My friend and major STATUS QUO Fan Alex Gitlin looks at the career and highlights of the band’s founding bass player.
RIP Alan Lancaster, the original bass player of Status Quo, the British blues-boogie institution, and the irreplaceable 1/4 of the Frantic Four
He passed away from multiple sclerosis on 26th September 2021 in Sydney, Australia, aged 72.
During their incredible run between the first album in 1968, Picturesque Matchstickable – Messages from the Status Quo, and his somewhat acrimonious split from the band in the mid-80s (he’d relocated to Australia in 1977), he performed on 12 top 10 UK albums and 17 top 10 UK singles.
Alan’s last gig with Quo, prior to the reunion in the 21st century, was opening the Live Aid at the Wembley Stadium in London.
In 2013-14, the original Frantic Four reunited for one last fling, touring the UK, Germany, Holland, Belgium and France. Each gig was greeted emotionally by fans who’d been waiting for this reunion since 1981, the year drummer John Coghlan departed.
Although by now there were signs of his debilitating disease beginning to show (at one point there were rumours of the pick being taped to his hand), he soldiered on with the “no time like the present” attitude, giving the fans exactly what they’d come for. His bass, alongside Coghlan’s drumming, was the locomotive engine that was the classic Quo rhythm section.
It was around 1970 when Quo had disposed of psychedelic frills and kaftans, replacing them with denim and growing their hair long. For the band’s third album, Ma Kelly’s Greasy Spoon, which tentatively pre-defined their to-be trademark sound, he wrote Daughter and Is it Really Me/Gotta Go Home.
The following year’s Dog of Two Head, the wheels were fully in motion, and here Alan contributed Umleitung (a co-write with keyboardist Roy Lynes), Something’s Going on in My Head, and Someone’s Learning. This was also their last album for Pye, in 1972 Status Quo were signed to Vertigo.
On their breakthru 1972 Piledriver album, Alan co-wrote A Year with Bernie Frost and All The Reasons with Rick Parfitt. He also sang lead on the cover of the Doors’ Roadhouse Blues, which became a live staple for the band.
On the 1973 stone-cold classic, Hello, the entire band wrote Roll Over Lay Down, UK No. 9 and top 10 in many countries in Europe; on Blue Eyed Lady, co-written by Alan and Rick Parfitt, the vocals were shared by Alan and Francis Rossi. And also he had a hand in writing Softer Ride (sung by Rossi).
On 1974’s Quo, he handled the lead vocals on four tracks, Backwater, Just Take Me, Drifting Away, and Don’t Think It Matters, and co-wrote six.
As the band was in the middle of a purple patch of hit singles and albums, 1975’s On The Level, considered by many as the finest in the band’s entire catalogue, he wrote Broken Man (also singing lead) and Over And Done. And he handled the lead vocals on another cover, Chuck Berry’s Bye Bye Johnny, also a great live favorite.
1976’s Blue For You has Alan on lead vocals and writing contributions on the opener, Is There a Better Way, the seminal and bluesy title track, Rolling Home and Ease Your Mind.
By 1977, the tide was turning, Quo were a mainstay on the European rock circuit, selling out arenas in Germany, but their sound became a bit softer, although the writing quality remained steadfastly top-notch. Here on Rockin’ All Over The World Alan contributed Let’s Ride, You Don’t Own Me, co-written with Mick Green [of The Pirates], and Too Far Gone.
They continued to pursue the same direction of commercial British pop-rock with a boogie edge in 1978, with If You Can’t Stand the Heat…, here Alan’s contributions are Gonna Teach You To Love Me and Stones. By this time, Alan had moved residencies to Oz, while the relationship between the dynamic duo Rossi-Parfitt had soured due to the out-of-control use of drugs.
In 1979, Whatever You Want (the album) reached No. 4 in the UK, and here Alan contributed Who Asked You and High Flyer. And the following year, on Just Supposin‘ – Over the Edge (a co-write with Keith Lamb), The Wild Ones and Name of the Game (co-written with Rossi and the band’s keyboardist Andy Bown).
1981’s Never Too Late also had two of Alan’s songs, Mountain Lady and Don’t Stop Me Now (once again a Bown co-write). And the following year’s cleverly titled 1+9+8+2 (equals 20, commemorating the twenty years since the band’s inception in 1962) had Alan’s I Love Rock and Roll, I Want The World To Know (another one co-written with Lamb) and Big Man (once again co-written with Mick Green).
Back To Back in 1983 became the final album for Alan Lancaster, who contributed Ol’ Rag Blues (co-written with Lamb) and Your Kind of Love, while he was reportedly distraught over Rossi’s Marguerita Time betraying the band’s classic heads-down no-nonsense boogie sound. When they appeared on BBC’s Top of the Pops to mime to the single, his place was taken by Jim Lea of Slade. Elsewhere on other television appearances, he was replaced with a cardboard cutout.
R.I.P. to the diamond geezer and the seminal part of classic Quo. Whether it’s his singing, bass playing or songwriting, he didn’t do things by halves, putting his heart and soul into what’s now regarded worldwide as the British rock legend.
For Lucifer’s Friend fans, despite the recent deaths of both Dieter Horns and John Lawton [Dec ’20 / June ’21], there are a couple of upcoming releases that will [hopefully] lift fans’ spirits. October will see the second solo release – Night Drive 2, from guitarist Peter Hesslein, and in December there will be the Lucifer’s Friend compilation The Last Stand. In this exchange Peter Hesslein gives some answers regarding both of these new releases, as well as future releases that fans can look forward to.
The reaction to the first Night Drive album was a huge surprise for me, with unanimously positive reviews, I had planned the album for myself to relax and to bridge the gap until the next Lucifer’s friends album for the loyal fans, I was initially a little insecure as the rock lovers can be felt, I was immediately motivated to find a successor with many good reactions, especially since John still had not started with the vocals, although the playbacks were completely finished.
When was the 2nd Night Drive recorded? and does it differ much from the first one?
Night Drive 2 was finished in May 21st, it’s a little more rocking than number one.
After so many years of working in bands or with other people, how did you enjoy recording solely for yourself?
Working while listening to top musicians from all over the world naturally shaped me, as I have already done everything myself for Lucifer’s Friend and John had given the vocals, it was a habit for me.
Do you foresee yourself doing another such solo album, or is there something else [musical direction] you’d like to record in?
I finished the recordings for Night Drive 3 and I even aimed it towards Brazilian music, inspired by my long-time friend and percussion player Pablo Escayola
Nice. when is this planned for release?
In May 2022.
Lucifer’s Friend :
The Last Stand compiles songs from the LF albums ’94 to 2019. Is this basically your own choices or how did you choose the tracks?
The Last Stand was supposed to be the new Lucifer’s Friend album, as this wasn’t possible now, management decided to turn it into a sampler of tracks from the last four albums. I chose these songs in the sense of being John’s favorite songs.
Is there more Lucifer’s Friend stuff in the vaults that could be released — be they leftover studio tracks, demos…?
Lucifer’s Friend only have playbacks without vocals.
You had mentioned previously a LF recording from Japan. Might this be something you could still release, and is there any other live recordings that was could be issued?
There is a live recording from Japan, but unfortunately the quality is too poor to be released.
