Canadian/American band Steppenwolf had a string of hits in the late 60s to early 70s, best known for the classics “Magic Carpet Ride” and “Born To Be Wild” (a top 10 hit from their 1968 debut LP), and for that phrase “heavy metal thunder” which helped (?) to categorize the hard and heavy bands years later, and probably get the band unfairly lumped in the genre. This CD box set from Esoteric features the band’s first 7 albums, which was their golden era. Each album comes with bonus tracks, many of which are single edits on mono. As well there is Early Steppenwolf (Live 1967). Going through each disc, it is not surprising to recognize at least 1 hit single from each, plus radio hits; but this collection is a great reminder that Steppenwolf were more than just an early ‘metal’ band (haha) who charted a number of times from 67-71. Following 1971’s For Ladies Only, (which featured the hits “For Ladies Only” and “Ride With Me”), the band took a 3 year break before 1974’s Slow Flux (not included here). Although later albums wouldn’t match the success of the ones here, there’s still plenty of decent albums and great music (see 1976’s Skullduggery). So here’s hoping there’s a Volume 2….
Steppenwolf “Magic Carpet Ride: The Dunhill / ABC Years (1967-1971)” 8CD Set To Be Released November 19, 2021
• NEWLY REMASTERED EIGHT DISC BOXED SET FEATURING EACH ALBUM RECORDED BY THE LEGENDARY STEPPENWOLF FOR THE DUNHILL/ABC LABEL BETWEEN 1967 AND 1971 • WITH 26 BONUS TRACKS DRAWN FROM RARE SINGLES AND MONO MIXES • INCLUDING THE ALBUMS “STEPPENWOLF”, “THE SECOND”, “AT YOUR BIRTHDAY PARTY”, “EARLY STEPPENWOLF”, “MONSTER”, “STEPPENWOLF LIVE”, “STEPPENWOLF 7” and “FOR LADIES ONLY” • REMASTERED FROM THE ORIGINAL DUNHILL/ABC MASTER TAPES
Steppenwolf was formed in 1967 in LA by John Kay (vocals, guitar, harmonica), Goldy McJohn (organ, piano) and Jerry Edmonton (drums) who were previously members of the Canadian band The Sparrows. They were joined by Michael Monarch (lead guitar) and Rushton Moreve (bass). The band signed to Dunhill/ABC the same year and with producer Gabriel Mekler they recorded their self-titled debut album. The band were propelled to success with their classic single “Born To Be Wild” (a #2 hit in the USA) and became even wider known when the track was featured, along with their version of “The Pusher” in the classic 1969 counterculture film “Easy Rider”.
“The Second” was released in October ‘68 and featured the hit single “Magic Carpet Ride” (another US #2 hit). In March ‘69 “At Your Birthday Party” was released to further success and was their first record to feature Nick St Nicholas on bass and their last to feature Michael Monarch. The July 1969 release “Early Steppenwolf” featured live recordings made at The Matrix in San Francisco in May 1967 and featured a 20-minute version of “The Pusher”.
The band’s next studio album, “Monster”, was issued in November 1969 and dealt with America’s involvement in the Vietnam War. 1970 saw the band release two albums, the double LP “Steppenwolf Live” and “Steppenwolf 7”. By the release of the latter the band’s popularity began to wane slightly, although they would retain a large and loyal fan base. Their November 1971 album “For Ladies Only” was their last for Dunhill/ABC and Steppenwolf disbanded in February 1972 only to reform in 1974.
Disc One: Steppenwolf – Remastered Released In January 1968 1. Sookie Sookie 2. Everybody’s Next One 3. Berry Rides Again 4. Hootchie Kootchie Man 5. Born To Be Wild 6. Your Wall’s Too High 7. Desperation 8. The Pusher 9. A Girl I Knew 10. Take What You Need 11. The Ostrich Bonus Tracks (Mono Single Versions) 12. Sookie Sookie 13. Born To Be Wild 14. Everybody’s Next One 15. Take What You Need 16. A Girl I Knew 17. The Ostrich 18. The Pusher 19. Berry Rides Again
Disc Two: The Second – Remastered Released In October 1968 1. Faster Than The Speed Of Life 2. Tighten Up Your Wig 3. None Of Your Doing 4. Spiritual Fantasy 5. Don’t Step On The Grass Sam 6. 28 7. Magic Carpet Ride 8. Disappointment Number (Unknown) 9. Lost And Found By Trial And Error 10. Hodge, Podge, Strained Through A Leslie 11. Resurrection 12. Reflections Bonus Tracks 13. Magic Carpet Ride (Mono Single Version) 14. Spiritual Fantasy (Mono Single Version)
Disc Three: At Your Birthday Party – Remastered Released In March 1969 1. Don’t Cry 2. Chicken Wolf 3. Lovely Meter 4. Round And Down 5. It’s Never Too Late 6. Sleeping Dreaming 7. Jupiter Child 8. She’ll Be Better 9. Cat Killer 10. Rock Me 11. God Fearing Man 12. Mango Juice 13. Happy Birthday Bonus Tracks (Mono Single Versions) 14. Rock Me 15. Jupiter Child 16. It’s Never Too Late 17. Happy Birthday
Disc Four: Early Steppenwolf – Remastered Released In July 1969 (Live At The Matrix 1967) 1. Power Play 2. Howlin’ For My Baby 3. Goin’ Upstairs 4. Corina, Corina 5. Tighten Up Your Wig 6. The Pusher
Disc Five: Monster – Remastered Released In November 1969 1. Monster / Suicide / America 2. Draft Resister 3. Power Play 4. Move Over 5. Fag 6. What Would You Do (If I Did That To You) 7. From Here To There Eventually Bonus Tracks 8. Monster (Single Version) 9. Move Over (Mono Single Version) 10. Power Play (Mono Single Version)
