18th August 2021: Prog legends Caravan announce the release of their new album It’s None Of Your Business to be released on CD format on 8th October 2021 and as a vinyl LP, on 8th November, on Madfish Music
It’s None Of Your Business is Caravan’s first album since Paradise Filter (2013) and features nine new songs plus one instrumental track influenced, to a degree, by the events and restrictions placed on society over the past 18 months.
Caravan are Pye Hastings (guitar, vocals). Geoffrey Richardson (viola, mandolin, guitar), Jan Schelhaas (keyboards) and Mark Walker (drums). Lee Pomeroy (ELO, Rick Wakeman and Take That) has guested as bass player, following the departure of Jim Leverton, while Jimmy Hastings has also guested on flute.
The album was recorded, as restrictions allowed, ‘in the old-fashioned way’ between 24th June and 4th July 2021 at Rimshot Studio, Bredgar near Sittingbourne. “Sitting round in a circle having eye to eye contact, a large sound room was required,” Pye Hastings explained. “I much prefer this method because you can bounce ideas off each other as they occur, and voice encouragement when the whole thing begins to click.
“And it is much more rewarding to be able to throw insults at each other in person rather than down a telephone line or via email. This is something we are all very experienced at, believe me!”
This togetherness characterises It’s None Of Your Business with Caravan’s trademark warmth and humour and, also, a sensitivity reflecting the times in which we are living. Sitting among Caravan’s typically whimsical tales Down From London and If I Was To Fly sit the heartfelt and poignant Spare A Thought and Every Precious Little Thing which looks forward to a return to normality.
“’Spare a Thought’ is a song that I hope will jog people to remember those unfortunate people caught up in the pandemic,” Hastings explains. “‘All those people who denied’ refers to the idiots who don’t follow the scientific advice. I get angry about that and the line ‘Sure are interesting times’ refers to an old Chinese saying: ‘may you live in interesting times’”
“Lyrics can sometimes be my Achilles Heel, trying to find anything meaningful to write about. But sitting in front of a blank screen with a pandemic raging all around, it was hard not to be influenced by the dreadful events going on. The lockdown certainly focused the mind when it came to writing the lyrics.”
It’s None Of Your Businesscover and artwork has been created by renowned illustrator Bob Venables
Caravan will also be on tour, supporting the release of their new album, in the UK in October:
Wednesday 6th October Basingstoke The Haymarket
Thursday 7th October Islington The Union Chapel
Friday 8th October Brighton/Hove The Old Market
Thursday 14th October Chester The Live Rooms
Friday 15th October Leeds The Bridenwell
Saturday 16th October Bury The Met
Sunday 17th October Wolverhampton The Robin 2 (Bilston)
Thursday 21st October Bury St Edmunds The Apex
Friday 22nd October Newcastle The Cluny
Saturday 23rd October Glasgow Òran Mór
Wednesday 27th October Bristol The Fleece
Thursday 28th October Exeter The Phoenix
Friday 29th October Dover The Booking Hall
About Caravan
Caravan are one of the doyens of the progressive rock and the ‘Canterbury scene’, formed in 1968 and blending rock, jazz, folk and classical influences into a warm and distinctive sound.
Founder member Pye Hastings (guitar/vocals) remains as Caravan’s guiding light and primary songwriter. Geoffrey Richardson (viola, mandolin, guitar) first played with Caravan between 1972 and 1981 and returned to the fold in 1995. Their previous 14 studio albums and numerous live recordings have seen them attract a large and faithful following and Caravan toured regularly until the restrictions of the COVID-19 pandemic. They have a UK tour scheduled for October 2021 and have interest, from abroad, for overseas tours to Japan, Canada and South America.
The legends of the Canterbury scene band are being celebrated in a lavish 37-disc box set, entitled Who Do You Think We Are, released on Madfish on 20th August.
Caravan – It’s None of Your Business Released on 8th October
A while back I had written an overview of the CD releases from The Bolton Iron Maiden. The band was around in the first half of the ’70s as Iron Maiden, and by the time they’d ended another band that would become one of the biggest Heavy Metal bands of all-time had began, unknowingly, using the same name. So, the band’s drummer / singer / writer Paul O’Neill went on to release a few CDs under The Bolton Iron Maiden name, as well as a solo album. More recently he released a new album – Puppet Master : The Rise and Rise of Slick Dandy.
Iron Maiden, as they were known in the early ’70s were one of many British bands that played regularly live, and struggled for years to get to the next level – a recording contract, which would elude the band. But they did lay down a few originals in the studio at one point, and a number of their originals survived on taped live gigs, which were used for the 2005 release Maiden Flight. And aside from Steve Harris’ Iron Maiden, Paul O’Neill’s band would not be the only ones who used the name.
In this interview Paul talks about the band’s early days, recordings, the band name, the CD releases, and his latest album, among other things. It’s a fascinating look at a working band that was a part of the scene, but without making a huge impact. They are an interesting tale due to their name and timing, but would [in later years] put out some fine early ’70s hard rock, and O’Neill would go on to have a career in theater and create more music decades later. *For more info on the band and CD releases, check out the official website – http://theboltonironmaiden.com/
Enjoy!
When you guys decided on the name ‘Iron Maiden’ did it have any sort of musical intentions [ie being a heavier or darker band, etc]. And were you aware at all of anyone else using the name prior to?
Oh yes – we wanted a STRONG heavy name from our previous name “BIRTH” Musically we wanted to be a heavy rock band similar to Cream, Free, The Who, Iron Butterfly, Mountain, Black Sabbath and the new band all the rage – Led Zeppelin. Derek (I believe) came up with the idea for “Iron Maiden” and we loved it!
We had no idea there was anyone else using that name. We appeared in the musical papers of the time, Melody Maker, New Musical Express, Sounds etc, and it was only ever our Iron Maiden. I only discovered this other lot (from Basildon) in 2005!
One interesting but sad thing is that my wife was badly attacked and nearly murdered in May 1976. I was walking back from visiting her in the hospital one Thursday and bought the Melody Maker on the way home. I opened it up to my fave pages – the gig guide at the back – and saw Iron Maiden playing at a pub in London? I knew it could not be us. Beak at the time was ill with cancer. I have often thought that Beak, who sadly died two months later, was the person who (according to Steve Harris) rang the pub and said “you can’t use that name – it’s already being used”. The only way I could ever find that out, would be to buy Steve a pint and ask him. Beak had a very distinctive voice, and I would be able to tell if it was him.
Another sad tale is – although (the new) Iron Maiden and Rod were VERY supportive of us, and helped me enormously, a London paper called “The Metro” came to see me for an interview, and I was telling him all about what was happening. I mentioned a famous national Paper – The Sunday Mail wanted me to “dish the dirt” on Iron Maiden, for a headline they wanted “They Stole My Name, They Stole My Fame”
I told them the name was never stolen – we were happy for the boys to use it – we had stopped playing when Beak died.
Next day – across the centre pages of the Metro was They Stole My Name, They Stole My Fame. Rod has not spoken to me since – although I did get them to print a retraction – the damage was done. So the famous phrase “any publicity is good publicity” in our case – this was a killer. They have not contacted me or allowed any contact from me since 2006. Copy of article attached.
I would still love to have the conversation with Steve!
At your site there is mention of a few of the band’s Iron Maiden opened for. Aside from The Thin Lizzy story, can you recall a few memorable gigs opening for any other ‘name bands? And would you recall the biggest show[S] you did in crowd size? [any festivals?]
We played and opened for quite a few bands in our time playing mainly colleges.
I suppose I have to mention Judas Priest. We played with them a lot, they were good, but we thought we were better and did not like “being second on the bill” to them.
The very first open air gig we did was in Queens Park in Bolton. They had an old bandstand in the park and they used it for the first time for pop and rock music. It was about 1968 or 69. The main band had a magnetic magical lead singer – his name was Freddie Mercury!! The name of the band was Ibex(there is an article on our Facebook page ) https://www.facebook.com/theboltonnews/photos/a.190634877684580/2352381964843183/
Procul Harum at Salford College was a great night – we got there as they were sound checking and they were playing a reggae version of “A Whiter Shade Of Pale”. Mick Grabham was the guitarist that night. Years later – I met Mick who was playing with Don Airey (now Deep Purple) at a local pub where Don lives. We stood at the bar chatting and the subject of the reggae version came up and I (reluctantly) told him my band name – It was always awkward – because IM were SO famous – it always sounded like I was making a story up. No one knew we existed. However, Mick choked on his drink when I told him, and said – “Ahhh The Iron Maiden from Manchester!” I said “yes” had he went on to tell me – he and the others from the band, knowing that we played a support gig with them in the early ’70’s – went one night to see them (Iron Maiden) play. Went backstage after and said “Hi Guys it’s Procul Harum – we’ve come to see you” – They were met with blank stares!