Regarding the unfinished LF album – I understand that everything was done except for the vocals!? If so, is this something that could be finished musically OR with ‘guest’ singers?
The management has decided to close the chapter of Lucifer’s Friend for the time being.
Curious if there were any song titles [?]
Since John always wrote his lyrics shortly beforehand, so unfortunately, none exist.
Is there any chance we could still get proper CD reissues of the entire Lucifer’s Friend catalogue? [maybe a box set]
When the management gets the rights for a box set from the different companies, maybe at the end of ’23.
Is this something that is being planned with a particular record company?
That is planned with Cherry Red.
Might you consider writing a memoir of your career in music?
Peter Goalby had a long and successful career throughout the ’70s and ’80s. From Wolverhampton (England), Peter was in such bands as Fable and Trapeze as a singer, guitarist and writer. He also had a solo deal with Magnet Records in the ’70s, releasing a few singles. Following a final tour and live album with Trapeze he joined a revamped Uriah Heep, lead by Mick Box. As a frontman and writer he played a major role in the band’s resurrection in 1982 with the successful Abominog album, followed by Head First, and then Equator. In this interview [his first since his interview with the Uriah Heep Appreciation Society in 1992, and his first since walking away from the music business] Peter explains his reasons for leaving the band, as well as a few events that lead him to leaving music all together in the early ’90s. He took other jobs, put away his guitar, and moved on, having little contact with the music industry. However, November 5th marks the return of Peter Goalby in a way – it is the release date for his brand new album – songs that he’d recorded over 30 years ago! Songs he feels strongly about, and that he needs to see released. Easy With The Heartaches will be his first album since 1985! Peter says he is “thrilled” with this new album. And here’s hoping that it generates enough interest that we might hear more from the man!
*Check out the link at the bottom to order Easy With The Heartaches.
To go back a bit, I just want to clarify that you did not leave Uriah Heep because your voice was gone – it was the relentless touring along with personal matters at the time!? Can you talk a bit about that decision and how it came about ? Did the lack of success with Equator play a part as well?
The touring was relentless from day one. Everything revolved around the live shows . Just to give you some idea, we once did 22 countries in 30 days. My longest run was 16 nights back to back. I remember checking in to the Hamburg Hilton and I bumped into Gary Moore in reception. I told him that this was show 16 on the bounce, he said “Sack your manager!” Our manager was standing next to me, so I said “Gary meet Harry!” LOL. Equator was a major part of the end for me. I have never understood why we did not use Ashley Howe on this third album > I was told we were using Tony Platt because he had worked with Mutt Lange. The album flopped mainly because the sound is awful. It’s drenched in Reverb and difficult to follow. Way too many overdubs. We arrived in Australia to do our second tour in two years. We were met from the plane by three people from CBS Records. They had no idea that we had a new album out (Equator). We were so pissed off – I could not believe it . What a cockup! So. as the first Aussie tour went so well. this time they put 36 shows into 40 days . We got about three quarters through it, then one afternoon Lee took me fishing off the rocks. All I caught was a throat infection – Laryngitis. I lost my voice completely for 4 days. I was not allowed to speak at all. We resumed the tour and my voice was fine. My voice did not give up, I did! Many reasons added up to me wanting to leave but my voice was fine. I hope you will agree when you listen to my album . I am so proud that finally people will listen to my very best work. I love the songs – all of them! It’s the real me, what I always wanted. The story of me having problems with my voice suited the band at the time, it fitted in . No one ever asked me if it was true. This is my first interview since those days [ed – UHAS int] .
Can you touch briefly on the highlights of your career – with Heep, Trapeze, as a solo artist… Any tracks you were most proud of or favorite concert moments?
There are so many Highlights in my career – Fable was a great band, all 5 of us sang; I loved the harmonies and all that stuff. We were a cover band really but we did the songs live better than the original artists. I was thrilled when I was asked to join Trapeze. Mel was a great guitarist, very unique style of playing. I wrote three songs for Trapeze – “Livin’ On Love”, “Don’t Ask Me How I Know”, “When You Get To Heaven”. All three ended up on side one of the album, Yea! My favorite Trapeze track I sang was “Don’t Break My Heart Again” – I think I did a fine job on that one !? Castle Donnington was the start of the Heep story – we blew all the other Bands off the stage, as we did so many times, at many festivals over the years. We headlined so many, all over Europe, it was great! I remember waking up one morning in a hotel in Europe, I could hear the riff to Golden Earing “Radar Love” live – It was 11am, the show had started and we were not on until 9pm. I thought to myself “Wow that’s where I am, great stuff!” I loved working with Def Leppard – Joe, Phil and the boys – great people, they really were. We were all great buddies at the time. Joe and I played golf in Las Vegas. We used to share a taxi when doing the radio interviews before every show. I was watching Sky Arts TV channel the other day, watching the Eagles live, and I thought “look at the size of that gig!” – then realized it was the LA Forum. I have played that gig! I loved playing India, that was incredible, And yes, I really do have a scar on my back, where I was bitten by a naked Indian guy who jumped on the stage. I regret not doing Russia; that must have been fantastic for the boys.
Was the possibility of a trip to Russia in talks before you left?
Just before we went to Australia for the second time , we were offered Russia but it was not officially on . I did not realize it was going to be that big , must have been incredible . Well done Mick.
Too Scared To Run was a great intro for the band!?
When I wrote “Too Scared To Run”, as I did with a lot of songs, I always pictured certain bands playing it or what would they would they do. And I wondered what would Phil Lynott and Thin Lizzy do? And it’s really weird because looking at some of the comments on the internet about ‘Too Scared To Run’ one guy actually said that it reminded him of Thin Lizzy! So, I thought ‘yeah, I got it right.’
Immediately following Heep, was your initial plan to get on with a solo career or was there other options, offers, things you wanted to do? And what lead to eventually writing and recording these tracks that make up Easy With The Heartaches?
Straight after leaving Heep I I was introduced to Mickie Most. He had just bought back RAK records from EMI. He signed me and we made two singles which he produced . “Mona lisa Smile” an d then a great song called “I Don’t Wanna Fight”. I then got a publishing contract with Rondor Music. They treated me very well. I was allowed to go into the studio any time I had new songs and record them . Which I did; that’s how these recordings came about. I would wait until I had three or four songs ready to go, then book the time in Mad Hat studio in Wolverhampton . We would record three songs complete in a couple of days . To be honest I was thinking maybe I would get an offer from a band. I never thought of me doing a solo thing or having my own band. My writing was getting better and better at the time; I felt like I was in the zone. The songs were getting stronger and stronger. Had I stayed with Heep they would have ended up as Heep songs I am sure. I also think part of the reason the songs were getting better was that I now had the time to concentrate on being a writer. Really that’s all I wanted to do, be a writer of songs. The songs on Easy With The Heartaches were written after I left Heep, there was nothing left laying around with the band, nothing. John Parr contacted me, he had heard some of my songs and loved them. He asked if we could do some co-writes for his next album I said YEA. We wrote “It’s Startin’ All Over Again”, “Everytime”, and “This Time”, which John put on his Man With A Vision album. John played all guitar solos, I played all other guitars. I also did some co-writes with Robin George. Robin is from Wolverhampton, so we knew each other for many years . I have put three Goalby / George songs on my album : “I Built This House”, “Monalisa Smile”, and “Chance Of A Lifetime”. They were recorded in Robin’s home studio.