Disc Six: Steppenwolf Live – Remastered Released In April 1970 1. Sookie Sookie 2. Don’t Step On The Grass 3. Tighten Up Your Wig 4. Monster 5. Draft Resister 6. Power Play 7. Corina, Corina 8. Twisted 9. From Here To There Eventually 10. Hey Lawdy Mama 11. Magic Carpet Ride 12. The Pusher 13. Born To Be Wild Bonus Tracks (Mono Single Versions) 14. Hey Lawdy Mama 15. Twisted 16. Corina, Corina
Disc Seven: Steppenwolf 7 – Remastered Released In November 1970 1. Ball Crusher 2. Forty Days And Forty Nights 3. Fat Jack 4. Renegade 5. Foggy Mental Breakdown 6. Snow Blind Friend 7. Who Needs Ya 8. Earschplittenloudenboomer 9. Hippo Stomp Bonus Tracks 10. Screaming Night Hog 11. Snowblind Friend (Single Version) 12. Hippo Stomp (Single Version)
Disc Eight: For Ladies Only – Remastered Released In November 1971 1. For Ladies Only 2. I’m Asking 3. Shackles And Chains 4. Tenderness 5. The Night Time’s For You 6. Jaded Strumpet 7. Sparkle Eyes 8. Black Pit 9. Ride With Me 10. In Hopes Of A Garden Bonus Tracks 11. For Madmen Only 12. For Ladies Only (Single Version)
John Verity marked 50 years as a performer & recording artist with 2020’s album – Passion. The British guitarist/singer/songwriter was a part of Argent and then Phoenix in the ’70s,, and since 2001 has been releasing his own albums pretty regularly. Passion features Verity delivering 8 new blues rock, and blues ballads tunes. The first 2 tracks jump out right away – “Higher”, a great driving rock tune, followed by “Wise Up” with a cool guitar riff opener and a heavy drum sound (this one being in that Zeppelin / Bad Company class), love the organ throughout this one (courtesy of Jamie Pipe of The Mentulls), lyrically dealing with frustrations of worldly issues. “Sand In My Pocket” is a mid tempo blues number, a nice groove, fantastic playing and vocals. Next up is a bluesy ballad dealing with global environmental issues, delivered in this rather laid back and sad feeling tune “Broken Heart”. John pays tribute to Ginger Baker in the heavy blues cut “Red Devil”, while doing the same to Chuck Berry on “Bad Boy”. “Passion” ends with another heavy blues number titled “Big Stick”. Also included is the slowed paced, reflective guitar piece “The Open Road”; love the playing and the feel on this.
What I like a lot about this album is, aside from the fantastic playing, singing, and songs, is that Passion is kept to a solid production, without any excesses of added instrumentation, guests, and pieces that detract from the flow of it all, simply letting John (and company) deliver an appropriately titled album. Now to start working my way backwards through John’s more recent solo releases….
Line-up: JV – guitars & vocals / Bob Skeat & Roger Inniss – bass / Liam James Gray – drums / Jamie Pipe – keyboards.
Passion was issued on CD and Limited vinyl, and can be ordered at John’s site > http://www.johnverity.com
With members hailing from Sweden, Norway, and Finland, one can expect something pretty heavy, and pretty good. Flames Of Fire, fronted by singer Christian Liljegren [Narnia] and made of experienced metal players, debuts with this album, featuring plenty of power and heavy tunes. The band members site such influences as – Europe, Yngwie Malmsteen’s Rising Force, Michael Schenker, Ritchie Blackmore’s Rainbow, Iron Maiden and Thin Lizzy. After a brief light intro [“New Dawn”], this disc kicks off with first video release “Gloria”, that has a definite classic Iron Maiden feel to it, fast paced, strong vocals, big guitar solo… A great start. The band’s lyrical content is Christian belief, with references to the end of time, Jesus, the bible, etc….if you deal with that, you’ll dig this album . Excellent metal tracks like “Flames Of Fire”, ‘Madness” [cool drum & guitar riff intro reminds me of WASP’s Crimson Idol era], and “Time To Live” . A good listen throughout, well produced.
Line-up: Christian Liljegren – Vocals Mats-Åke Andersson – Guitars, composer Jani Stefanovic – Guitars, keyboards, drums & producer Stephen Carlson – Guitars Per Schelander – Bass
Track-listing: New Dawn, Gloria, Flames Of Fire, Madness, I Am, Time To Live, Solution, Soldiers Of The King, End Theme.
QUARTO VALLEY RECORDS PROUDLY ANNOUNCES THE RELEASE OF “BROTHER JOHNNY” AN ALL-STAR TRIBUTE TO JOHNNY WINTER ORGANIZED BY HIS BROTHER EDGAR WINTER
NEW ALBUM RELEASED DIGITALLY, ON CD AND VINYL APRIL 15, 2022
THE FIRST SONG & FIRST LISTEN “JOHNNY B. GOODE” FT. EDGAR WINTER, JOE WALSH & DAVID GRISSOM IS RELEASED TODAY STREAM THE SINGLE AT https://smarturl.it/johnnybgoode January 7, 2022 – Today Quarto Valley Records proudly announces the April 15, 2022, release of Brother Johnny, a tribute to the legendary blues guitarist created by his brother Edgar Winter. The album is a powerful sonic journey, traveling the course of Johnny’s musical life, impeccably directed, as only his brother Edgar could. Joining Edgar on the inclusive project is an impressive array of renowned musicians who knew, or were inspired by Johnny, including Joe Bonamassa, Doyle Bramhall II, John McFee, Robben Ford, Billy Gibbons, David Grissom, Taylor Hawkins, Warren Haynes, Steve Lukather, Michael McDonald, Keb Mo, Doug Rappoport, Bobby Rush, Kenny Wayne Shepherd, Ringo Starr, Derek Trucks, Waddy Wachtel, Joe Walsh, Phil X and Gregg Bissonette.