Mick told me they couldn’t believe “we” (actually Steve’s band) didn’t remember them. Now he knew why – and phoned Gary and the guys from the pub we were in to let them know.
Supertramp. Another gig at Manchester uni. The band were a three piece when we first met them – at Manchester, they were a five piece and wow! what a band – no wonder they went on to super stardom.
The Groundhogs. We loved the Groundhogs and at the Octagon Theatre in Bolton we were very pleased to be playing support for the Groundhogs – only problem was one of our best numbers was “Cherry Red” by the Groundhogs. We had to take a chance and play it BEFORE they played it again!
A good thing too, because when it came to doing the covers album Boulton Flies Again I had to contact Tony McPhee, to allow us to use “Cherry Red” on the Album. He not only remembered us, but told me I was singing all the wrong words to the song! He corrected my lyrics, and let us use “Cherry Red” with no fee whilst it was generating charity money for Cancer. Then to top that – Tony and his missus actually SOLD copies of Boulton Flies Again at gigs they did in 2007/8. A proper gent and a REAL rock and roller! (if you listen to Cherry Red on BFA album, you can hear me trying to correct the incorrect vocal line. Tony wrote it about a hot blooded love affair – I thought I was singing about murdering your girlfriend.
UFO – a great heavy band – we played with them at the Drill Hall Bolton. (see notes on SAG)
Bloodwyn Pig at Manchester Uni. It was a real highlight to meet Mick Abrahams – he was a hero from Jethro Tull, who we all admired.
Solution (they were a Dutch band – friends of Focus) We played support for Solution at BIT (Bolton Institute of Technology) in Bolton, They were on tour at the time. They rolled up with no gear, and had to use ours. We stayed in touch for quite a long time. Wonderful band and brilliant musicians. Tommy Barlage the saxophonist wrote the tune “Divergence” which became “Tommy” on Moving Waves for Focus. I met them a few weeks later in a café in Manchester – where they were support band for my hero’s – Gentle Giant.
Caravan – at Mr Smiths in Manchester. Brilliant band – Loved the song “If I could do it again, I’d do it all over you”
David Bowie – we were not actually a warm up band – we played the famous Magic Village in Manchester and finished about 11. From then and through the night, artistes who were about would call in and just play. About 2am – a guy came in. We had no idea who it was – he sat crossed legged and played an acoustic and sang with no PA. We heard the song “The Man Who Sold The World” – but had no clue who this was until we heard the album!!!
Cozy Powell and Bedlam. We opened for Bedlam at BIT . Our claim to fame is that we were louder than them! That was important to us at the time! Cozy had a kit twice the size of mine, played it beyond my dreams – but I was louder!
Arthur Brown’s Kingdom Come – at Bolton Technical College – a gig not to be missed, Arthur was using a Bentley drum machine – it shorted and gave him a bad electrical shock – ended up Derek and a few others taking him to Bolton Royal Infirmary.
We topped the bill at the Moss Bank Park Festival in Bolton in about 1973. It was Bolton’s first real outdoor festival. Around 5000 attended.
Blackfoot Sue – at Salford Technical college. Great band. Sacked a roadie for talking to us too much!
Mungo Jerry – strange gig – another that sacked their roadie – we ended up taking him home, feeding him and getting him on a train the next day!
Trapeze – One of our fave bands. We saw them a few times and loved the first album – before we only played originals – we always opened with “Black Cloud”. However we never played with them sadly.
I know there are more – but Derek has the memory – mine is not the best – so sorry if I have missed anyone.
Any favorite tales of any crazy gigs / onstage moments?
I really do need Derek here. There were many crazy nights, and some not so savory things that went on backstage. At one club, where the guy in charge was not very nice, and withheld our money, our then lead singer Tony Fearn, decided to relieve himself in the bingo machine just before he was about to use it!
Another crazy night was in Newcastle, where we doubled. We played a club 7-10, then went on to a nightclub in the centre of Newcastle between 12am and 2am. When we had finished setting up, they pulled down some mesh netting. We had no idea why, until we started playing. At the first chord a shower of Newcastle Brown Ale bottles rained down on the stage. Memorable night in that we didn’t die!
Another time when we were getting really popular and filling colleges by ourselves, I decided to alter my drum solo.
I always played a solo during the final song “Maiden Flight”, after rattling round on the kit for a few minutes, I used to turn round and play two glockenspiels and wood blocks. I decided it would be great if Dylan the roadie would load up the top of the wood blocks with beer bottles and a hammer. After playing the wood blocks I picked up the hammer and just smashed every bottle in sight. Needless to say – they audience and the band were sprayed in blood – great time!
Our local gig was the BIT. In 1975 we played it for the last time. A highlight of my life was our Roadie Dylan, bringing me out of the dressing room, and taking me to a window, where you could see hundreds of people queuing around the building. He said –“the gig is full – this lot are only hoping to get in” Magic!
What were you guys listening to during the early ’70s – any band’s you admired or hoped to be in the same sorta category as [musically]?
I loved Cream, Ginger was a bit of a hero of mine, Gentle Giant, The Nice, and of course The Beatles! Very into progressive rock I have the first Yes album bought in 1969 and loved them since, also ELP, Genesis King Crimson.. In fact – the BIM track “Cracked Path” title came from a King Crimson track “Confusion” the line went “Confusion will be my epitaph as I walk a cracked and broken path” (Pete Sinfield lyrics)
Beak loved John Mayall, Eric Clapton, esp. the Layla Album and really any true bluesmen.
Derek was into US Rock – Mountain, New Riders, Grateful Dead, Spirit.
We all really got into a new band called Wishbone Ash. They used two guitars in harmony. We all loved the sound – especially Beak who wanted to introduce a second guitarist to play harmonies with. The track “Crawl Crawl Nighttime” from Maiden Flight was where he was headed. Derek and I both thought two guitars was a bit old hat – oh dear – how wrong could we be!! The new IM have bloody THREE!
You had the one brush with Tony Iommi, regarding [hopefully] managing the band. Did you ever hear from him again or anyone else who might’ve taken on the band?
Sadly no. It was Tony and a guy called Norman Hood who were coming to watch us, but no, we didn’t hear from them again. We had one guy who tried to manage us, but kept booking pop music venues – he didn’t understand Rock music at all. He didn’t last!
Was Iron Maiden a full time gig? How often did you guys play? and did you have regular venues and/or travel much around the country [or UK]?
It was a full time gig for a while. Derek always refused to give up his job as a telephone engineer. When Derek left and was replaced by Noel Pemberton Billing it did become full time.
Just before Derek left, he had an idea we should have a “spin off” band, playing only 1950’s rock and roll. We were called Teenagers In Love, (Piccy attached) and actually began to be more popular than Iron Maiden. So we made it pay by working two bands at the same time. We took on a pianist called Alan Wickam, and a brilliant lead singer called Paul Neon.
We did have quite a lot of regular venues – mainly the college circuit in the UK – not much in Wales, and we always seemed to be playing in the lake district in England and southern Scotland. We often played down south – but never London itself. I remember meeting three young lads in the South, who heard we may be breaking up – by this time Beak was not well, and we were so busy with Teenagers – IM was taking a back seat. They asked if they could use the name Iron Maiden. We were OK with that. I often wonder who those three lads were?
Again I would love to speak to Steve over a pint about that
What were the circumstances of the band’s one [and only?] studio session to lay down the 4 songs? Was there any other studio attempts [even before the band changed the name from Birth?]
Sadly nothing of Birth exists on tape. But I do have a recording of us when we were called “Ways N’ Means” from about 1967. We were all still learning to play. Fun to listen to now.