In talking about some of the tracks – Monalisa Smile is one many will know [as it was a single], but it also created a bit of controversy in comparison to a Heep track on Raging Silence!?
When Heep were doing Raging Silence, Mick asked if I had any songs they could do. I had “Monalisa Smile”, and I wrote a new song especially for the album, I called it “Blood Red Roses”. It is a great song. So I sent those two songs to Mick. Then when I heard the album I played “Blood Red Roses” and thought “WOW – I should have recorded it myself”. I loved it . But the next track came on and my father-in-law said “that’s your song too ?” I phoned Mick and said that “Voice On My TV” was the same as “Monalisa Smile”. He told me it was a co-write with the new keyboard player. Mick apologized and it has not been mentioned since that day.
[Peter Goalby: Rantarock Festival, June 1985. Photo courtesy of Juha Kivinen]
Do you have any personal favorite tracks on this album? Anything specific that you felt would’ve made a great single at the time you recorded them?
I love every track on Easy With The Heartaches. I chose that song as the title track because of the lyrics. They are rather fitting. they mention ‘too scared to run’ and ‘Rainbow’. I think my very favorite has to be “They’ll Never Find Us”, it fits together so well, and I sing it well (I hope).
These songs have always been noted as being demos!?
I call them demos, but they sound as good as anything else that’s out there from the 80s.
What happened following these recordings that they ended up getting shelved [and eventually bootlegged] and you eventually leaving the music business as a writer / performer?
Mickie Most went to America with “I Don’t Wanna Fight” and “Monalisa Smile”, and got me an album deal. And they offered him 15 points [percentage breakdown], and he wanted 19, and he walked away! So yet again – this is the story of my life! There would’ve been a Pete Goalby album a few years after I’d left Heep.
This single started to do well, it was on round table, which is a Friday night radio show where they play new singles and comment on them UK DJ Mike Reid was on that night .I remember it well, I was listening to the show. They played my record and Mike said – “What a song. The vocal is a hit vocal, but the production sounds so old fashioned . It sounds like the sixties. Awful”. Monday morning Micky pulled the record from release. He withdrew the record .
I remember there was a shake up at Rondor, my contract was up for renewal. The guy that had signed me got fired and so did all of his Artists – including me . So that was the end of that. I decided enough was enough and quit the music industry. I had given my all for so many years but decided there were other things in life like being happy.
In the years since leaving the business did you miss it at all – not so much the ‘business’ end, but the writing, recording or performing live? And do you still play on occasion [in private, for company or yourself]?
I missed it all, big time! That’s why I stopped completely. That was the only way to deal with it. I was in denial. It took a long time to get over it all and become normal again. I could not figure out why I could not get it off the ground. So I stopped. I have not picked up a guitar in many years. And the same with the singing. The last singing I did was for Uli Roth, 1992, I think. Looking back, I hated the music business, but loved the music . This album is so important to me. I truly believe these are my best songs.
What sort of lead you at this stage to get these recordings out? Curious if you’ve seen a lot of positive comments about your recordings with Heep and Trapeze, and if that played a part? Can you kind of go through what got you motivated, and the whole process to get to this release? {i believe it was late 2019 when you first mentioned it].
I had been looking on YouTube etc , and was blown away with the comments about the songs. People totally get it! And that’s great. So many people saying they like the songs. A very important thing happened to me when I was 60 years old – my Mother told me the man who I thought was my Dad, actually was not my Dad. My real father was a singer and piano player – Wow! Then it all made sense. I finally knew who I was and where it all came from. Had I known this before I would not have stopped singing and writing etc (isn’t it a strange old world?) Losing Trevor, Lee and Ken made me think real hard about things. I thought when I go, some one will buy the rights to my songs and release them anyway. So I decided to stick around and hopefully enjoy releasing the album and all that goes with it.
Has this release inspired you to want to see more stuff from your past get released [or reissued] – like Fable, various singles…..?
As I said when I am gone , it will all get released so, if that’s what people would like . Then let’s go for it now Kevin.
Why did you decide on Easy With The Heartaches as the title?
I wanted to call it Easy With The Heartaches because it could be about me, if you listen to the words.
As you had more than enough songs to pick from [people who have the ‘bootleg’ out there will say there’s songs missing]. So curious how you chose the songs for this release? And what might become of the ‘leftovers’?
I was not even aware there had been a bootleg album of my songs. I thought some one had been nice enough to put a couple of my songs on You tube. I wanted the album to be punchy. After being in such a great band with Mick. I think that is what people will expect. I have more songs and we will see how things go with this album.
How happy are you with this album being released [finally]?
This is my first album since Equator and it’s been such a long time. It’s weird but I can detach myself from them ’cause it’s been so long since recording them. It’s as though I am listening to some one else. I think he is good, I like his voice! But I love the songs and style of the songs. It’s the kind of music I love. So it makes me very happy.
Could you foresee yourself recording anything new – be it reworkings of old songs or perhaps writing something new?
I am not sure about singing or writing new songs but lately I have learnt – NEVER SAY NEVER!
How involved and happy were you with the Trapeze compilation that came out in 2019?
I had a nice surprise last year with the release of the Trapeze compilation. I don’t know why but they did not use “When You Get To Heaven”. I think that was a strong song… Anyway, never mind. I was not involved at all with the release. I was asked to do something for the sleeve notes, which I was very happy to do.
There are a number of things in the Heep vaults from your time – the Ridge Farm stuff, the live in Auckland show, there’s also a live show from Glasgow [radio broadcast]. . Would you be keen to seeing some of this stuff ever released?
No! The live in New Zealand I think is fab. I’ve watched it. That was done properly, it sounds good, we’re playing [what I call] proper songs. That wouldn’t be a problem. But all this stuff like Ridge Farms, and stuff I’ve seen over the years like backing tracks, I’m thinking ‘who is doing this, what is the point?’ , it’s crap – it’s not very good. [Q- stuff on the box sets?] . Yeah, I don’t agree with any of that, it was never meant to be released. You wouldn’t release them at the time. The reason something doesn’t get released is because it’s not strong enough or it’s not in the right style, or whatever. So you pick and choose what’s going to be on the album, and all these songs get fallen by the wayside, and a lot of them aren’t even finished because you think there’s no point in finishing it because it’s not going to make it; it’s a no-go. And to hear them coming out as bonus tracks, I’m embarrassed, because it was never meant to be!
You remained a very private person since leaving the business, even avoiding social media. Can you give fans an insight in to how you are doing and what you’re into these days?
So, it’s all looking great, I have been very lucky in many ways. I am enjoying my Retirement, although I think I will be very busy after November 5th. We are still very much into our horses and horsey stuff.
Though it’s been a long time – have you occasionally been recognized or approached by fans while out in public?
I am still recognized, yes. I have always played it down though. A lot of our friends still don’t know I was a singer in the 70s and 80s. It’s great fun when they find out.
You spent a lot of time with Trevor and Lee, and were friendly with Ken. Any special memories or tales of any of them?
We lost Trevor, Lee, Ken , and then John Lawton . I did not know John but he was part of the family and all are missed .
