino | Niagara Falls, N.Y.
April 9 | Rams Head On Stage | Annapolis, Md.
April 23 | American Music Theatre | Lancaster, Pa.*
April 24 | Keswick Theatre | Glenside, Pa.*
May 12 | Count Basie Center | Red Bank, N.J.*
May 14 | Patchogue Theatre | Patchogue, N.Y.*
June 3 | Palladium Times Square | New York, N.Y.*
June 4 | Lynn Auditorium | Lynn, Mass.*
June 10-12 | Blue Note Hawaii | Honolulu, Hawaii
July 16 | Meadow Brooke Theatre | Rochester, Mich.
More dates being announced soon.
*Legends Live Featuring Felix Cavaliere’s Rascals and Micky Dolenz of The Monkees
Prior to Fable you were in a few local bands. Did you write or record anything then or did none of that happen til Fable?
My first band was the System, I think I must still have been at school. We practiced in a youth club twice a week. When I left school we were offered a gig in Hamburg Germany. I had to pretend to be a roadie as I was under age to work in Germany. So I was there illegally. After the system I was in a band that became Aarons Rod, We did some quite obscure stuff. Kevin Bray Lead guitar introduced us to some great music . I sang “All Along The Watchtower” and stuff from the band Mountain, a lot of American bands from that time. Dave Millington was on Bass – another very good player, and my school friend who had been in the System with me – John Waterfall. John was a very loud drummer, which I loved. I think I started writing around that time with Aarons Rod. We did not get many gigs as some of the material was a bit off the wall but we all loved it and it was all part of the school of rock I suppose LOL
Was your family always supportive of your music career? Did you get help or advice from anyone at home?
I was brought up by my grandparents. I did not get any support. Really, I think they thought it was a fad.
Do you recall the first song you ever wrote?
I can not remember . I can remember I wrote some pretty bad ones though, folky type songs .
In those earlier bands do you recall what types of songs you played ?
Anything that was around at that time. I have sung everything from “My Way” to “Blowing In The Wind”
Fable was already going with a female singer, before you joined, Do you recall how you joined the band and how the band changed then as far as what you played or your goals were?
Yes, I actually said No at first but Lynne, my then girlfriend – now my wife, said I was mad to say no as they were very good musicians. So I changed my mind. It was a great band. We played all sorts of covers of the day, ’70s songs . Great times, lots of harmonies . I was into all that.
Can you tell me about recording the Fable album – how songs were chosen, put together, recorded..? How long did recording the album take and who all was around?
I started the writing. It is funny looking back. We would be playing a gig and I would spot people in the audience. People from record companies, they were looking with a view to signing us . A guy called Peter Shelley came a good few times and would come back stage after the gig. He was very interested . I got on great with Peter . A few other record company A and R men were also looking at us . We decided to sign with Peter at Magnet Records. I think we did the album at Trident studio although I might be wrong . I do remember the engineer Mike Stone. He was doing another band in the night time sessions, He used to play us what they were recording. It was a new band called QUEEN. Freddy and the boys no less. I think we took about 4 weeks to do our album.
While recording Fable did you ever bump in to or meet the members of Queen then?
No not at that stage but I did meet Brian May at the L A Forum when I played there with Heep. I walked into Joe Elliott’s dressing room and there was Brian sitting on a couch with Phil playing his Red Devil guitar.
What sort of gigs did Fable play – mostly local or travel much around the UK or outside?
We were very much in demand . Doing maybe 35 gigs a month. Some nights 2 gigs. Lots of clubs, universities all sorts really, all over the UK We also did the German clubs – The Star club and the top Ten club
Any stories from live shows back then?
One night Fable were playing a gig and the audience were all sitting down, it was a working men’s club . No one was dancing at all , not the best atmosphere. We used to do 2x 45minute spots. When we came on for the second spot Mac Bailey, lead guitarist, had stuck a piece of wood down the front of his leather trousers. I could not sing for laughing . The dance floor was quickly packed with girls dancing .
Any ‘big name’ bands that you shared a bill with?
We played with everyone who was big at that time. ELO, Hot Chocolate Suzie Quatro. Sweet, Mud. Manfred Mann. When we played with Manfred they had a hit single out called “Joybringer”. As we were on first we played that song . Our version sounded better than the Manfreds , as was the case when we opened for all the chart bands of the day
Do you have any favorite songs from that album or stories pertaining to any of your lyrics on it?
I have not played the album in years. We were just learning. I had no real direction . It was a real mixture of styles musically. I was just happy to come up with any idea at that time. We all were .
What do you recall of that album cover and, in particular the band photo by that tree on the inside?
It was a great tree in Kew gardens in London . Great picture but can not really see who is in the band.
You wrote for other acts in the ’70s, in particular The Bump by Alvin Stardust. Can you tell me a bit about how that song came about, what sort of inspired it?
Yes , We used to play in Scotland a lot and at the time the kids started doing this new dance , they were Bumpin’. I had an idea to write a song called ‘The Bump’. I called Peter Shelley and told him . He said great idea . Magnet got a dance group to record it . I had to rehearse them into the song, they were loving it. It was on TV a few times. Then when Alvin did his album Peter produced it and got Alvin to do ‘The Bump’. I have a Gold disc on my wall for that song .
Do you recall any other songs you wrote that other artists recorded back then?