With Iron Maiden, we were looking to get a recording contract – but having no manager we tried to do it ourselves. Our Agent at the time was William Leyland – a well known agent in the North of England, and he had a new studio in the town of Farnworth near to Bolton. So we asked to use that and went in for two days, and recorded the 4 tracks. The idea was one of us was going to make copies of the tapes and send them to record companies. I don’t even know if anyone sent them off? If it did happen, I think Derek would have done that, but as history shows – nothing came of it.
We also (after Derek left) went to the same studio and recorded two tracks with Teenagers In Love.
Quite nice recordings of 20 Flight Rock (Eddie Cochran) and the song “Teenager In Love” but we changed it to “Teenagers In Love” to fit the band.
The songs you did record – why did you pick those 4, particularly if “Maiden Flight” was not included? [or was it not written at the time?]
I recall I wrote “Maiden Flight” after the session so missed out. The four tracks were our favorites at the time.
What inspired the band’s sci-fi lycal ideas, like time travel? [any particular tv shows, books…?]
We all seemed to love Si-Fi. Our stage show had an 8mm projector showing old B/W horror and Si-Fi movies. I think we were all inspired by 2001 A Space Odyssey, The Day the Earth Stood Still and even Star Trek. I was mainly the lyricist, and so it was my love of Arthur C Clarke and his contemporaries that started the SiFi theme. A story by Clifford D Simak was the inspiration for ‘Maiden Flight”.
As for the live tracks and the CD of Covers — can you tell me about how you came about to get those so many years later? can you tell me a bit about the fan who would save the shows, and how you went about ‘recovering’ the recordings for release?
That’s a big question Kevin! From very early on being called Iron Maiden, David Southworth – known to us all as SAG, was our No.1 fan. He followed us everywhere. What we didn’t know, he filmed us on his super 8 camera and also recorded every gig he came to on his Alba Cassette recorder. By some miracle, this little recorder (which I now have in my Studio) had a “Limiter” on it, so although we were incredibly loud as a band, this little cassette captured about 8 whole gigs. Roadie Paul Hampson brought a reel to reel tape deck to an early gig where we did mostly covers, and we used a lot of those tracks for Boulton Flies Again.
“Aint you Commin Home Babe” (Bloodwyn Pig) and “Fresh Garbage” (Spirit) were favorite tracks, and I thought lost. But when I decided to try to create Maiden Flight – I invited Sag and Paul Hampson to my place to stay a few days and listen to the tapes. Sag rolled up with a VERY old tape which had on those two tracks. It was recorded at a gig we did with UFO at the Drill Hall in Bolton, and the place was large and rang like a bell.
When it came to Sag talking me into creating a “Covers” album, his request was “Cherry Red”, “Fresh Garbage” and “Aint you Commin Home Babe”
I thought it impossible with the state of the sound. A large echoing venue, Sag at the back of the hall with the tape recorder hanging round his neck.. and dancing! But a mastering studio SRT in St.Ives took the task on, and managed to reduce the ringing on the empty sounding tape, and I then eq’d it to try and bring some sound back.
I admit Boulton Flies Again is really only for the fans, but I still sell an amazing amount of them. Only yesterday I had an order from Birmingham, Alabama for all four of my albums!! Gobsmacked to say the least. “Thunderbuck Ram” from BFA is the highest earning track from streaming?
So Sag and Paul were the catalyst to allow an actual album rather than a 4 track EP.
I carefully transferred the cassettes and the one reel to reel tape onto a computer programme called Magix which allowed me to remove squeeks and blips, then transferred the magix files onto Logic pro7.
In some cases – It was like a little miracle, The vocals were always way in the background, so I was able to double track my vocals, add a bit of reverb and it worked! On Life span we only had two recording – two weeks apart and in two different gigs. The first – Beak had drank a few beers and played the riff wrong – the one two weeks later, I managed to cut the correct guitar riff and paste it on to the first take – different venue, different sound, but it worked. I was falling in love with computer recording.
I mixed all the tracks myself to save costs and then had the albums mastered at SRT Studio – the same one that rescued the two badly recorded tracks.
I would have loved to re-record all the material and the tracks we never actually played live (we had a song called “Running Free” – how weird is that?) but time and cost was prohibitive and would not have made much for the two charities.
I think the album paid for itself in the first couple of months and has since (because of Downloads and streaming) generated income for the charities for over 15 years.
Of the original material – what were crowd favorites in the band’s live set, and what were a few of your own to play [or that you felt had the most promise]?
The crowd always loved “Cracked Path” and “Crawl Crawl Nighttime”. My favorite tracks are “Life Span” – especially my daughters’ backing vocals – which they came up with. I wanted humming – they thought differently, and they were right. “A Place Of My Own” I loved too because it really just rocked along. Beaks guitar playing was wonderful – we were a three piece band – and the way Beak filled everything in – we didn’t need any one else.
Can you tell me a bit about Ian Boulton Smith as far as a guitar player [recall who he was a fan of?], a bandmate, and friend?
Beak became a friend first. We were total opposites he was 6’6”, I was 5’6” for a start. He looked great on stage with his long blond hair; he always looked like a rock star. He also was an amazing guitarist and a lovely person to write with.
His tastes were different too. He loved the Blues and in particular John Mayall and the Bluesbreakers. I was into the Beatles, but he really opened my eyes to rock and the blues. I totally changed my tastes after I met Beak and Derek – we were all influencing each other. Derek was really into American rock.
As a guitar player, Beak, at that time was second to none. His playing, especially his fills, were amazing. For a three piece we could fill any venue with a great rock sound, and it was Beak who was the basis of it all. He never left a space – it was always filled with either rock solid chord work or sensitive fills. As a writer, he came up with amazing chord sequences, riffs to die for and rocking solos.
As a friend you could wish for no more. Fair to a fault, he would always forgive my exuberant ways and frolics – he was a very gentle soul who thought I was rather an unkempt wild thing (he was probably right) but I learned a lot from him – tolerance, gentleness and humour.
What did you do in the years after Iron Maiden disbanding? Was there any other regular playing bands? any invitations or auditions to join any other established bands?
Sadly – things sort of went to ratshit when Ian died. Sue my wife was just recovering from an horrendous attack by a madman, who got a life sentence for his attack. When my mother died the same year – I wanted to get out of Bolton – so did Sue.
We received an invitation from a ’50s rock and roll band called Sun Session – an Elvis band obviously. The band was fronted by Paul Neon who was with me in Teenagers In Love.
They were playing the London RnR circuit, and needed a drummer. So – we left Bolton and moved to Cambridgeshire, where we still live.
I sort of became a “50s Rock and Roll” drummer and was recruited by various bands in the ’80s – nothing of note, but, for one band – “Red Hot” we had to audition a guitarist.
It was very difficult to find the right guy for ’50s music, and we were just about to give up when we got a call from the advert in the Melody Maker. A guy known only as “Len” wanted to audition. I said we had just about given up, but if he wanted to call round to my studio the next night we would give him a listen.
“Len” showed up and was remarkable. We took him on and he was with us about 4 years before we discovered he was Lenny Davidson from the Dave Clarke 5. We had no idea!
We worked together for many years and Len and his wife Linda live literally around the corner. We both began teaching music at the Huntingdon College. I taught Drums and Keyboard – Len taught electric and classical Guitar
Len features as guitarist on my album “Totally Swept Away”
Can you touch on the idea and process of putting together the first CD in 2005? As well as your connection to Rod Smallwood and Steve Harris Iron Maiden? [did you get to meet up or hear from Steve?]
As I mentioned earlier – I haven’t met Steve. I met Adrian and tour manager David, but never Steve.
Putting the CD together was Sue’s idea. In 2005 she came in the studio and said – “do you know it will be 30 years next year that Beak died. Why not do a CD of your Iron Maiden and let Beak’s family have a copy, and our kids will be able to hear what you were like”
I have a great friend – Rob Harris who is also a guitarist (Jamiroquai). He sold me the Apple Computer and programme I needed to make the album. He also spent over 3 days teaching me how to use it. Rob mentioned that, if I was going to put out a CD, I must get the new IMs OK to do it. I was very reluctant, because I thought they would just tell me to “sod off” – which would be very hurtful to Beak and his memory. Rob and I have a mutual friend – Don Airey who played on an Iron Maiden LP (7th son I think). Don advised me to contact Rod Smallwood. So I sent an e-mail to Sanctuary – and immediately got an email back from their legal Dept.