The guitar-driven album celebrates the expansive styles Johnny was known for – the 17 tracks were carefully curated by Edgar and producer Ross Hogarth to represent Johnny’s evolution as an artist, honouring his great legacy while also incorporating a personal tribute from brother to brother, and for which Edgar penned two new songs.
The project has been years in the making, Edgar was first approached about it just after his brother passed away on July 16, 2014. Johnny had just played the Cahors Blues Festival in France, which was destined to become his last show. He had travelled to Switzerland where his next show was scheduled, but he passed away in his sleep at the hotel in Zurich before he ever got the chance.
Edgar reflects, “Many people immediately started trying to convince me to do a Johnny Winter tribute album. But I was totally devastated, and the timing just didn’t feel right to me. It wasn’t until after I completed the Rock ‘N’ Blues Fest, a tour we were meant to do together with our respective bands, that the idea of a tribute record started to take form.”
Edgar explains, “I had naturally expected the whole thing to be cancelled. But much to my surprise, the promoters begged me to go on with the tour as planned, asking me to headline. The first night, after playing “Frankenstein”, I closed the show with “Johnny B. Goode”, “Rock and Roll, Hoochie Koo”, and “Jumpin’ Jack Flash”, dedicating the end of the set to Johnny.
“I had anticipated the tour to be very emotional, perhaps sad, and possibly difficult, but playing those songs turned out to be a great source of strength and comfort to me. Everyone on the tour was so kind and supportive, getting up to jam, and it became a kind of tradition. There was such an overwhelming outpouring of love and respect for Johnny, I began to realise it was not just business people sensing an opportunity here; it was Johnny’s true, loyal, and devoted fans and our fellow musicians, many of whom are on this record, who wanted to see this happen as well.
“After the tour, and over the following years as talk of a tribute album continued, my wife Monique, whose intuition I trust more than my own, said, “I think you have to make this album, both for Johnny, for yourself, and for the world. You owe that acknowledgement to your older brother. If it weren’t for him, you wouldn’t be where you are today. There’s no need to worry about it. If it’s meant to happen, it will.” Soon after Edgar met Bruce Quarto, founder, and owner of Quarto Valley Records. It was his boundless enthusiasm and devotion to classic rock, the blues, (and Johnny in particular) that convinced Edgar the time for this tribute album had finally come.
“Quarto Valley Records is honored to be releasing Edgar’s tribute to his brother Johnny,” said Bruce Quarto. “An album as remarkable in its musicianship as it is in the depth of feeling that comes through in each and every note of each and every song. The superhuman artistry and inspiration you hear in the new interpretations of some of Johnny’s signature songs, like ‘Hootchie Koo’ and ‘Alive and Well,’ are matched only by Edgar’s original and very personal, ‘End of the Line,’ which strikes a very human chord. The album is nothing short of a masterpiece. Enjoy!”
This announcement comes with the release of “Johnny B. Goode,” a perfect fit not only in name but in sentiment, and a song that remained a standard in Johnny’s sets right up to the very end. The opening rips right out of the speakers – that infamous guitar line along with Edgar’s smokin’ piano – followed by roaring vocals from Edgar and Joe Walsh. Joe does the vocal honors on this one, leaving his legendary guitar work for a personal favorite called “Stranger” (featuring Michael McDonald, with Ringo Starr on drums).
The signature guitar is masterfully delivered by fellow Texan David Grissom, who strikes the perfect balance between Chuck Berry’s classic riffs and Johnny’s wild Winter whirlwind of intensity. Edgar blows the house down with a Texas tornado of saxophone accompanied by thunder and lightning from Bob Glaub on bass, Gregg Bissonette on drums, and additional vocals by Phil X.
Edgar writes in his liner notes. “To this day, when I think of Rock ‘n’ Roll, I think of Chuck Berry and “Johnny B. Goode”. It’s not only Johnny’s story, but also every kid’s story who ever picked up a guitar, coming from humble beginnings with the idea of making it big someday. So of course, it has to be on this album.” (For the full story see below).
Brother Johnny was produced by Edgar Winter and Ross Hogarth. All the basic tracking was done at Capitol Studios. Most of the guest artist performances were recorded at Infinitespin Records, and as the pandemic progressed, were done at various guest artist’s studios. the record was mixed by Ross at his studio The Boogie Motel.
Edgar sums up reminiscing in his notes, “When I was very young, I can still remember thinking no matter how much time goes by, how old I get, what happens in my life, or how far I end up from home – there is one person in this world I know will always understand what I’ve been through, how I feel. And that person is my brother Johnny. As kids, we were inseparable, much closer than average brothers. Not only did we learn to play music together, but because we were both albino, we shared a unique personal perspective on life different than anyone else’s.
“So much has happened to both of us since then, but one thing will always remain the same… that bond, of brotherhood, of family, of music, and of Love. So, in his name, I dedicate this album. Brother Johnny”
Edgar added, “My deepest and most profound thanks to all the great, fantastic, amazing artists for their incredible heartfelt performances. You touched our hearts on behalf of Johnny and the Winter family.”