I loved Lee, he looked after me . Bob Daisley said , if Lee tells you anything you must either half it , double it, or completely ignore it LOL
Bob called Lee ‘Grenade Head’ ’cause he was likely to go off at any moment LOL. Bob and Lee were very close right until the end .
Lee was an absolutely fantastic drummer. To stand to in front of the drum riser with Lee playing behind me, his bass drum used to blow out my trousers, he was so loud, he was like Cozy Powell. Cozy was exactly the same. A fantastic drummer. But Dave Holland was a great drummer too.
Trevor – What a bass player! I still see him all the time on all the Spiders From Mars videos on TV. Trevor was also a funny guy; very quiet but in a calm way I loved sharing a stage with Trev.
Ken, what a talent – so many classic songs . I wish I could have shared a stage with Ken. It did cross my mind to do an album with him but I left it too late . He was a great keyboard player; a different style to my mate John Sinclair, Both fantastic.
You’ve kept in touch with Mick over the years, and presumably John Sinclair. And Bob Daisley was in the band prior to Trevor…
Yes I am in touch with Micky but more so with my mate John, he is the funniest man in the world, so funny. He said to me a few months ago – “Pete you are the best singer I have ever worked with… Oh, apart from OZZY!” LOL
When Bob left the band I was so upset, as we were great together. He is a great bass player and writer – ,everyone knows that. Bob and Lee together, WOW – bloody fantastic! It was an honor Bob.
If you were to ever join Heep onstage for a couple of songs from the ’80s — what would you like to do? 🙂
If I ever joined Mick on stage for a couple of songs from the 80s – “To Scared To Run” – for sure, as it’s my song. And I think maybe “The Other Side Of Midnight.”
A new compilation from German progressive / hard rock band Lucifer’s Friend marks the end of this great band, following the losses of founding members Dieter Horns [bass] last year, and singer John Lawton earlier this year. The band had began in 1970, and continued until 1981 with Lawton leaving the band in 1976 to join Uriah Heep, then returning for one album in 1980 following the departure of his replacement Mike Starrs. The band regrouped in 1994 as Lucifer’s Friend II, minus founding member – keyboard player Peter Hecht, and with a new drummer, and released the album Sumo Grip. They disbanded again, but Lawton, Horns, and guitarist Peter Hesslein would reunite again in 2014 to record some new songs for the compilation Awakening in 2015. They then played some shows in 2015, when they would record Live At Sweden Rock [issued the next year]. 2016 also saw the release of a brand new studio album titled Too Late To Hate, which was followed by 2019’s excellent Black Moon album. During this time health issues prevented the band from playing live before the Covid pandemic started in 2020. At the time of Black Moon John Lawton stated that another album was largely done, and was just awaiting his vocals. But Covid had closed the studio John would normally work out of, so no chance to record seems to have shelved this project. Sadly, In December of last year Dieter Horns, who had had recent health issues contracted Covid-19, and passed away in hospital. Further tragic news came when John Lawton suddenly passed away on June 29 of this year, leaving fans shocked. Late last year Peter Hesslein released his first solo [instrumental] album Night Drive, and is set to release the follow up, Night Drive 2.
The Last Stand is a fitting touch to end the band’s catalogue (unless of course, there’s things in the vaults 🙂 ) . It is compiled by Hesslein, from the albums from Sumo Grip, up until Black Moon.
Track Listing:
1 Heartbreaker 2 Sheree 3 Ride The Sky ‘94 4 You Touched Me With Your Heart 5 Pray 6 Did You Ever 7 Demolition Man 8 When Children Cry 9 Straight For The Heart 10 This Time 11 Black Moon 12 Passengers 13 Call The Captain 14 Freedom 15 When You’re Gone (Live)
In my teenage years I came across Spirit, probably from “I Got A Line On You” or a few other classics on Toronto radio. I think I picked up the LP Spirit of ’84, with all the remakes of the few songs I knew. On one of my excursions to downtown Toronto with my uncle when I was 14 or 15 I picked up a number of Spirit albums in various used shops along Yonge Street – heck, I’ve still got a few stickers from those stores on my records! (Peter Dunn’s Vinyl Museum was a favorite stop). Years later I had written an address I found for Spirit in a magazine (I assume), as I was writing the odd review for a local music magazine. Sometime in late 1996 I received a package from their management, and it was a letter from Randy California, along with the band’s latest [and last] CD – California Blues. I reviewed it sometime soon after, and not too long after read that California had drowned off the coast of Hawaii. It was sad news indeed. I (obviously) still have that CD as well as the letter, which I will dig out and post here sometime.
• NEW REMASTERED EIGHT DISC BOXED SET FEATURING EACH ALBUM RECORDED BY THE LEGENDARY BAND SPIRIT RELEASED BY THE MERCURY LABEL BETWEEN 1975 AND 1977 AND IN 1984 • PLUS 102 PREVIOUSLY UNRELEASED LIVE RECORDINGS AND DEMOS COMPILED BY SPRIT ARCHIVIST MICK SKIDMORE • INCLUDES THE ALBUMS ‘SPIRIT OF ‘76’, ‘SON OF SPIRIT’, ‘FARTHER ALONG’, ‘FUTURE GAMES’, AND ‘THE THIRTEENTH DREAM (SPIRIT OF ’84)’ REMASTERED FROM THE ORIGINAL MERCURY MASTER TAPES PLUS A BOOKLET WITH NEW ESSAY BY MICK SKIDMORE.
A very thorough 8 CD set from one of American’s classic late 60s / 70s bands. Sprit may be better known for their earlier material like The 12 Dreams Of Dr Sardonicus [the band’s 4th album] and the hits like “I Got A Line On You” and “Nature’s Way”, but the band carried on for years, and this box set compiles the band’s recordings during the mid 70s and 1984, while on Mercury Records. It includes the 5 albums recorded during this time, as well as a disc of demos & live tracks, a previously unreleased live show from ’75, a disc of studio outtakes from 74-75 + Randy California demos, and the 5 discs of the albums all contain a number of bonus tracks. There’s over a 100 previously unreleased tracks here! So safe to say a must have for Spirit fans.
This collection starts with 1975’s Spirit Of ’76, which saw a new line-up of the band. Following 1970’s highly successful-classic 12 Dreams Of Dr Sardonicus, Jay Ferguson and Mark Andes also left to form Jo-Jo Gunne, and following a riding accident and head injury Randy California also left, and would record a solo album Kaptain Kopter and the (Fabulous) Twirly Birds. Founder/drummer Ed Cassidy and keyboardist John Locke recorded Feedback in ’72 with a new line-up, before Cassidy and California [his stepson] got back together and eventually created the double album – Spirit Of ’76. Recorded as 3-piece, Spirit Of ’76 consists of 25 tracks, largely written by California & Cassidy with favorites like “Victim Of Society”, “Sunrise”, and the gospel ballad “Thank You Lord”. For being mid ’70s, this album still has a definite ’60s psych feel throughout, with plenty of folk, blues, rock, country influences, as well as off spoken word, and a number of interesting covers such as Dylan’s “The Times They Are A Changing”, “Like A Rolling Stone”, the Stones “Happy”, as well as “Hey Joe” – tho’ not penned by Hendrix, California had played with Hendrix early in his career. There’s 14 bonus tracks on the 2nd disc, consisting of alternate takes and live tracks recorded in ’74.