They were very nice, I was surprised and pleased. They said Rod was happy, and not only could I do the album, but when it was finished, he would advertise it on the IM website. This was great news.
I received an e-mail back from their lawyer, who gave me details and said we would like you to change the name to “1970 to 1976 The Bolton Iron Maiden” – on three lines so it would still read Iron Maiden, but would avoid confusion for their fans. I was more than happy – after all it was their songs and talent that got them where they are – not our name!
From that grew an album, and we also managed on the 30th anniversary of his death, to do a re-union gig in Bolton in memory of Beak and to launch Maiden Flight and to raise funds for our Cancer charities. Dan Collins was playing guitar for me that night.
I called the night “the Bimmie” (The Bolton Iron Maiden Major Imbibing Event). We have since had a few “mini Bimmies” at the Olde Man and Sythe pub in Bolton.
Where did the story for Puppet Master come from [inspiration, ideas…]? And can you tell me a bit about how it went from a story to a full blown album idea?
When I first moved to Cambridgeshire, I wrote a song called “Life Is A Circus”. This would be about 1979. I then had an idea I would like to write a story of a boy who lived in a circus and was about to become a performer. This idea has floated round my head for YEARS. I then worked with Rob Harris. He would come and play guitar for me on various tracks and musicals I composed. Eventually – the circus idea became about the manager we never found as Iron Maiden, and would we have sold our souls to get to the top? The song “Maiden Flight” should have been carried on – I always wanted to write more about the Time Traveller and his faithful mute friend (a dog) – from that I formulated another SiFi song (Time Traveller – which is based on the Maiden Flight riff) and a SiFi album!
Can you tell me a bit about the players or it and why former BIM bandmembers didn’t appear?
I really wanted Derek and Noel to play. Derek lives 200 miles to the north and is not in the best of health, has no idea how to use a computer or record parts – so although I wanted him on the album – we had no resources to be able to record him. Noel lives 200 miles to the south, and is not good on staying in touch. Again I wanted Noel to play guitar (he switched from bass), another problem is Derek does not get on with Noel (a problem from many years ago) , so really using the originals was not going to happen. I have two good friends who were willing to come to me once a week and work on the songs I’d written – Martin Low (Guitar) and Garry Cutress (bass). Both are nice players and fitted in with me well.
As much as I could (time and opportunity willing) I would get Rob Harris on the recordings. Many of the songs featured Rob, when he used to use my studio, so I tried to continue that as much as possible. If you have heard Rob on Jamiroquai recordings and the work he has done with Don, you will understand why I wanted him! Rob is the backbone of the whole album.
I used to teach Don Airey’s son drumkit. He always said – if you need anything – I’ll do it for you. So when I needed a red hot moog solo – I rolled up to his place one Thursday morning in between Deep Purple gigs, and he took 20 minutes to do it for me (“Slick Dandy”). Don is one of those lovely guys who everyone likes the minute you meet him.
I had to use Rachael and Victoria on backing – cause they are just really Good!!!
Two other friends – Brian Sage from my days with a ’50s Rock and Roll band played sax for me, and Nick Hill – a local jazz trumpet player who also works with Don on his jazz gigs played trumpet for me.
What is your connection to Don Airey and how you got him involved?
I met Don through Nick Hill the trumpet player. Once you meet Don, you don’t forget him. Nor does he forget you! As I said – through Nick – I started to teach Don’s youngest son drums, and he said he owed me a favor!
I’ve done a couple of local gigs with Don, he is lovely – but scary – because he is such an immaculate player – if you make a mistake – one look and you fry on the spot!
Were the characters in Puppet Master inspired by any real people you know? Is any of it autobiographical or inspired by your own circumstances?
Yes indeed – I based some of the characters on real people. Wally Lemland the Agent working for Matthew L Fox – is based on Agent William Leyland, Matthew L Fox is simply the fox from Pinnoccio! The Sad Old Clown is my Granddad – John Feeney – stage name Tom E Sloan. The Ukrainian trapeze artist is Giant Jannkho is an anagram for Jonathan King – who let me down on my first songwriting contract with Chapple Music. The song “Rock and Roll Star” and “Gone Are The Days” are autobiographical.
As an album, it really needs to be listened to in full, as opposed to individual tracks. But, what are some of your favorites pieces / tracks from it?
I love “Slick Dandy”, “Help Me Forgive Christina” and “Rock and Roll Star”.
You recorded Puppet Master at your own studio over a number of years!? And how did you manage to wind up having it mixed & mastered at Abbey Road?
Being a rock drummer for many years, my hearing is on the way out. I worked on an album with my friend Paul Neon, just before he passed away from cancer in 2017/8. I sent the album to be mastered, and my mastering engineer said – “I could have been quicker, bit the mix was not very good!” – I mixed it! Oops So I thought I ought to see if I could find a mixing engineer who would not cost the earth.
I googled Mixing engineers – and alphabetically – Abbey Road came up first. I laughingly said to Sue – Im going to call them – just to see what they say. I started by saying “Do you work with nobodies?”
The lady laughed and said “We are a business – of course we do” She said I would have to send a sample of my material in – and the engineers would decide if they wanted to do it. Fortunately Toby Hulbert said he would love to mix it.
So I asked the cost – she said its £600 a day. I jumped for joy. I had saved over £800 so I could afford it and said yes! I send in my tracks and a few days later Toby called to discuss it with me. Then I had the real shock – they mixed only ONE track a day – and I had 18 tracks. So what I thought was only £600 was 600 x 18 = quite a few shillings to say the least.
Toby was very kind and in the end squeezed a lot more than one track a day for me, so it didn’t quite break the bank, but just the fact of being a Abbey Road – as a performer / client was absolutely magic. They also allow guests – so most of my family accompanied me for the days I worked there. The mix was immaculate. And the Mastering Engineer loved doing it too!
You [Paul] also did a solo album in 2009. Can you touch on this, as well as any other recording projects you may have been involved in or in the works?
You mean Totally Swept Away. This came about because my Dad told me the story of the Loss of The Birkenhead – a steamship which sank with the loss of 600 soldiers lives. I had to write a song about it and in true O’Neill fashion started to write more and more about the sea. It ended up as 15 songs about various aspects of the sea. Because of the topic of the songs there is a lot of folk influence in the songs. I have often played in Folk Rock bands and appreciate the music.
I am a big fan of Gentle Giant, and their first producer Tony Visconti. My dream was to have him produce this album for me. So on a whim, I looked him up on the internet and found an e-mail address. I contacted him and told him the story, and sent some MP3s, and to my shock – he replied and was interested in doing it.
However, his manager then contacted me and in a voice that sounded like someone from the mafia, he said, “you come through me, and no one else – I’ll decide who does what” Scarred me to death – didn’t hear from Mr Visconti after that. I hope I didn’t get him into trouble. But…..What a producer!
I have also written four musicals, two on my own –
Days In Glass Cages – a children’s story about insects and living in harmony with one another, and The Art Of Living Apart – a musical about the re-introduction of the death penalty in England – and one man being framed for murder will be the first recipient.
And I’ve co-written another two musicals – “Toys” and “Cloud Cuckoos”, with local writer Jenny Brench
I’ve been Musical Director for various things in the local Priory Centre in town.
I’m currently writing and recording songs about my own childhood and family members. I doubt this will be more than something shared with my family.
Images courtesy of Paul O’Neill
What are the other former members of BIM up to? Did anyone else go on to future bands or recordings? And have you all kept in touch?
We are all in touch. Noel lives in the deep south of the UK, buys and sells guitars and plays locally in bands. His neighbor is Jerry Dorsey from Mungo Jerry.
Derek still lives in Bolton with his son Tom, not played since the Bimmie in 2006, but still has the gear. We are talking about getting the Bolton Iron Maiden out on the road to promote the new album.
Dylan the roadie lives in Bolton with his daughter and has written a few items for our website “Memories” page
Terry (Gearie) has moved back from Dubai where he was director of the Energy Council and is happily retired with his wife Hazel in Kent. I am godfather to his daughter Bethany
Roadie Paul Hampson still grows his own weed – oh no sorry, he runs a garden nursery and lives in Preston. He lives with his wife and two grown up daughters.