Brother Johnny will be available on CD, vinyl and digitally across all platforms on April 15, 2022. About this version of Johnny B. Goode, from Edgar Winter’s Liner Notes:
“Now there’s a story behind every song on this album, but this next one is really special. As just little kids growing up in Beaumont, Texas—Johnny and I started early, but our first big break came with this local talent contest that was the biggest thing in the area. It was called “The Johnny Melody Contest”, and first prize was the chance to make your own record. I guess I was 11 or 12, and Johnny about 14 or 15. We had our very first band called “Johnny and the Jammers” and the best song we knew was “Johnny B. Goode.” So, we entered, we went on, we played it, we won, and went on to make our first record (a song Johnny wrote called “School Day Blues”— and as they say, the rest is history. So, if it hadn’t been for that song, who knows? To this day, when I think of Rock ‘n’ Roll, I think of Chuck Berry and “Johnny B. Goode”. It’s not only Johnny’s story, but also every kid’s story who ever picked up a guitar, coming from humble beginnings with the idea of making it big someday. So of course, it has to be on this album.
I had this dream of singing the song with my friend, the great Joe Walsh. Joe and I go way back to the 70s playing shows together when he was in the James Gang. Joe was up for doing the vocals, so we went to his place and recorded at his home studio. I got him to sing the second verse and do the harmonies on the “Go Johnny Go” choruses, and just like that, my dream came true. Thank you, Joe, for taking time from your busy schedule with the Eagles and your radio show to do this special duet. It reminded me of when Johnny and I used to sing it together and felt just like old times.
There is also some rockin’ guitar work by a fellow Texan named David Grissom (suggested by Ross Hogarth, our engineer, mixer, and producer). It fits perfectly with the Rock-house Boogie style piano I had put on it earlier. What I Love is that you can hear both Chuck Berry and Johnny Winter in the way he played it. Thanks, David. You really got it, rockin’, Big Time Johnny Texas Style!” # # #
A band I am not so familiar with, but I do remember buying the cassette single of their big 1989 hit “Call It Love”. What a great song! And I have picked up a number of Poco albums over the years, but never gave them the time, I guess. But checking out this upgraded version of their 2004 Nashville show, originally released as the CD/DVD Keeping The Legend Alive is an eye opener to the band’s catalogue, not to mention their flawless performances of their hits and classics. “Call It Love” is here, as is their biggest hit, 1978 top 20 hit “Crazy Love” [from their biggest album – Legend] , and their classy rendition of JJ Cale’s “Magnolia” (originally a single from 1973’s Crazy Eyes). I could go on, but this is just an excellent live concert. Poco may have been a slightly less rockin’ act in the same ‘country-rock’ category as The Eagles (their was a few personnel connections too), but they definitely had their own brand of classic rock with great melodies and harmonies, and this is a great intro (or reminder) of the band, who at the point of this show, had 18 studio albums. *This is the first time this is on vinyl (and a nice shade of blue!), tho’ I’m not a fan of condensing these down to fit on 1 LP, but oh well… Classic album art that’ll look great alongside the rest of the band’s albums.
Brand New Vinyl Reissue of “One Night In Nashville” From Country Rock Icons POCO!
Los Angeles, CA – Long before Wilco or The Jayhawks or Ryan Adams, there was one country rock band that towered over all others. Founded by former members of the brilliant Buffalo Springfield, Richie Furay and Jim Messina, along with multi-instrumentalist Rusty Young and drummer George Grantham, Poco pioneered a blend of sounds that would come to dominate singles charts and radio for years to come. Indeed, some of Poco’s most beloved tracks are still treasured by fans today including “Crazy Love,” “Heart Of The Night,” “Call It Love” and “Rose Of Cimarron.” These songs as well as the nearly 20 studio albums the band released over the years have ensured that the Poco legend endures.
While Poco’s recording output is well-known and widely celebrated, the band’s live performances are the true treasures for longtime fans. One very special concert occurred one night in Nashville, TN in 2004. Original members Furay, Young and Grantham all participated as well as longtime member Paul Cotton. Together, the group offers up fantastic renditions of their biggest hits and most beloved songs. Now this special live performance is being released on glorious vinyl in a limited-edition TRANSLUCENT BLUE as well as on digipak CD. It’s a superb package that fans old and young will not want to miss!
TRACK LIST: CD 1. Where Did The Time Go 2. Keep On Tryin’ 3. Crazy Love 4. Pickin’ Up The Pieces 5. Bad Weather 6. Call It Love 7. Let’s Dance Tonight 8. Magnolia 9. You Better Think Twice 10. Spellbound 11. Indian Summer 12. Kind Woman 13. Rose Of Cimarron 14. Ride The Country 15. Good Feelin’ To Know 16. Heart Of The Night
VINYL SIDE A 1. Keep On Tryin’ 2. Crazy Love 3. Bad Weather 4. Call It Love 5. Magnolia 6. You Better Think Twice
SIDE B 1. Indian Summer 2. Kind Woman 3. Rose Of Cimarron 4. Ride The Country 5. Good Feelin’ To Know 6. Heart Of The Night
Well, another episode of putting together a list of those songs that share a title, but a re totally different, and great rock tunes. “Are You Ready” makes for a great opening song title, but it’s not in all these cases. If you know of one I missed, please leave it in the comments…
Grand Funk Railroad
The opening track to GFR’s classic debut album On Time in the summer of 1969. Penned by guitarist/singer Mark Farner (who wrote the entire album). A great intro song; it would also feature on the band’s Live album a couple of years later.
Pacific, Gas & Electric
Formed in LA in the late ’60s, Pacific, Gas and Electric would feature original James Gang guitarist Glenn Schwartz and original Canned Heat drummer Frank Cook, who joined so that Charlie Allen could become the band’s singer. These guys released 4 albums in the day, featuring rock, funk, blues, and even a bit of gospel, as on there track “Are You Ready”, taken from their 3rd album of the same name in 1970. It also features a cool heavy guitar solo. The song was the band’s biggest hit [top 20]. Great cover art by David Willardson.