Next up was Son Of Spirit, recorded later in ’75, followed by 1976’s Farther Along. These 2 albums make up disc 3, along with 5 bonus tracks. Son Of Spirit, still recorded as a trio, with Barry Keene on bass, included almost all Randy California material, a bit more country-ish in places, featured the single “Holy Man” and a cover of The Beatles’ “Yesterday”. Farther Along saw Spirit return to being a 5 piece with Locke and Andes returning, as well as Matt Andes on guitar/vocals. I liked this album a lot more, though it took on a number of new styles, as well as strings on some tracks, horns on a couple. Favorites include “Stoney Night”, “Mega Star”, “Diamond Spirit”… the title track was issued as the single (and a live version is included among the bonus cuts), and it closed with a instrumental string version of “Nature’s Way”. The band’s final album for Mercury in the ’70s was 1977’s Future Games, which seems like more of a Randy California solo project, mainly written by California, and a bit of help on a few tracks from Cassidy, as well as guests like Kim Fowley. A strange album , featuring no other original band members [aside from Cassidy]. It’s like some strange sci-fi concept with all sorts of odd tv clips inserted, and sound effects, amongst the 22 [!!] titles, many of which clock in around or just under a minute. It does include a decent cover of “All Along The Watchtower”. Tacked on the Future Games disc is 11 bonus tracks, including alternate takes and demos. 1984’s The Thirteenth Dream (aka Spirit Of ’84) saw the original band reunited again. The band would re-record many of their classics, as well as include a few new songs. I liked this album, as it was nicely up to date at the time, and a bit heavier. It also featured a number of guests, notably Bob Welch, Howard Leese, Neal Doughty, and Matt Andes. The disc is filled out by a half dozen excellent sounding live tracks from 1986. Disc #6 is titled Spirit Of Salvation and is full of unreleased studio material from 1974-75, as well as a pile of Randy California demos. Next up is a 15 song concert from the Armadillo in Austin, Texas, recorded in June of ’75. A really solid performance and recording, features a killer rendition of “All Along The Watchtower”. The 8th (last) disc consists of the Future Games demos, and I really dig this, as you can hear the songs better without so much clutter; sounds very good. It is completed with 8 live tracks recorded at the Agora in 1975; among them is a great 9 minute take of “Like A Rolling Stone”, as well as excellent performances of such classics as “Mr Skin” and “I Got A Line On You” – to close things out.
This is a very thorough and valuable collection of one of America’s great, underrated bands. Loads of different material album to album, and so much bonus material, with live stuff, makes this a highly recommended addition to any Spirit fan’s collection, as well as a cool piece for curious types who don’t want to pick up the band’s output separately.
Incidentally, this is the latest Spirit box set from Cherry Red, as there are a number of others, covering every era of the band, and Randy California’s work.
Peter Goalby left Uriah Heep following 1985’s Equator album and world tour. His first move was to release a single under the name Perfect Stranger in 1988. The singer, who also was a major songwriter during his time in Heep would resurface on the band’s 1989 album Raging Silence, as he wrote the single “Blood Red Roses”. As well he wrote “Falling Apart”, for Smokie on their 1989 album Boulevard Of Broken Dreams. He would also record a number of tracks for a solo project in 1990. A few of these tracks would see the light of day on official releases – “Mona Lisa Smile” was issued as a single in 1988, co-written & arranged by guitarist Robin George [ex Byron Band], and produced by Mickie Most. That track, as well as “Chance Of A Lifetime” [also on Easy With The Heartaches] were also recorded by UK band Estrella for their 2012 album Come Out To Play [an album produced by former Heep keyboardist John Sinclair]. Peter also wrote for a few other artists [notably John Parr], as well as guested on stage with Uli Roth, but would retire from the business, and taking on a job for a guitar company. But these recordings would later find their way out on the internet – bootlegged to download or on Youtube. His 1990 unreleased solo album was no secret amongst Goalby’s fans. Recently retired, and knowing these are the last things he wrote and recorded, and was proud of, the singer finally decided it might be a good idea to get his lost solo album out as an official release. Easy With The Heartaches features 11 tracks personally overseen (from tape transfer, mastering and artwork) by Peter Goalby. And here’s hoping that fans enjoy it, it’s not the last we hear from him!
Track Listing:
1 Easy With The Heartaches 2 Hold The Dreams 3 I Found Real Love 4 Chance Of A Lifetime 5 Mona Lisa Smile 6 They’ll Never Find Us (Running For Our Lives) 7 I Used To Be Your Lover 8 Take Another Look 9 Perfection 10 I Built This House 11 The Last Time
British progressive band Marillion bring their The Light At The End Of The Tunnel tour to the stages of Britain with a 10-date tour in November culminating in 2 nights at the London Eventim Apollo, Hammersmith.
Steve Hogarth says: “No, it isn’t a train coming the other way, it is in fact, The Light at the End of the Tunnel. We spent our time IN the tunnel writing our twentieth studio album.
We will tour in the UK in November and debut one or two new tracks, along with what we feel is the best of our (let’s face it) huge catalogue.
Our fans are legendary creatures of faith and enthusiasm – some say obsession – so we can’t wait for that feeling of reunification as we return from the wilderness, to the stage. The light is gonna feel good.”
The Light At The End Of The Tunnel Tour November 2021:
Sunday 14th Nov Hull City Hall
Monday 15th Nov Edinburgh Usher Hall
Wednesday 17th Nov Cardiff St David’s Hall
Thursday 18th Nov Manchester Bridgewater Hall
Saturday 20th Nov Cambridge Corn Exchange
Sunday 21st Nov Birmingham Symphony Hall
Tuesday 23rd Nov Liverpool Philharmonic Hall
Wednesday 24th Nov Bath Forum
Friday 26th Nov London** Eventim Apollo Hammersmith (seated)
Saturday 27th Nov London** Eventim Apollo Hammersmith (standing)
**Please note the Apollo Hammersmith shows will be – one night seated and one night standing.
MARILLION are: Steve Hogarth – lead vocals, lyrics, keyboards, percussion, Steve Rothery – electric guitars, acoustic guitars, Pete Trewavas – Bass, Guitar, Backing Vocals, , Mark Kelly – keyboards, and Ian Mosley – drums, percussion.
The band’s latest studio album’s are 2016’s F.E.A.R. [Fuck Everyone And Run], and 2019’s With Their Friends From The Orchestra. The band is currently working on An Hour Before It’s Dark – for 2022 release.
Golden Earring’s best known album, and their biggest success in North America, Moontan is a ’70s must hear classic album, not only boasting the band’s biggest hit, but also a number of live favorites, with 4 cuts featuring on the band’s awesome 1977 Live album. It featured a cover photo from Dutch photographer Ronnie Hertz, a pic perhaps too much for North America where this market got a different cover or …an earring!
MOONTAN – REMASTERED & EXPANDED To be released September 10.
New expanded 2CD edition of the 1973 classic Golden Earring album, featuring the worldwide hit Radar Love
For the first time ever remastered from the first-generation master tapes.