Classic Rock Legend ARTHUR BROWN Teams With STOOGES Guitarist JAMES WILLIAMSON, VANILLA FUDGE Drummer CARMINE APPICE & Others On New Limited-Edition 7”, Full Length Album Coming 2022!
Los Angeles, CA – He is The God Of Hellfire, a music legend who is surely one of the most influential figures of theatrical rock, and even 5+ decades into his extraordinary career, Arthur Brown is still heating things up! Brown has just announced the release of a new 7” vinyl that contains a stunning new rendition of his signature hit “Fire,” which features a host of devilishly talented hellions including Stooges guitarist James Williamson, drum icon Carmine Appice, keyboard maestro Brian Auger, and producer Jürgen Engler. Like the man himself, “Fire” is a timeless treasure whose appeal has only increased over the years. Originally released in 1968 by the group that bore his name, The Crazy World Of Arthur Brown, “Fire” was a global phenomenon reaching the top spot on the singles charts in both the UK and Canada while hitting the #2 spot in the U.S. It’s considered one of the biggest crossover hits that brought psychedelic rock to mainstream audiences and launched Brown into the musical stratosphere.
Check out the new version of “Fire” featuring guests James Williamson, Carmine Appice & Brian Auger:https://orcd.co/arthur_brown_fire
Or watch a video for the track cut together from Arthur’s scenes in the 2017 horror film The Black Room:https://youtu.be/I9j3MtpaFUo
This new limited-edition 7” pressing will be available in your choice of either fiery RED or YELLOW vinyl. Most exciting of all is that this release previews a thrilling full-length album from Brown that will feature even more amazing guest stars set for release in 2022!
Brown had this to share about the coming project, “It’s a great pleasure being involved in making this high quality, imaginative piece of terror and fun.”
BRITISH BLUES-ROCK STAR JOANNE SHAW TAYLOR PUTS A NEW SPIN ON SOULFUL CLASSICS WITH NEW STUDIO ALBUM RELEASING ON SEPTEMBER 17TH
“THE BLUES ALBUM” SHOWCASES TAYLOR’S ELECTRIFYING GUITAR CHOPS AMPLIFIED BY HER MAGNIFICENT SULTRY VOCALS
HIGHLY ANTICIPATED ALBUM PRODUCED BY GUITAR LEGENDS JOE BONAMASSA & JOSH SMITH, SET TO RELEASE WORLDWIDE ON BONAMASSA’S INDEPENDENT LABEL KTBA RECORDS WATCH “LET ME DOWN EASY” MUSIC VIDEO HERE PRE-ORDER ‘THE BLUES ALBUM’ ON VINYL, CD & DIGITAL FROM WWW.KTBARECORDS.COM
Critically acclaimed British guitarist and singer songwriter, Joanne Shaw Taylor, universally hailed as the UK’s premiere blues rock guitarist, is announcing the release of her sixth studio full-length record The Blues Album on Friday September 17, 2021. Today she also shares a new single, Let Me Down Easy along with a companion music video.
The album will be released via Joe Bonamassa’s independent blues label KTBA Records. It was produced and recorded by Joe Bonamassa and Josh Smith at Ocean Way Studios in Nashville, Tennessee.
The hotly tipped 11-track album features Joanne’s personalized covers of eleven rare blues classics originally recorded by Albert King, Peter Green, Little Richard, Magic Sam, Aretha Franklin, Little Milton, and many more.
The Blues Album, the follow up to 2019’s critically acclaimed album Reckless Heart, features Josh Smith (guitar), Reese Wynans (keyboards), Greg Morrow (drums), Steve Mackey (bass), Steve Patrick (trumpet), Mark Douthit (sax), Barry Green (trombone). Joe Bonamassa plays guitar and sings on the track Don’t Go Away Mad. Mike Farris also joins as a special guest on I Don’t Know What You’ve Got.
“I’d known from the beginning of my recording career that one day I wanted to record an album of blues covers, I just wasn’t sure when the right time to do that would be,” says Joanne. “I’ve always found it far easier to write my own material than come up with creative ways to make other artists’ material my own.”
When the pandemic put the brakes on from musicians from touring during 2020 and most of 2021, Joanne thought it was the right time to head into the studio to record The Blues Album.
“I mentioned my new project idea to Joe Bonamassa,” recalls Joanne. “He asked me for my song choices. Immediately he began sending me notes and was texting me song suggestions.” Joanne and Joe have been best friends and fans of each other’s music for many years. Joanne always wanted to work with Joe if the right project or collaboration came about.
“He was already acting as a mentor as well as an unofficial producer on The Blues Album, so I asked him if he’d fancy the job, officially,” says Joanne. “Thankfully, he accepted. The Blues Album has been everything I hoped it would be. It’s been a labor of love, overseen by an artist, producer, and friend who I trust beyond measure.”
“We wanted to make a tough vocal centric straight blues record that showcases Joanne’s amazing talent but in a slightly different light,” explains Bonamassa. “Joanne is a dear friend and a superstar. Josh and I focused on testing her limits and pushing boundaries that might not have occurred before. It’s all about making a statement and having the listener want to play the music repeatedly.”
Joanne’s covers album pays tribute to artists and bands that are not obvious choices including Little Village, Little Milton, The Fabulous Thunderbirds, James Ray, but, at the same time, she covers seminal blues icons including Albert King, Fleetwood Mac’s Peter Green and Magic Sam. Some of the songs covered are B-sides of singles.
“We try not to live in the well-worn trails of the blues,” explains Bonamassa. “Each song has to has to stand on its own while paying tribute to the original masters.”
“Joe made it known from the get-go that his main objective for this album was to push me as a singer,” recalls Joanne. “Obviously, Joe has seen me perform many times over the years and knows my voice well. I think he felt that he could my vocal performance more, and get more out of it, especially since I’d had over a year to rest my vocal cords.”
As a musician and a recording and performing artist, Joe Bonamassa has always been a fan of Joanne’s music. Ultimately, what did Bonamassa set out to achieve by co-producing this magnificent, rich, and beautifully recorded and performed album for Joanne? Joe explains, “If you focus on what people might not associate with an artist and work hard on those areas it allows her fans to discover things and sets her up in a different light. Joanne’s a great singer and always has been. The guitar unfortunately has over-shadowed it until now. A lot of us in the business have the same problem. “
“On the new album, I mostly played my own guitar, my 1966 Esquire ‘Junior’,” says Joanne. “I tried to use a few of Joes Tele’s, but they’re set up for much bigger hands than mine. I did use Joe’s vintage amps – I believe one of his 60’s Vibroverbs mixed with a fumble overdrive for pretty much all of it. We didn’t use any pedals.”
It goes without saying that the production team of Joe Bonamassa and Josh Smith are at the top of their game. They recently produced new albums for Joanna Connor, Jimmy Hall, and Eric Gales. Joanna Connor’s album, 4801 South Indiana Avenue, met with great critical acclaim worldwide, was the second album released on Bonamassa’s independent label KTBA Records and debuted at #1 on the Billboard Blues Chart.
“Joe and Josh make a fantastic team,” insists Joanne. “Both bring something different to the table that the other maybe couldn’t. I loved working with them. I was worried about working with Joe for obvious reasons, (we are very close friends), but you never know how that will translate into a working relationship. It was cool to work with two guys not much older than me. Most of the producers I’ve worked with so far haven’t been so close to me in age, plus Joe and Josh have the added benefit of understanding what it is to tour on the same scene as me and what me touring this album will look like. All in all, it was a very relaxed fun session and hang.”
Joanne Shaw Taylor – Biography
Joanne Shaw Taylor was discovered by Dave Stewart of the Eurythmics at the age of 16 who, having watched her play, immediately invited her on the road with his supergroup D.U.P. – a career in music was born and in the proceeding years, her incredible guitar playing saw her build an army of plaudits including Jimmy Cliff, Joe Bonamassa, Stevie Wonder and Annie Lennox.
Still only in her 30’s, she has become one of the most sought-after guitarists in the world of rock. She released her first album on Ruf Records entitled “White Sugar” (2009), unleashing her distinct soulful voice on the world, and demonstrating a song writing prowess way beyond her years – the world of blues rock had a new star! Over the next few years, she released critically acclaimed albums including her sophomore album “Diamonds In The Dirt” (2010), “Almost Always Never” (2012) which featured the UK radio hit “Soul Station”, plus her final album for Ruf Records – the live album “Songs From The Road” (2013).