Moxy
From the Canadian band’s 3rd album Ridin’ High, released in 1977. This rocker, penned by guitarist Buddy Caine and singer Buzz Shearman is one of the best tracks on this album. The song’s story revolves around getting ready for a night out (first to a bar, then with the drink server).
Phoenix
A new addition to this group (and what inspired this list). The opener to the ‘new’ 2nd Phoenix album, recorded in ’77, but shelved and just released by the band’s singer/guitarist John Verity. A solid rocker, penned by bass player Jim Rodford, which seems to be about points in his life & career and being ready to have a good time, as the song mentions various dates, places, venues, etc…
Thin Lizzy
A classic Thin Lizzy rocker, that debuted on 1978’s Live & Dangerous. I’m not sure if a studio version exists, This one – penned by Phil Lynott, along with Scott Gorham, Brian Downey and Brian Robertson., sounds like it was just written for the stage, so you’ll find it on other Lizzy live albums.
AC/DC
From 1990’s hugely success The Razor’s Edge, the lone AC/DC studio album to feature the legendary Chris Slade on drums. This was the 3rd single from this album, a top 20 in the US, and the band’s only #1 hit in New Zealand. A typical AC/DC anthemic rocker, putting out that rockin’ party vibe.
PHOENIX formed after ’70s classic band ARGENT disbanded, as it consisted of John Verity, Jim Rodford and Bob Henrit. Verity had joined Argent for their last 2 albums, replacing Russ Ballard; the band took on a change of direction, but Verity wanting to get back to a more straight ahead rock band came up with Phoenix. The band debuted in 1976 with their self-titled album. Not sure how well it did, but it is a classic ’70s hard-rock album, full of great guitar, Verity’s distinctive vocals, and a killer rhythm section., and stand outs like “From The Ashes”, “Woman Like You”, and “Easy”. Highly recommended ’70s rock listening, with Verity putting out a 30th anniversary CD edition some years ago.
Anyway, the band went in to record a 2nd album (which is the topic here), which was shelved as the record company at the time wanted the band to take on a more American radio friendly sound, hence 1979’s flop – In Full View. The band would release 1 more single before disbanding.
Now, nearly 43 years later that 2nd ‘lost’ album has been rediscovered and mastered for release by John Verity. Titled Out Of The Sun, with a cover that resembles that classic album cover for the Phoenix debut album, featuring 8 tracks individually penned by each band member, as well as a track from Chris White (Zombies).
Upon first listen through, it is safe to say if you liked that first Phoenix album – you will really like this! A great mix of rockers, ballads, a bit of funk, blues… Out Of The Sun opens with “Are You Ready”, an upbeat heavy rocker, very fitting musically and lyrically here. (Can’t help but be reminded of Grand Funk’s song of the same title). There are a couple of piano based ballads [featuring Rod Argent] – “Fallin'”, which is highlighted by Verity’s vocal, harmonies, and a smokin’ guitar break, as well as the cut “When My Boat Comes In”, again with a great high vocal,, a bit of synths, – this one would’ve made a fine single. “Loser” is a rocker, with a good bit of attitude; this song really makes me think these guys were really having a blast recording this stuff. “Spider Woman” is a cool sounding slower number, a bit funky, great groove, one of my favorites here, as is “Take My Music”, a bit more of an uptempo rocker, complete with some nice backing harmonies, a few changes, killer guitar sound; too bad this one fades out so soon. “Winds Of Change”, followed by “You Got Soul” close out this disc, both strong cuts, a bit of blues, soul, funk, and solid rock.
It is a shame this album was lost for so long, because it is a fantastic follow up and equally as impressive as the debut. Not a dodgy cut here. Just a very cool sounding guitar rock album of the 70s, from a tight sounding band that ended too soon.
Davey Johnstone is the Scottish born guitarist, most known for being a key part of Elton John’s band, for the most part, since 1971. There was a break in the late ’70s where he joined Alice Cooper’s band for a few albums, and has worked with a number of other acts over the years. Deeper Than My Roots is just Johnstone’s 2nd solo album (tho’ this is labelled as a ‘band’ album) since 1973’s Smiling Face, which featured fellow members of Elton’s band. His new album is made with his offspring, who all contribute to the playing, vocals, and even the awesome artwork! The artwork alone got my attention, wish there was a vinyl version of this! It goes with the music within, which has a definite ‘early ’70s vibe with great vocals (most of which supplied by Johnstone’s youngest son), harmonies, acoustic guitars, keyboards, nothing really hard rockin’, largely ballads, but plenty of cool guitar work and a few classic solos, atmosphere, and great songwriting, all wrapped up in a sweet production. Favorite tracks include the first video-single “Melting Snow”, opening cut “Go Easy On My Heart”, “Boxer In The Corner”, and the instrumental “Walt Dizney”. Deeper Than My Roots also includes 2 ‘bonus’ tracks, one being a cover of The Beatles’ “Here, There, And Everywhere”, and the other being Davey’s 2020 single “All The Time In The World”.
*See the press release below:
Elton John Guitar Legend Davey Johnstone To Release First Single ‘Melting Snow” From Forthcoming Solo Album!
Davey Johnstone has been Elton John’s guitarist for 50 years. He has also played with Alice Cooper, John Lennon, Stevie Nicks, Lenny Kravitz and many, many more! In his role as Music Director he will resume the hugely successful Farewell Yellow Brick Road tour with Elton and the band in January 2022.
Davey is releasing the first single “Melting Snow” from his forthcoming solo album “Deeper Than My Roots”!