Featuring 6 bonus tracks, including Big Tree, Blue Sea (1973 version) and Instant Poetry
Including a 32-page booklet with a new essay, memorabilia, and photos
Founded in 1961 by George Kooymans and Rinus Gerritsen, Dutch rock band Golden Earring (or Golden Earrings, until 1969) started off as a beat-band, experimented as a psychedelic quartet and finally became a heavy rock group. Their ninth album Moontan (1973) hit the international album charts and is the band’s most successful album in the United States, being the only Golden Earring album to be certified Gold by the RIAA. The single “Radar Love” reached #10 on the Cash Box Top 100 and #13 in Billboard in the United States. It also hit the Top 10 in many countries – including The Netherlands (#1), Spain (#1), Germany (#5), United Kingdom (#7), Canada (#10) and Australia (#10) – and consequently became a bonafide international classic rock song. In June 2020, the original master-tapes of this classic album were unearthed for a long-awaited remastered edition – 48 years after its original release.
Alongside a fresh remaster from the IBC Studios first-generation album masters, six bonus tracks have been added, including the 1973 remake of “Big Tree”, “Blue Sea” that was added to the UK and US editions of the original album, the original single versions of “Radar Love” and “Candy’s Going Bad”, the B-side “The Song Is Over” and the 1974 single “Instant Poetry”.
In addition, a second CD entitled The Moontan Sessions features nine previously unreleased mixes/different versions that give insight into the whole production process of the album. Taken from a variety of archive tapes, these include the original basic recordings of “Radar Love”, “The Song Is Over”, “Are You Receiving Me” and “Vanilla Queen”, taped in early 1973 at Phonogram Studios in Hilversum (The Netherlands), which were overdubbed and finished at London’s IBC Studios in July 1973. All tracks have been 24 bit/192 kHz remastered from the original master-tapes.
A special 2LP edition of Moontan (remastered & expanded) released by Music On Vinyl will follow in early 2022. This 2CD edition of Moontan starts off a special series of remastered & expanded albums by Golden Earring, overseen by Red Bullet catalogue and band archivist Wouter Bessels.
TRACKLISTING
CD 1: Original album version remastered plus bonus tracks 1. Candy’s Going Bad 6.13 2. Are You Receiving Me 9.32 3. Suzy Lunacy (Mental Rock) 4.26 4. Radar Love 6.26 5. Just Like Vince Taylor 4.22 6. Vanilla Queen 9.19 BONUS TRACKS: 7. Big Tree, Blue Sea (1973 version) 8.12 8. Candy’s Going Bad (single version) 2.52 9. Radar Love (single version) 3.45 10. The Song Is Over 4.52 11. Instant Poetry 5.08 12. From Heaven, From Hell (1974 version) 6.05
CD 2: The Moontan Sessions 1. Vanilla Queen (early version) 10.03 2. Radar Love (basic track) 6.27 3. The Song Is Over (basic track) 5.14 4. Are You Receiving Me (basic track) 9.30 5. Candy’s Going Bad (rough mix) 4.06 6. Vanilla Queen part 1 (rough mix) 5.36 7. Just Like Vince Taylor (alternate mix) 4.27 8. Big Tree, Blue Sea part 1 (rough mix) 3.14 9. Radar Love (instrumental mono mix) 6.30
Moontan (remastered & expanded) will be released by Red Bullet Productions on 10 September 2021 and will be available through all renowned worldwide music dealers and online shops.
This is an interview I originally did with Foghat frontman Charlie Huhn in 2009 upon the release of Live At The Blues Warehouse. Charlie had joined the band following the passing of founding singer/guitarist Dave Peverett, and is still there, as the band’s latest release is the live 8 Days On The Road, recorded at Daryl’s House [club], in November of 2019. It can be ordered athttp://www.foghat.com Since this interview Foghat has released a few studio albums, notably 2016’s Under The Influence, and in the past few years has been joined by bass player Rodney O’Quinn [who replaced the late Craig MacGregor]. This interview discusses Charlie’s time with Foghat to that point, as well as his busy career and some great albums he was apart of before Foghat.
You’ve been in Foghat for a good few years now, how did that all come about and how familiar were you with them before hand? CH- I was really familiar with them, ever since before they were Foghat. I followed Dave and Tony and Roger when they were in Savoy Brown. And then in ’71 when Foghat 1 came out I was in college and that was one of the most rockin’ albums of the year! And then when Dave passed away he told Roger, before he died – that he should keep the band going and he suggested that he should get the guy that was singing in Humble Pie, me.
Was it an easy transition for you? CH – well I had to learn about 25 songs, and I’m used to doing that. So it was a pretty easy transition but i wanted to get it dead-on, so i picked up a lot of Dave’s vocal nuances and made sure i had all the guitar parts better than excellent. And that drives us – having the solid rhythm section and backing track music, with the vocals on top.
Out of the back catalogue you’ve obviously got a lot of 70s classics like Fool For The City and Slow Ride and all those great tracks. What have been some of the favorites for you personally, and songs you enjoy doing the most? CH- I enjoy doing the Chateau Le Fitte ’59 Boogie a lot because we put a Savoy Brown boogie in the middle of it, and it really cooks, and also I like doing Ride Ride Ride, which is a new addition to the set. We start our set with it this year, and it just really sets up the whole evening with a great kind of regal intro to it and then a driving A rocker, if you know what I mean.
Do you guys alternate the set a lot and is there anything in the catalogue that you still want to add in? CH- Well, we’ve touched on almost everything from Terraplane Blues to Third Time Lucky, and it was the first time we’ve ever played that live, so… We keep adding new material every year. Last year we did a new version of Road Fever, which was like the ‘Live’ version, and we started the set with that. And we’ve done Trouble Trouble, we’ve done Home In My Hand, and we always do the ones like Stone Blue and Drivin Wheel and Fool For The City, Slow Ride, and I Just Wanna Make Love To You — those are kind of like the ‘standards’, but we end up changing around the rest of the set. We used to do a bunch of stuff from the Family Joules CD that we put out in 2003.
How much of that do you guys still keep in the live set? CH- Well it’s kinda of taken it’s run and a couple of years ago we finally stopped playing Mumbo Jumbo. We were playing Mumbo Jumbo a lot, and in the early days, along with 3 or 4 others.
There was a lot of good rockin’ stuff on there. How was the reaction to that album? CH- Well, it was a little mild, but the problem is getting it out to the people and letting them know it’s available, which is kind of difficult these days. But we got a pretty good fan base left, and we were selling a lot of them at the live shows and we had it on Amazon, CD Baby … to name a few of the places where it was available. Getting the word out is so tough these days, but for an older classic rock band….
It was a good ‘band’ album in the sense that you guys all wrote stuff for it. Like i said there’s a lot of good rock stuff. I notice you guys get in to the more ‘party’ type – straight ahead rockers….. CH- That’s kind of the Foghat attitude anyway, kinda ‘happy go lucky’ and positive attitude stuff.