In 2014 she released her fourth studio album “The Dirty Truth” on Axehouse Records that featured the singles “Mud, Honey” and “Wicked Soul”. In 2016, Joanne followed up with the release of her fifth album “Wild” (Produced by Kevin Shirley) which saw her perform songs “Dyin’ To Know” and “Summertime” on BBC Two Television’s popular music show “Later With Jools Holland”. Three years later, in 2019 she signed to Silvertone Records via Sony Music and released her sixth studio album, “Reckless Heart”.
Over the past two decades, Joanne has proven herself as a prolific songwriter, releasing seven acclaimed albums under her belt, each increasingly more successful with her 2019 “Reckless Heart” breaking into the UK Top 20 Album Chart and cementing herself as one of the most important exports in British blues-rock.
Her highly anticipated upcoming album is currently in the works. The new collection of songs was produced by Joe Bonamassa and Josh Smith at Oceanway Recording Studios in Nashville, Tennessee, and will be released on Bonamassa’s KTBA Records on September 17, 2021. Keeping the Blues Alive Records
The new independent record label is an offshoot of Keeping The Blues Alive Foundation, Joe Bonamassa’s non-profit that aims to conserve the art of music in schools and preserve the rich culture and history of the blues. Bonamassa along with his long-time manager and business partner, Roy Weisman, have expanded their business by creating the new label, Keeping the Blues Alive (KTBA) Records.
The first release on the label was Dion’s album Blues with Friends that was released to critical acclaim in June 2020. In February 2021, KTBA Records release Joanna Connor’s album 4801 South Indiana Avenue which received rave reviews worldwide.
KTBA Records’ main objective is to provide a platform for musical talent in blues and blues-rock based music and helping promote the careers of extraordinary musical talent. The label works synergistically with the non-profit’s mission of supporting musicians to continue the legacy of the blues. 10% of all profits from KTBA Records are donated to the non-profit.
KTBA Records is an important step in the co-evolution of the music and the business of making it. It represents another of Bonamassa’s continuing efforts over the last 25 years in support the artistic community. It reflects the philosophy of paying it forward just as so many did for Joe in the hope of paving the way for blues artists in the future. Visit http://www.KTBArecords.com for further information. Photo of Joanne by Christie Goodwin JOANNE SHAW TAYLOR – SOCIAL MEDIA Official Website | Facebook | Twitter | Instagram | YouTube
FOR IMMEDIATE RELEASE: After 40 Years – GOTTA MOVE by The Pumps released on CD for the first time. You look pretty cool, You look pretty nice Well let me give you a little advise You driving me into a nervous wreck And all I want is a little success Just a little success Just a little success – The Pumps, “Success”, 1980 The music roots of Winnipeg, Manitoba run deep with more than “just a little success” with the international prominence of Neil Young, The Guess Who, B.T.O. and Burton Cummings setting a high standard. Throughout the 70s a homegrown rock sound continued to evolve in Western Canada and while acts like Loverboy and Trooper were finding international success, The Prairies would brew their own driving beats with acts like Streetheart, Harlequin, Queen City Kids and … THE PUMPS.
Formed in 1978 by taking their name from a random pick in a local phone book, THE PUMPS consisted of the unmistakable vocals of bassist Chris Burke-Gaffney and drummer Terry Norman Taylor (TNT). Joined by quirky guitarist Lou Petrovich, who was compared to greats like Jeff Beck and Jimmy Page, and Brent Diamond’s tapestry of keyboards creating a lush background, THE PUMPS unique blend of infectious pop/rock and high energy live shows made them a regular on the touring circuit opening for acts such as AC/DC, Triumph and Styx.
THE PUMPS quickly signed an international recording deal with Polydor Records in 1979 and flew to Le Studio in Morin Heights, Quebec to record their debut album with British producers Phil Chapman and Jon Astley at the helm. Gotta Move was released in 1980 to critical acclaim. The powerful singles “Success,” “Coffee With The Queen” and “Bust The TV” become staples on Canadian rock radio airwaves through the 80s.
In 1983, the group signed with CBS/Portrait, changed their name to ORPHAN and released 2 more albums. The single “Miracle” was a top 10 hit. In 1991, Burke-Gaffney and Taylor briefly reunited to release one album as The Deadbeat Honeymooners.
Vocalist Chris Burke-Gaffney would go on to form CBG Artist Development to manage and develop singer/songwriter Chantal Kreviazuk, co-writing and producing her Juno Award-winning and triple-platinum album, Under These Rocks and Stones. He continues to develop new artists gaining accolades, chart success and Juno nominations along the way.
The unique story of THE PUMPS & ORPHAN was told by film maker Terry Goring in the 2016 documentary “Just Little Success.” The group continues to perform live on the classic rock circuit as THE PUMPS & ORPHAN with Burke-Gaffney, Taylor, Diamond and Orphan guitarist Steve McGovern.
Gotta Move is finally released on CD for the first time by Music In Motion Entertainment as Gotta Move – The 40th Anniversary Edition. Fully remastered, Gotta Move includes 4 bonus tracks : An early live recording of “Bust The TV,” an equally early recording of “Steel & Iron” (which would eventually appear on the ORPHAN disc Salute), the radio edit of their biggest hit “Success” and a brand new acoustic version of “Coffee With The Queen.”
Gotta Move is licensed for distribution by Music In Motion Entertainment. Gotta Move is available through their webstore on RockPaperMerch.com Gotta Move is distributed to retail worldwide exclusively by Isotope Music Inc
Alice Cooper’s Hey Stoopid, released July 2, 1991 was the follow up to his highly successful 1989 album Trash. That previous album featured the hit “Poison”, Alice’s biggest hit single in years [Top 10 in the US, UK, and a few other countries], as well as a few other singles. “Poison” though would remain a regular in the live throughout his career since.
Trash also featured a load of guests, such as Bon Jovi, Ritchie Sambora, Steven Tyler, Joe Perry, Steve Lukather being the biggest names. Most of Trash was co-written with Desmond Child, who was the big name to have at the time as a writing partner. A few of his guests also had sporadic co-writing credits, as did [now] former guitarist Kane Roberts – who’d been a co-writer and the guitarist on Alice’s previous 2 albums. I really liked Trash when it came out, aside from “Poison”, there was “Spark In The Dark”, “Bed Of Nails” [another single], “I’m Your Gun”, and the title track was good. At the time though I couldn’t stand [still can’t] the other 2 singles “House of Fire” and “Only My Heart Talkin'” [featuring Tyler]. in retrospect this album doesn’t hold up for me compared to the follow up; it’s too much ’80s – Bon Jovi & Aerosmith – both hugely successful in that decade, but both left there [and really I couldn’t stand much Aerosmith after Rock In A Hard Place!].
There was a lot of promotion for Trash [Alice having signed to Epic}, there was lots of Alice on MuchMusic at the time, magazines, radio promos… but I don’t think the album had a serious follow up to “Poison”. I did see Alice at the Skydome in Toronto on New Year’s eve 1989, a great show, great set list, and a good number from Trash. He even brought back “Muscle Of Love”, which is interesting, as it seemed Trash was almost like a follow-up to 1973’s Muscle Of Love album [the last by the original band]. There would be a home concert video released from this tour – Alice Cooper Trashes The World.
With ’80s rock slowly fading to the background by the turn of the decade Alice Cooper pushed forward with 1991’s Hey Stoopid! An album that not only kept up the ’80s commercial hard-rock direction, but would feature even more guests and co-writers. I am imagine there was a big budget for this album [?], but for me it worked. I loved it when it came out, and it still sounds great – my favorite Alice solo album. It is less of the ’80s Bon Jovi / Aerosmith approach, a bit harder edged in places, a few memorable ballads, but all around just much better songs and production [produced by Peter Collins, who also produced Rush, Billy Squier, Bon Jovi, Queensryche…]. Great cover art by Mike McNeilly [whom I can’t find any other credits for album covers by him].