Watch the video for “Melting Snow”:
During the COVID-19 recess, Davey has recorded an album utilizing the incredible talents of his children, plus a few close friends. The album has a wide range and crosses genres.
Elliot, the youngest Johnstone, is lead vocalist on the record, with Davey supplying one lead vocal himself. Charlie Johnstone recorded many of the basic tracks at their home in California. Charlie also supplied keyboard and background vocal parts. Jesse Johnstone played drums remotely from his home in L.A. Jesse also joined his father and eldest sibling Tam Johnstone, on writing, recording and producing the album’s two instrumentals, “Black Scotland” and “Walt Dizney”. The beautiful artwork for the sleeve was conceived and designed by Juliet Johnstone.
Denny Seiwell, the legendary drummer from Paul McCartney and Wings helped out on three tracks, and Nigel Olsson supplied drums on “Melting Snow”.
Much of the recording was done by Major Wynn at Marlon Hoffman’s Kenrose Studio in California.
Davey Johnstone’s forthcoming full-length album titled “Deeper Than My Roots” will be available on Spirit of Unicorn Records in January 2022.
Many years back I had written to John Verity (ex Argent, Phoenix, Charlie). I really dug that first Phoenix album, and had picked up one of his solo albums, his albums with Argent, and Charlie. But I still had a lot to get, so many of my questions were a bit of ‘fishing’ as I wasn’t familiar with a number of projects. We also didn’t have youtube back then or Discogs to research on…. Anyway, I tried to get a good account of John’s career, and he replied with lots of information and stories. With the recent news of a new release – the ‘lost’ Phoenix album, I decided to re-post this (w/ a few edits), and links and tracks put in.
John Verity has been in the rock business since the late ’60s, but his name came to prominence in 1975 when he replaced Russ Ballard in ARGENT. After 2 albums with Argent, Verity formed the band PHOENIX – who released 2 albums, before releasing a few solo albums, recording an album with US aor band CHARLIE, and getting into production work. John Verity still records and gigs to this day, and is currently readying a new album as well as re-releasing some things from his own catalogue. For more on the man check out>http://www.johnverity.com
What can you tell me about your early days — bands? – people of notoriety you played with? earliest recordings? breaks? etc…
I Started in the 60’s with groups in my home town, Bradford, Yorkshire. Played R&B, Pop & Blues. Got my first real break when I was asked to play guitar for 60’s R&B/ Pop star ‘Dave Berry’ – great experience as we gigged solidly & toured heavily until the band was asked (without DB) to go to the Bahamas for a stint at the ‘Jokers Wild’ club in Freeport, Grand Bahama, in 1968. We stayed for almost a year – I did my first singing then ( I was never allowed to sing before, but we did so many sets, 7 nights a week that our main vocalist needed a break!). In ’69 a promoter from Miami spotted us playing at Jokers Wild and invited us to Florida to do some serious gigs. The band didn’t last long, but I stayed behind & formed the first JV Band with US musicians, gigged with Hendrix, Janis Joplin, Mountain, Canned Heat, PG&E, and others before moving back to UK. Got my first record deal with ABC / Dunhill on my return to UK in 1970/71.
What do you remember of this album? who produced it? any ‘name’ people involved? how did it do? read ‘was recorded late ’72 for Probe/ ABC Dunhill’.
Sorry.. No names on the album. Produced by Steve Rowlands who produced the Herd, Family Dogg, and other pop bands in the UK around that time.
Who was in the first Verity Band? any stories from Hendrix , Mountain, or Canned Heat? what kind of music were you doing back then?
The US JV Band was a three piece – Teddy on drums & Mark on bass. No surnames I’m embarrassed to say – its a long time ago! Nothing earthshaking to report on the other bands I’m afraid. Hendrix was kinda unhappy because people were shouting for the old stuff – he was into the Band of Gypsies thing — line-up was Billy Cox & Buddy Miles. The gig was in Miami – I believe it could have his last in the US.
How did you come to join Argent ?
My first album ‘John Verity Band’ was released on Probe/ABC Dunhill late ’74 and I went on the road touring as support to Argent. Russ Ballard decided to leave on that tour, and recommended me as his replacement.
You played on just ‘Circus’ and ‘Counterpoint’ albums? anything else? [live or unreleased?]
There are unreleased tracks, also we ‘reformed’ to do some sessions in ’77 – the line-up was Rod, Russell, Bob Henrit, Jim Rodford & Me. The tracks were never released & and the ‘reformation’ never happened. I ended up spending quite a lot of time in the studio with Russell working on his songwriting projects during that period – ’78 to ’81. Russell was also involved in the final ‘Phoenix’ recordings in 1980. The lineup was me Bob & Ray, plus Dave Wintour on bass and Russell on piano. We recorded two songs that Russell had written – ‘Juliet’ & ‘I Surrender’. The record company Charisma didn’t like ‘I Surrender’ – said it wasn’t a commercial song! & released ‘Juliet’ as a single instead with no success. B side was ‘I’m In Love’ from “In Full View”. Russell used our version of ‘I Surrender’ as a demo, and ‘Rainbow’ picked up on it. The rest is history…
Were you familiar with Argent prior to joining them? what band did you [and John G.] come from?
I wasn’t really familiar with the band prior to the support tour – but the sheer quality of their musicianship just blew me away.. I think I’ve covered my background prior the Argent. John G was much younger with little band experience – he was a truly natural, gifted musician though, but never liked the touring aspect – well, he hated it really!
Did you feel any pressure/criticism having to fill in Russ Ballard’s spot, baring in mind he wrote a lot of the earlier classics? [did you write songs in these days? ]
I did feel pressure – I just wanted to be good, and make my mark. I did write songs (I had written the John Verity Band album), but there was no chance of writing songs for Argent with someone with pedigree of Rod around!