Yeah, I almost get, on a couple of songs – with your vocals, it’s almost like an AC/DC vibe. CH- Yeah, it’s interesting, my higher range tends to have that timber in it, it’s not a bad thing, but when it sounds a little too much like Bon Scott, you kind of wonder what’s going on. I’m kind of surprised to hear that result, but it’s all good. It’s all high energy positive rock n roll – and that’s what we’re all about, so…
Now you guys have done the Live album at the Warehouse… CH- Yeah, Live At The Blues Warehouse is a single CD, and that we put out earlier this year because it turned out really well. It was a live radio broadcast that we played in Long Island. We played with little amps in kind of this large studio. But it turned out great sounding, so we decided to release it. We were happy with it. And there were a couple of never-before heard tracks that Foghat has never recorded, like Shake Yer Money Maker and …I can’t remember the other one. But we really liked the results for that one.
Now there was no audience for that one – just the radio guys? CH- Yep, exactly. Is that a different feeling for you guys to play.. CH- well, a little bit. We had 4 people there listening to us; friends that kind of hang out. But we can have fun in a box, it’s more like we’re just really enjoy playing and we’re all players anyway. So once the red light goes on, everybody kinda puts their nose to the grindstone and everybody puts on a 110% – no matter if it’s in a box or if it’s in front of 100 thousand people! Well it’s a great sounding CD and i think compared to the Live 2 album – which I like as well, that maybe because of the sound, it’s a little ‘gelled’ sounding, I guess. How happy were you with the Live 2 album? CH- Oh, I was real happy with that. That was one of our ‘welcome back Craig MacGregor’ double live CD because that showed the new line-up after Tony left and it was great to get Mac back in the fold. We were just going to put out one CD, but it turned out that we played so well that night and there was extra material that we decided to put out a double live CD.
It’s a great set, because it not only covers just the classics, but it also touches on different Foghat tunes, because you know – the band kind of gets pigeon-holed for a couple of songs and this shows there’s much more in the catalogue. CH – well, thanks!
What can you tell me about the guys you’re playing with? CH- Bryan Bassett is lead guitar player, plays slide and background vocals – and he’s an engineer as well. A really blow your mind – great player. I keep threatening him to collect $5 every time I hear a mistake and I’ve never collected any money yet. So, it’s something I can count on from him and that’s really a confidence builder because when you have someone who’s that consistent it just helps you relax and allows you to concentrate more instead of having to worry if somebody’s going to remember their parts or do a good job. And Bryan came from Molly Hatchet, and back in the 70s he was in Pittsburgh’s finest disco-rock band – Wild Cherry. And on bass – Craig MacGregor. He’s just a real A plus plus bass player, and just a wonderful human being and just wonderful to work with. And it’s an honor to be playing with him because he’s legendary Foghat. And Roger, there’s not much more I can say other than he’s a British percussion legend and it’s wonderful to be around him with his sense of humor and his generosity. It’s just a tremendous organization – the whole thing. I gather, and Roger being the founding member that you guys really gelled as a band!? It’s not a one-man show or anything. CH- No, that was the idea going in. And not one of us can do it by themselves, so the name of the band is Foghat, so it was decided it would be projected in that direction. And that’s the way to get the best out of everyone, i think. And it helps us continue to support the tradition of the band and not being a solo act or something like that.
Now you, yourself have done quite a bit of stuff prior to Foghat. Ted Nugent for one, a band called Deadringer… CH- That was just one CD. we never did a tour, but I did 4 albums with Victory over in Europe, and 2 of those were released in the States, and I did an album with Gary Moore back in ’83, and Tommy Aldridge was on drums and Jimmy Bain was on bass, and then I played with Humble Pie – Jerry Shirley for 12 years from ’88 to 2000. We put out one live CD, “Rockin’ The Agora”. That’s interesting because I hear a bit of a Steve Marriott influence in your voice!? CH – I really enjoyed Steve Marriott; he was one of my first vocal heroes, you know way back in the Small Faces days. And we worked together when I was with Ted Nugent, so I got to meet him and it really was a tremendous experience. Having the opportunity to work with Jerry and do Humble Pie, I had the chance to perform the Steve Marriott vocals – which was fun. And it taught me a lot. It worked out pretty well. It’s just one of those things that happens when you’re lucky in life, you can meet some of your goals, you know.
Who else was in that version of Humble Pie? CH- When we first started out in ’88 Wally Socker from The Babys was on guitar, he’d played with Rod Stewart and Air Supply. On bass was Anthony Jones, he was from New York – The Planets, and he was on the last 2 Humble Pie studio albums with Steve Marriott – “Go For The Throat” and [I can’t remember the other] – it has the airplane on the cover, a cartoon drawing.
And why did that version of Humble Pie end? CH- Well, after 12 years Jerry decided that he wanted to quit playing, so he went back to England and everybody kind of went their own way.
I had read that there was some dispute over the use of the name at one point!? CH – Oh no. In fact Steve Marriott allowed Jerry to use the name because Steve was all finished doing Humble Pie, and he’d done some solo albums after that and Jerry wanted to continue. So there was never any problem. In Fact Jerry put an album out back in ’02 or ’03 with the original bass player – Greg Ridley, and he had Bobby Tench on vocals and guitar and another guy from England who used to be in Bad Company, a real good player and songwriter. That came out in about ’03 and was distributed over in England.
Do you have any favorite Humble Pie stuff? CH- I like anything Steve Marriott did vocally, but I think some of my favorite Humble Pie stuff was on “Town And Country” and then [of course] everything from “Smokin” and “Eat It” had a bunch of stuff that was great, and even some of the later stuff like “Fool For A Pretty Face”. We performed most of those songs that we really liked – “Natural Born Bugie”, even “Sweet Peace And Time” and of course, “30 Days In The Hole” and “I Don’t Need No Doctor”, “Hot ‘N Nasty”.. there’s just so many great ones that you could keep going on and on. The other thing you did was work with Ted Nugent. What was Ted like to work with? CH- Ted was wonderful; funny as hell! always on stage. But when you got him when you were the only ones around and he was normal – he’s a real intelligent guy, real generous. In fact he and I get along great, we have a lot in common, so we had a great time together. I did 4 albums with him; 2 of them went Platinum, 3 of them went Gold, and that was my introduction to the ‘big time’, you know!? I was on “Weekend Warriors”, “State Of Shock”, “Scream Dream” and “Intensities In Ten Cities”.
So you were there for his peak? CH- Oh yeah, that was at his peak in popularity. In fact we were headlining all the major stadium rock festivals, and co-headlining with Aerosmith and AC/DC, Journey, and I remember when Van Halen broke and they were opening for us. It was just amazing! It was just a tremendous era to be in the big time.
Would you recall in the late ’70s doing any shows with Ted that included Uriah Heep on the bill? CH- I vaguely do remember the openers, but we usually weren’t there for openers, we’d show up a half hour before show-time. But I did some work with Uriah Heep in the ’80s when I was with Victory. That was a lot of fun because they had the bass player from Spiders From Mars, David Bowie’s band – Trevor Bolder. And it was just such an honor meeting him and of course, the original guys from the band. They were another one of those great bands from early 70s, from England.