All of Alice’s comeback albums to this point would lead off with a single, and the standout track that would be indicate the theme or direction of the album [“Teenage Frankenstein”, “Freedom”, “Poison”], and each album would also feature [at least 1] a song from a movie [“He’s Back”, “Prince Of Darkness”], save for Trash – though it was preceded in 1988 by a single [and video] from the Iron Eagle 2 soundtrack – “I Got A Line On You” [not included on Trash though]. Alice and Desmond Child also wrote “Love Transfusion”, which was recorded by Iggy Pop for Wes Craven’s Shocker in 1989. I’ve read that song was intended to be used for Trash, but left as the Iggy Pop version for the movie soundtrack. [Shocker also featured Megadeth’s version of “No More Mr Nice Guy”] So Hey Stoopid’s lead off track and single was the title track, and it would feature “Feed My Frankenstein”, featured in Wayne’s World. I thought “Hey Stoopid” was a great song, and great video. The song would see Alice writing on the topic of teen issues, most notably suicide, and fittingly featured Ozzy Osbourne on back vocals [Ozzy had been horribly and falsely accused of promoting suicide in the ’80s, over his song “Suicide Solution”, which lead to a court case]. Many of the songs on the album featured co-writers Bob Pfeifer, Jack Ponti, and Vic Pepe. Pfeiffer released a solo album in 1987 [check out his single/video – “Maybe It’s Stupid”], Ponti had previously recorded an album with Surgin’, 1985’s When Midnight Comes [Ponti was a former bandmate of Jon Bon Jovi, and recorded “Shot Through The Heart” on this album], he also had recorded an album with Billy Branigan, and would later work with Doro and Baton Rouge, and produce many others. Vic Pepe also had credits on the Surgin’ and Branigan albums… But enough of all that… The album’s main band consisted of guitarist Stef Burns [Y & T] , Canadian keyboard player John Webster [ex Stonebolt, Red Rider], drummer Mickey Curry [The Scratch Band, Bryan Adams, Hall & Oates] , and bassist Hugh McDonald [David Bromberg Band, session player in 70s & 80s, later of Bon Jovi]. The title track would feature guest guitarist players Slash and Joe Satriani. Canadian David Campbell would also feature as arranger on this, and a number of other tracks on Hey Stoopid. This album had plenty of potential for further hits [if only it was done a couple years earlier], with the ballads “Burning Our Bed” – the ultimate Alice break-up song [a single in Europe; also featuring Satriani], and “Might As Well Be On Mars”. As much as I like the ballads, it is the rockers here that also deserved more attention, with “Snakebite”, “Hurricane Years” [featuring Vinnie Moore], and “Little By Little” [featuring Satriani] – lots of cool guitar intros, hooks, and solos. There is also the favorite [and single] “Love’s A Loaded Gun”, and the closing gem “Wind Up Toy”, in which Alice revisits his Nightmare character Steven.
The album features 12 tracks, and I must confess I could do without 2 of them – the somewhat forgettable “Dirty Dreams”, and the single “Feed My Frankenstein” – which was featured in the movie Wayne’s World [along with Alice]; and I get that it was a bit of a hit, and garnered a lot of exposure from that film, but I just never really ‘got it’ beyond a few listens; yet it remains in Alice’s live set ever since. Also notable for featuring solos from Satriani and Steve Vai. Oh well. I also liked the somewhat dark “Dangerous Tonight” and the more pop-ballad of “I’d Die For You” was decent [tho’ veering into Bon Jovi territory], the latter featuring Mick Mars [guitar and one of the co-writers]. There was also a couple of outtakes, used as B sides at the time – the pop-rock of “It Rained All Night” and a cover of Jimi Hendrix’ “Fire”, neither of which I think, would’ve suited the overall album.
Hey Stoopid was a far better album than Trash [IMO], but it didn’t have the huge hit single that Trash did with “Poison”, not for lack of great songs, but I think it being released in the summer of 1991 may have played a bit of a part in it, with grunge emerging, and radio and many young fans moving on, away from the ’80s rock scene. It did chart top 10 in a number of countries outside of North America. The tour for Hey Stoopid would see Alice go out in the summer in North America as part of the Operation Rock N Roll package – with Judas Priest, Motorhead, Dangerous Toys, and Metal Church, followed by a Hey Stoopid European Tour. The set list held over 3 songs from Trash and added 4 from Hey Stoopid [a 5th was added in Europe].
Following this album and tour, Alice would take a bit of step back, with all the changes happening in the music industry at the time, and wouldn’t return til 1994’s The Last Temptation concept album. This would take on a new direction musically and lyrically. It was stripped back, with less of the ’80s rock feel and less big name guests. I really liked The Last Temptation as well, with tracks like “Sideshow”, “Nothing’s Free”, the anthem / single “Lost In America”, “Stolen Prayer” [co-written with Soundgarden’s Chris Cornell, who also guested on backing vocals. RIP], and the ballad “It’s Me” [co-written w/ Tommy Shaw & Jack Blades]. Guitarist Stef Burns would be the only hold-over from the previous album.
There would be no tour for this album, though a few songs would be performed in later tours [and packaged tours], with only “Lost In America” occasionally being performed beyond the ’90s; a shame as this album is vastly underrated and despite the concept and accompanying comics [by Neil Gaiman] wasn’t a big commercial success. I am sure I am not the only fan alone in ranking this one high amongst Alice solo albums. It would be his only other studio album of the ’90s. I must say, collecting Alice in the late ’80s and ’90s was a lot of fun, as singles usually included live tracks, unreleased studio tracks [see Hey Stoopid], so I have plenty of 7″, 12″, and picture-disc singles.
Alice would follow The Last Temptation up with the live album A Fistful Of Alice, recorded at Sammy Hagar’s Cabo Wabo in ’96 and released in ’97. It featured guest appearances from Slash, Hagar, and Rob Zombie, and include 13 live tracks – with the latest few studio albums only represented by 1 song each; it also include 1 studio track, a Beatle influenced pop number “Is Anyone Home?”. The decade ended with the 1999 release of the 4 CD career retrospect box set – The Life And Crimes of Alice Cooper. [which also included rarities].
The studio follow up to The Last Temptation would see Alice re-emerge in 2000 with a new direction and sound for the next pair of albums.
Prior to becoming well known over the past few decades for his work in comics, Artist Dean Motter worked on numerous album covers, particularly plenty of classic Canadian albums throughout the ’80s. In this exchange, he touches on his early career and some of the album covers he designed or had a major part in.
Can you give me a bit of background as to how you wound up being in Toronto and working on so many covers for Canadian acts in the late 70s?
I went to college at Fanshawe in London Ontario and studied Creative Electronics and Recording under Radio Caroline’s Tom Lodge, Marshall McLuhan’s son/collaborator Eric, John Mills-Cockell, neon sculptor Michael Hayden. My thesis for my commercial art course was my first published comic, ANDROMEDA I mounted two multimedia shows and married my lead actress. We moved to Toronto where I worked in children’s books and animation. I did work for the Silver Snail comic shop. I also worked as art director/production artist for CPI’s Cheap Thrills magazine. That led to being art director at CBS Records Canada for 3 years. When I left CBS and struck off on my own I retained them as a client, and picked up Capitol, Attic, RCA, WEA, Ready records and others.
Did you have much an album collection growing up? favorite bands? Favorite album covers [or artists]?
I listened to a lot of music growing up. In high school I had a sizable record collection that continued to grow over the years. Moody Blues, ELP, Yes, Pink Floyd, CSNY. I later blossomed into jazz like Weather Report, Pat Metheny etc. These had my favorite covers especially Yes and Pink Floyd.
The first album you did was Robert Connelly ‘Plateau’. This one came with a comic book. How did you come about on this band and what was the concept behind the story and comic?
Connelly came to me via the Andromeda comic book (vol 2) published by the Silver Snail. It was a Chariots of the Gods themed illustration. One of my first airbrush pieces. I didn’t do the comic but was friends with its creator Nick Powlieko.
Marie Lynn Hammond – did you do her first album [?]
I didn’t do Marie’s first cover I did her second, Vignettes. It featured a hand colored Deborah Samuel photo taken on a vintage biplane. It was subtle but one of my favorites.
Dale Jacobs Cobra (my first as art director at CBS Canada) – quite the cover shot, with the snake and arm hanging over the couch. Did you come up with the photo concept, and was it inspired by anyone or anything? Was the snake real?