Yes , I wrote a song called ‘Falling Apart’. This was recorded by Smokie on one of their albums. I also got a Diamond Disc for this song . It was a huge hit in Norway , so that’s on my wall also.
You also recorded a few singles as a solo artist. Do you recall much about writing or recording these and if any received any radio play or local interest?
When I left Fable I had a solo deal still with Magnet. We did 2 singles , ‘Ain’t It Funny’ and ‘You Are Day You Are Night’. I did not write the latter, although I did really like the song. It was very much like a Walker Brothers tune.
You obviously were familiar with Trapeze. How did the offer to join the band come about? Or did you audition?
Yes I knew Glen. We used to play golf together. When he got the job with Purple Mel took over lead vocals for a while but kept losing his voice. So I was asked to audition. It was really great stuff from the off. I had 3 new songs – ‘Livin on Love, ‘Don’t Ask Me How I Know’ and ‘When You Get To Heaven’. We rehearsed them and – Wow, it was great!
What do you recall of recording the studio album with Trapeze? Any recall on putting together songs, working with Jimmy Miller, etc…?
All 3 made side one on the Hold On album, I was so chuffed . Jimmy Miller was great. He did not add a lot he just let us play and he recorded it. He did have great feel, nice man. There were no co-writes, I had my songs and Mel had his which he wrote with his brother Tom Galley. Tom did the lyrics for Mel.
What do you recall of the tours and shows you did with Trapeze– as far as who you toured with, biggest venues and crowds, countries you played….?
America was the place for Trapeze, in fact Texas. They were huge in Texas. I could not believe it. They loved Trapeze. I remember doing the Texas Jam . One night in Dallas one night in Houston. Both stadiums. A year later I did the very same 2 gigs with Uriah Heep.
How was response from radio or press to the Hold On album? And what were your favorites on it?
My songs of course but I loved ‘Don’t Break My Heart’ . I sang it really well I hope . I Love that song Not much radio, really . I had to fill the boots belonging to Glen which was quite a task.
Was a 2nd Trapeze album planned or started? And was there a break prior the band playing that final tour?
Mel was being chased by Coverdale. Dave Holland was offered the Judas Priest job Pete Wright wanted to go and live in America. We were hanging on for another record deal.as long as we could. We went to America but before we went I was offered the Heep job . The rest is well written.
photos courtesy of Lynn Everett
Regarding Live In Texas – was there more tracks played and recorded that didn’t make the album?
I think that was the whole show, I think so
Any tales from your very early days or a road tale from Trapeze. . (Re Glenn — did you ever read his book? )
I remember coming back from Hamburg before Trapeze days I was friends with Glenn even then. I had bought a suede coat with tassels like Wild Bill Hickock style. Glenn went crazy over that coat, he loved it. I think he would have killed to own it. I did sell it to him so he let me live. He later wore it on stage with moccasins to match. He looked great.. He looked like an apache Indian with his long hair. I did not know he wrote a book. Am I in it? I should be. Even when he joined Purple he never changed, not with me anyway. He picked me up to play golf one day. I heard this loud music coming around the corner, yes it was him driving a Bentley open top!
Aside from the Texas Jam gigs with Trapeze, do you have any particular favorite memory of that band [and members] ?
A guy that does not get much of a mention is my dear friend Pete Wright, great player to work with. He is nearly as funny as John Sinclair. Pete was always reliable, great bass player, great person to be in a band with. If we were down Pete would cheer everyone up. Very happy all the time. Nothing seemed to upset him apart from when Mel kept changing the radio station in the car. It drove us all mad. For Christ sake Mel!
Prior to joining Heep, what did you know about the band, (aside from all the line up changes)?
I knew of them of course they were a huge band worldwide. I do remember Mel saying to me that my musical career was going backwards by joining Heep . I did prove him very wrong on that one.
Had you ever seen Heep live in the ’70s with David Byron? or know any of the actual songs that you would later sing?
Never saw Heep before I joined . I had heard ‘Easy Livin’ , ‘Gypsy’. ‘The Wizard’. That’s all I think.
Ashley Howe was key to you joining Heep and was great for you and the band as producer. Can you talk a bit about your connection to Ashley and how he got the best out of you and his importance to the band at the time (81-83)?
Ashley I love you . Ashley found my big voice. He was the greatest. Abominog would not have happened without him. Simple. He brings out the best in everyone he works with. I learnt so much from him on that record. Why we did not use him on Equator – God only knows. History may well have been re-written had he produced Equator
Were you happy with Heep’s take on ‘Blood Red Roses’, and do you think (or how) you would’ve done it any differently?
I wrote that song for Mick Box ’cause he asked me for a song for Raging Silence. I think they did a great job and I am glad it was a success for them. They got it nearly spot on . I would have been more laid back and moody in the verses. But I might have been wrong . Bernie did a great job, thank you Bernie.
Obviously you are happy with the response to Easy With The Heartaches. Has the experience (so far), inspired you to want to clean out your vaults of more recordings from your past?
I have been asked for another record , we will have to wait and see.
AND – has it inspired you (at all) to want to pick up a guitar and play – even if for yourself or family members? No
*You can order Pete’s debut solo album Easy With The Heartaches, as well as Leavin’ The Hard Times Behind : The Best Of Trapeze – check out http://www.cherryred.co.uk
*If anyone out there happens to have any photos or stories of the band Fable, please let me know. Would like to revisit this album in the future.
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Outsider Rock 