So, your influences in the early days would’ve been more from the British scene than the American scene then? CH- Yes. My early 70s influences were bands like, well – Rory Gallagher was one of my influences, and I really liked Led Zeppelin and Jimi Hendrix of course. I was just learning how to play and sing, so I kind of modeled my style after the singing-guitar players. I liked Johnny Winter a lot, and of course – earlier influences like Buddy Holly and Elvis Presley. But the English bands that I liked a lot were Ten Years After, Led Zeppelin, Jethro Tull, Spooky Tooth…
Are you amazed to see that there are still so many bands still out there from that era? CH- Oh yeah, sure. Any of them that are able to keep playing are just a pleasure to see. I even went to see Page and Plant a few years ago, and they were just awesome. I remember seeing them back in 1969 in Chicago. You know, there aren’t really too many of those late 60s, early 70s English bands out there any more.
One album you did that I wanted to mention was the Deadringer album, because I went out and saw Joe Bouchard and Dennis Dunaway a few months ago. CH- Oh good. In fact, I talked to Jay Johnson today and he’s going to sit in with us on Saturday in Ohio. He’s a great friend of mine. Jay’s awesome. Dennis Dunaway – tremendous bass player; it’s great to see him out playing again, and Neal Smith, of course was the heart of the rhythm section of the Alice Cooper’s original band, and he’s quite a character himself. And then Joe, himself. That [Deadringer] was a bit of a ‘supergroup’ really. CH – Yeah, and it’s fun to be involved in something like that. I wish we could’ve had better sales, but I don’t know what happened, but there was a lot of good music on that CD. It could’ve been mixed a little better, I think. But, sometimes that happens. We even covered a song written by Buck Dharma from Blue Oyster Cult “Summa Cum Loud”. And that was a fun song. I play a lot with BOC, because we’re touring together on quite a few stages. We played together up in BC [British Columbia], actually in Kelowna, about a month ago.
I just interviewed Joe a couple of months ago and it’s up at my site. CH – Joe Bouchard!? That’s awesome!
He’s got a new solo album out, which is really good. CH – Oh, that’s great!
What else do you guys got going in the works, aside from touring. Any plans for a future studio album? CH – Well, we’re going to be recording a Foghat blues album. And it’s going to have a couple of tracks that we already recorded, that are new Foghat tunes. Actually, we covered a Savoy Brown blues song called “Needle And Spoon”, and a song that John Mayall made famous – “So Many Roads”. Those 2 are going to be included, and some of the old Foghat blues staples like “Sweet Home Chicago” and the old Elmore James song “Hurts Me Too”, things like that, that are some of the major blues influences from Foghat. So that’s coming out next year.
Do you have anything going outside of the band? Or are you guys primarily just focused on the Foghat stuff? CH – Well, I’ve got my name in the yellow pages, but nobody calls. Just kidding! I’ve got a side project going on with a German guitar player, who’s living in Uraguay, South America. And he works with my schedule, which is nice, and it’s fun to do different material. His name is Matt Rorehr, and he’s from the hard-metal band called Bohse Onkelze over in Germany, who broke up in ’05. And we just recorded his second solo CD in April, and it’ll come out in October.
Have you ever considered a solo album? CH – Yeah, I’ve given that some thought because I’ve met a bunch of people in my career and it’d be fun to invite them all to perform on something. It’d be great to put it all down. I’ve got a bunch of ideas rolling through my brain and I’ll probably just sit down and put it all on paper sometime. As for 2010, I don’t think it will be in that year, but maybe 2011.
What have been some of the highlights during your time with Foghat – the biggest moments and biggest shows for you? CH – Some of these city festivals have been just amazing! Everywhere from Aurora, Illinois to Ashville, North Carolina — you have a city festival and you have Foghat on the bill and the streets just fill up with people. So we’ve played quite a few shows and it never fails, people just come out of the woodworks. So every show has been exciting for us. There’s very few that were poorly attended or mismanaged to the point of there isn’t an audience. So, all in all I’ve just had nothing but the highest kudos for this band because of the results of every show. It’s been fantastic!
Well, one thing I’ve got to say, and wrote in my review is I don’t think the band could’ve found a more suitable replacement for Dave. [CH – Thank you] …
I know the songs, a lot of them are Dave’s songs, but they also suit you. CH – Thank you very much! It’s an honor to carry the tradition on. And like I said before, we’re kind of all from the same bolt of cloth – we all love to play, and nobody would even think about giving %110 when it’s time to play. So from that standpoint, I’m in with the right guys.
I think it’s great that the band is still going and probably as strong as ever. There was a lot of years there where they were fighting over the name and everything else. CH – Exactly, and there was other issues – like Rod was diagnosed with bi-polar. He was was critically depressed and had to take medication, and when he wouldn’t take his medication he was just miserable and he made everybody else miserable. And that’s really unfortunate. He was such a great player, so to see the demise like that was really tough for those guys to endure. Other than that, the band did really well together, the core stayed together. Tony left in 1975, but he had a different vision and it wasn’t what the other guys wanted, so he got bought out in 1975. And then it was great for him to get back in the band in ’94 when Rick Rubin got the reunion together with the original line-up. That was a great album! CH – Yeah, they put out great stuff and it was great to see the original band together. And that’s when I first saw Foghat was in ’97. I’d heard about them for decades but had never seen them. Tony left again. Is there any legal issues still, as far as the name goes? CH – No, that was all resolved, and Tony went to do his own thing. He left in ’05 and that’s when Craig MacGregor came back. Tony’s kind of set in his ways and he wants to do things his way, so it’s understandable. Musicians kind of have their own way of doing things, so that’s why it’s tough sometimes to get 4 people to sit down and agree about everything, you know.
Well, it’s kind of neat that the 2 new guys have been in the Foghat family previously, so it’s not like it’s a new band centered around 1 guy; it’s a very legitimate and energetic band. CH – Exactly!
Before I let you go, anything you listen to and are listening to currently? CH – Well, I’m enjoying listening to a lot of younger bands. There’s a band out of Detroit called The Mugs and I like Jet and Airbourne, bands like that. I also like old industrial bands like Nine Inch Nails and other bands from that era, Stone Temple Pilots, things like that. But, I’m all ears I like to listen to everything from Jazz to classical to contemporary rock n roll and all that. So, I’m just kinda like a Heinz 57. Ha ha…
Released in March of 1974 – Shinin’ On is one of my favorite Grand Funk albums! Shinin’ On is known for including the band’s #1 hit single – “The Loco-Motion”, the classic title track [love that organ solo], And for the unique 3D cover! Anyone who has seen this cover in it’s original LP form, knows it came with a 3D cover & tear away 3D glasses, a poster, even upcoming tour dates on the inner sleeve … an amazing package. The cover / package concept & design was credited to Lynn Goldsmith and Andrew Cavaliere. Lynn worked not only as the band’s photographer, but also directed the 1973 promotional film for We’re An American Band, and created a number of other Grand Funk & Mark Farner [solo] covers,. She would also be credited on hundreds of album covers for art directing, creating, and photography by the likes of Alice Cooper, Tom Petty, Ted Nugent, Patti Smith Group, Ian Hunter, and loads more in various genres.
You can find out more about Lynn’s career and her massive list of credits, and classic albums she was a part of at :
Earlier this year I had written Lynn with questions about Shinin’ On, and a few weeks back she was kind enough to reply via a video on her Facebook page. It’s a very interesting clip, detailing the album cover, and and a good bit of insight into her time with Grand Funk. Any Grand Funk fan will want to check it out. Thanks to Lynn Goldsmith for this video. [below, enjoy!]
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Outsider Rock 