What was the plan or direction / aim of the new line-up when you joined?
The band was getting into Fusion/ Jazz Rock which I didn’t really like, and anyway they were such a great rock band. I think we lost our way really… musically.
Was Rod the musical ‘director that lead the band away from more rock stuff?
Kind of. The rest of the band seemed happy enough at the time, to go along with this ‘new’ direction. I suspect Robert was a little unhappy at the change but probably I was the only one who felt really uncomfortable with it. I was quite shocked when the new songs were first presented to me, but I didn’t have the confidence to speak out at the time…
How do you feel the 2 Argent LPs you were on compared to previous Argent LP? Were there any successful singles? Why did the band split?
I didn’t feel that the later albums were as successful musically as the earlier albums, though they had their moments. There were singles, but no success. The band split because (a) we weren’t making any money! (b) Rod & John G were sick of touring. (c) Rod wanted to move in a different direction musically (I was agitating to move back to Rock & Roll) (d) I wanted to form a straight ahead power trio with Bob & Jim – ‘Phoenix’.
How much of the drums did Phil Collins play on Counterpoints?
About half. Some tracks are half Bob & half Phil!.
Were you happy with this radical shift away from the anthemic early 70s heavy rock in the Free vein towards spacey jazz-rock, and if so, were you instrumental in this switch?
No, hated it!
How did The John Verity Band [1974] come about, who were the members, where from (which bands)?
All the members of the JV Band were from local bands in my home town (Bradford). We met when I returned from US early ’70’s. The earliest sessions for the album in ’72 were done with session musicians, but I wasn’t happy & formed a ‘normal’ band line-up with Geoff Lyth (guitar & keyboards). We had various bass players & drummers, and the line-up finally settled at Jerry Smith (bass), & Ron Kelly (drums) in time for the album sessions which began at Advision studios in London late ’73. Album produced by Steve Rowlands.
Any singles released? much success, tours, breaks…? How did that one album do on the market?
Lots of gigs – toured with Argent, the line-up changed. New line-up included Biff Byford (Saxon) on bass, and guitarist Paul Quinn (Saxon). I produced the first Saxon album a couple of years later.
What happened afterwards – why did it break up? [anything recorded after the 1974 album that didn’t get released?]
We were rehearsing for a new album when the Argent gig was firmed up. Biff, Paul & the guys gigged as the John Verity Band without me! before forming ‘SonOfABitch’ which became Saxon.
You formed Phoenix with Jim Rodford and Rob Henrit [from Argent days]. How did this band begin? Was it intentional to make it a heavier sounding band than Argent?
Yup. [See above] – during the final Argent US tour, I had the feeling that we should be moving into a more straight ahead direction. I knew that there was a niche for us & Bob & Jim agreed. We signed to CBS though, and it took too long to get product out, by which time the UK music scene was being swamped by New Wave/ Punk. We were Dinosaurs in the UK by then.
You all contributed to the first Phoenix album, which was a classic LP IMO. What happened with the first album — much success, etc… ?
We did well in some areas. Lots of great response to gigs – we toured UK/ Europe & Scandinavia with Aerosmith, but I decided to get into Production.
Who else did you produce of note?
Saxon, Tank, Motorhead, Searchers, Marseille, BlackSlate, Brian Connelly (Sweet) – plus lots of bands’ ‘first albums’.
Can you explain the change prior to the 2nd Phoenix LP in which Jim left and was replaced by Ray Minhinnett – who played guitar, while you doubled on bass [guitars, vox…], and also added Ronnie Lee Cunningham on keys?? [where did Ray and Ronnie come from?]
Ray was/ is a buddy of mine. He was with Frankie Millers Full House. Fantastic guitar player, and we wrote songs together. Jim was offered the gig with the Kinks & went with our blessing, but we decided not to replace him – I played the bass parts & then added my guitars later. The other guys were brought in as session players by our American producer. Great musicians but I didn’t feel the album worked – no ‘Band’ vibe.
In Full View also featured a few outside penned tracks — “I Don’t Mind” [Walden] – where did this come from? as well it included Russ Ballard’s “Just Another Day” – why did you do this song?
I’m always open to good outside material and we felt ‘I Don’t Mind’ was a strong song (sent to us by the Publisher). I had engineered & played/ sung on Russell’s demo of ‘Just Another Day’ and asked him if we could do it for Phoenix.
What happened on the 2nd LP that would explain the change from the debut? Was there outside interference, recording company, etc.. ?? How well did this LP do?
The record company was responsible for the change of direction which I felt was a disaster. It didn’t do well.
Any examples or stories pertaining to this?
Not really – the business was in real upheaval at that time, and the UK scene was particularly screwed up, so Charisma decided we should go to America to record. I was thinking New York – they were thinking LA. We went to LA. WRONG!
I presume Phoenix split after the 2nd LP!? what were the highlights of this band for you? what happened in the end?
The highlight was the early period when we first came off the road with Argent. We were all match fit and playing well. Bob, Jim & I have great respect for each other as musicians & people. I loved that band, but it should never have been allowed to change direction musically, or be interfered with by outside producers & record company personnel!. Bob & Jim are good friends to this day and often form the current JV Band line-up for gigs & recording. I love them both like brothers.
What did you do in the years following Phoenix and the first “Verity” LP? any other bands, recordings, ..?
Mostly production & writing/ session playing. Russ Ballard, Ringo Starr, Colin Blunstone, Bowowow, Tank, Motorhead, Saxon etc.
You auditioned for Uriah Heep. were you disappointed this didn’t pan out ? What do you recall of the auditions? Have you had any other contact or association with an Heep guys?
Not too disappointed as it was only intended that I fill in until the band found someone permanent – which they did with Pete Goalby. All good players – Mick’s an excellent guitar player. Pete G’s a fantastic singer & good friend today.
What’s Pete up to these days? Ever worked with him?
Never worked with Pete – just jammed at a gig one time, but we’re buddies – been through a lot of the same music biz bullshit. He’s well, but having a break from it for a while.
Interrupted Journey was a very classy ’80s HR album, and still stands up pretty good today. You produced and engineered the album, as well as guitar & vocals, and had a long list of guest players,..Was it really a solo album? and who exactly was in the band? Who toured with you, etc.?
Yes, it was a solo album initially, which I began recording in ‘down time’ at Livingston Studios in between production projects. As recording progressed I began to ask my friends to sing & play on it. The touring band had Steve Rodford (son of Jim!) on drums, and my old mate Terry Uttley (Smokie) on bass, who became my partner in crime for some time until Smokie re-formed.
What can you tell me about how the guest-list became on this album > Rutherford, Argent, Ballard, Terry Uttley… ?
Mike Rutherford contacted me because he’d heard that I was doing a solo album. He wanted to produce or participate in some way. I went to Genesis’ studio where we recorded 3 songs with just me, Bob Henrit, & Mike playing. I added all the extra stuff at my own studio. Dave Wintour was doing lots of bass sessions around that time, including Russ Ballard & Leo Sayer.
Why did you re-do “Just Another Day” – the Ballard song that you had recorded with Phoenix? and what can you tell me about some of the other outside penned tracks, such as the Mike Rutherford song, “Love Is Blind”, “Stay With me Baby”, “Chippin Away At The Stone”… ?
I re-recorded ‘Just Another Day’ because I felt that we had screwed it up on the Phoenix album. The other songs were just great pieces that I wanted to do my own version of. Mike wrote some stuff especially for me which was nice. ‘Stay With Me’ is my favorite song (I’m re-doing it on my new album!)
What were your favorite tracks on that album? Any singles? much success, etc.. ?
I don’t have a favorite track. It’s my best work to date, with the exception of the first ‘Phoenix’ album.
What can you tell me about your association with CHARLIE? Did you only play on the 1 album? What happened with this gig?
I was brought in to ‘rough up’ Charlie’s sound in a production sense, and Terry was going to get involved in the production of a new Phoenix album. In the event, I ended up singing & playing on the Charlie album, and I brought in Bob Henrit on drums. The Phoenix album was abandoned. I thought the Charlie album was good, but I didn’t enjoy the ‘painting by numbers’ approach so I left to start ‘Interrupted Journey’.
What can you tell me about the 3rd Verity album Rock Solid? [who played on it? how well did this LP do?]
Rock Solid was done in my own studio. I did a lot of the work myself, with my usual guests dropping by. Unfortunately the label went broke soon after release, but I hope to get it re-released soon.
What have you done since the last Verity album? Recordings? Bands? [what can you tell me about such albums as Hold Your Head Up, etc…?]
Hold Your Head is a compilation of various JV Band stuff. The title track is an un-released track which I originally recorded for Interrupted Journey. I’ve continued to gig & record/ do production & try to help young musicians develop their careers. I’m currently working on a new album & preparing older material for re-release.
What are you involved in outside of music? hobbies, interests… ?
Music Music Music – boring old rock fart!
Can you give me a few of your favorite guitar players, influences, singers, songwriters, ? What do you listen to these days?
My influences are wide – Hendrix, Beck, Clapton, Aretha, BB King, Beatles, Dylan. I listen to whatever takes me.
Interview – Kevin J. 2000. / *top photo from Johnverity.com
Phoenix was a short-lived 70s trio consisting of ex Argent members John Verity, Jim Rodford, and Bob Henrit. The band’s debut was the excellent 1976 self-titled album that featured great guitar rock and vocals, featuring such stand-outs as “Easy”, “A Woman Like You” and “From The Ashes”‘. After a few years the band returned with 1979’s In Full View. This album saw Ray Minhinnett (ex Highway) added on guitar and American Ronnie Lee Cunningham (ex Law) on keyboards, while Rodford had left with Verity also playing bass. Rod Argent and Russ Ballard also made guest appearances. American producer was also brought in to work with the band in LA. But the album was softer, more mainstream, and lacked the feel of the first one. Frankly, I just never got in to this one. However, we now come to learn that a 2nd Phoenix album, with the original trio was recorded in ’77, and recently mastered and released by John. Below, John gives details and the story behind the ‘lost’ Phoenix album which can now be ordered through his website – http://www.johnverity.com
An amazing piece of news is that just a few months ago we rediscovered the ‘Lost’ Phoenix album. Back in 1977 Bob Henrit, Jim Rodford, & myself went into Trident Studios in London to record the follow up to our first album “Phoenix’. The new album was to be titled ‘Out of the Sun’.We really felt we had pushed the envelope both technically and creatively with this one, and I was proud of what I had achieved as a producer using the tools at my disposal. Sadly our record label CBS did not agree. Punk/New Wave had really taken a hold and almost overnight we were simply unfashionable…The album was put on ice, and somehow the masters were lost – until now.
By a twist of fate I got the opportunity to look again at these recordings with a view to releasing them over 40 years after they were recorded. A copy of the last set of mixes I had done resurfaced and I was able to get them restored, and then I remastered the tracks at home in my studio. We secured funding from fans and had the CD manufactured for release after all this time. I think the result is stunning. Transform yourself back to the ’70’s!!’
*Some years ago I interviewed John Verity (via email), and I be re-posting that here soon.
Outsider Rock 