This was indeed my concept. The snake was real, but it was a python. A live cobra was out of the question, due to its fatal venom and scarcity of antidotes, not to mention insurance. One serviceman wrote me years later. He had spent time in India and was annoyed at the substitution.
Loverboy – this was a huge album. What do you recall of the idea behind the cover? the photo shoot? and what are the words typed over the front cover?
I became fiends with the photographer fine artist Barbara Astman. She had a show of her work -Polaroid photos of herself that she fed through a typewriter. When I saw them I thought a love letter or Dear John letter would be a good idea for the Loverboy assignment I just received.
Triumph – Thunder Seven – This cover was connected to the music, correct? Can you explain a bit where that image came from and how closely you worked with the band on this. The other 2 Triumph albums you did were very different – any quick recall on them?
Thunder Seven. I confess I never quite got the title, so the image had more to do with the hard rock trio, Yes I illustrated it. I was influenced by the work of Alien’s HR Giger. I didn’t work much with the band, more with the management this time. The others- Never Surrender was my concept illustrated by studio mate Ken Steacy, Surveillance was also my concept illustrated by another studio mate Paul Rivoche.
Anvil – Metal On Metal, Forged In Fire [also did Hard N Heavy, Pound For Pound, Past & Present Live] ?
What can I say about Anvil? They were a favorite act of mine, They were so sincere about the music and addressed me as Mr. Motter even though I was only 30 something. But they were always there, visiting my studio with ideas.
Santers – Racing Time [also did Shot Down In Flames, Mayday EP] ?
This was a photo taken on a runway on Toronto Island. It was then filtered and posterized.
The Nylons – One Size Fits All, Seamless [did others] On One Size Fits All, who’s idea and where did it come from – the shadow figures posing? very cool.
One Size Fits All was my idea and design, it was derived from the work I was doing on Mister X at the time. Seamless had two alternate covers. One was illustrated by Jeff Jackson, the other photographed by Deborah Samuel. It was pieced together mechanically.
Honeymoon Suite – HMS – Where was the cover photo taken?
Originally this cover was a variation on my rejected concept for Helix No Rest For The Wicked. We set it up in a furniture store. A new background was airbrushed in.
The Tenants – Visions of Our Future – Was this drawing based on or inspired by any place in particular?
This drawing was based on the lobby of the New York News and the art of Hugh Ferris. If you look closely you can see Mister X in the background..
The Extras – Bit Parts – Did this come from the old model kit boxes?
This was indeed based on old model kit boxes. I drew and airbrushed the image.
Manteca – No Heroes – this one reminds me of the Nylon covers.
These came from sitting in the Bamboo Club on Queen Street watching the band and drawing them in napkins.
During your time in Toronto, were you involved in the music scene as far as going to shows, meeting up with bands? Any favorite bands from back then or lasting friendships?
I loved being part of the music scene back then. My studio did posters, concert ads, concert programs etc. But as desktop publishing (design) became more common more companies could afford to put art directors on staff and the need for us diminished. I became friends with many of the clients and musicians from the time The Nylons were the closest. But also Matt Zimbel from Manteca. The whole of the Diodes . I even did an album of my music with Jeffrey Morgan soon to be released at last on Bongo records
You eventually moved on from album art / covers? Can you touch on what you went in to [comics] and where people might recognize your work most from?
I wrote and illustrated The Prisoner based on Patrick McGoohan’s TV series, and my own Mister X. went on to be an art director at DC Comics for three years, plus the graphic novel Batman: Nine Lives.
For more on Dean Motter’s art and career, album covers and comics, check out his official site.
New York’s Twisted Sister became a household name in the mid ’80s with the success of their 3rd album Stay Hungry, and more so with the hit single “We’re Not Gonna Take It” and the comical videos created for the Stay Hungry singles, as well as the follow up album’s videos. But my favorite from Twisted Sister is their 2nd album – You Can’t Stop Rock N Roll in 1983. The album may not have been a huge commercial success, but it was the band at their best, before the hilarious videos, and the attempts at appealing to the mainstream. You Can’t Stop Rock N Roll was full of straight on edgy and angry TS rockers and anthems. You Can’t Stop Rock N Roll was actually the band’s first North American album release, as their debut Under The Blade was recorded in the UK and did not get a US deal & release until after the band had found commercial success; it was remixed and issued in 1985 in Canada and the US. It was produced by British producer / Engineer Stuart Epps who, at the time was producing Wishbone Ash and Vandenberg, and who’s previous engineering credits included Elton John, Chris Rea, Bill Wyman, and US band Shooting Star. Also recorded in the UK, where the band had built up a strong following and would issue 3 singles from You Can’t Stop Rock N Roll. The cover art was simple – with the band name in huge pink letters accompanied by the TS logo on a dark background, Difficult to miss, very to the point!
One thing Twisted Sister albums always had were great intro songs, Under The Blade had “What You Don’t Know (Sure Can Hurt You)”, Stay Hungry and Come Out And Play both had strong intros with the title tracks, and You Can’t Stop Rock N Roll had “The Kids Are Back”. Drawing on those rebellious / outsider teen ideas, with a chorus (like many TS songs) that’s not overly complicated but easily burns into your brain. The next 2 tracks come at you aggressively first with the opening riff to “Like A Knife In The Back”, followed by “Ride To Live, Live To Ride” and heavy metal battle cry “The Power And The Glory”. “I Am (I’m Me)” went in to the band’s sorta poppier direction, catchy, but ..ok; was probably a good choice as a single.
Side 2 opens with “We’re Gonna Make It”; a good song, tho the riff reminds me of Sammy Hagar’s “There’s Only One Way To Rock”. A couple of solid rockers in “I’ve Had Enough” and fast paced “I’ll Take You Alive”, followed by the closest thing to a ballad in “You’re Not Alone (Suzette’s Song)” – penned by Snider for his wife; not one of my favorites here, but it’s a decent forerunner to future ballads “The Price” and “I Believe In You”. The album closes with the title track,; another great anthem, intro & title would’ve fit well on an AC/DC album! Cool video to boot.
The 2018 2 disc reissue contains 3 bonus tracks, as well as 1 disc being the band’s 1983 performance at the Marquee in London, UK.
The band followed this up with their break through classic album Stay Hungry in 1984. That album I remember picking up at the time, then later going back to get the previous 2 some time later. It was their biggest success with a couple of huge hits & videos, but the band’s next album Come Out And Play veered more in to the commercial direction, lacking a bit of the weight and anger, but heck I loved that album, and played the crap out of it! It is also notable for including the return of Alice Cooper (I was a huge AC fan then, and this was his first ‘new’ thing when he came back). The band’s last album was 1987’s Love Is For Suckers. And whether I wasn’t paying attention at the time or what, but I don’t recall hearing anything about it until I walked in to the local Sam The Record Man and saw it on display. I liked that one too, tho’ not so crazy about the production (heck, I don’t think TS ever found a great producer to capture them properly, and consistently). The band split after this album, and Dee Snider (who also wrote the band’s songs) went off to other projects, but by then I’d moved on and didn’t keep up. I have gone back and picked up some of the archived and later released live albums, as well as Dee’s last album For The Love Of Metal, and the excellent For The Love Of Metal : Live, released last year.
The latest in the ‘visual biography’ series from Canadian rock writer Martin Popoff just happens to be on the mighty Uriah Heep. A project I had a slight hand in. And having said that – has made it hard for me to write much about it It is a very nice coffee-table book, chalk full of photos from throughout the band’s history, with photos mainly coming from fellow Heep fans who were fortunate to have seen the band over the decades, with different line-ups. So credit must go to those who contributed their photos, and time in scanning as well.
The visual history also comes with a timeline of Heep’s history, noting many birthdays, important dates, related releases, etc…
It is a fine addition to an avid Heep fan’s collection. It is heavy (weight), but will make for a cool conversation piece.
For the record, someone commented ‘enough with the Heep books‘ – well, I for one am in favor of seeing more, and preferably more from those (players & participants) who were there. Uriah Heep was/is a major band in the golden era of heavy rock, an era that will disappear sooner than later. So, if you’ve got something to say, photos you’re stashing, recordings you’re holding on to, unprinted interviews to share — Now is the time!
*For more info and to order please check out the link below. +Martin also has copies of his Thin Lizzy book in the same series.
It was just over a week ago that the shocking news that British singer John Lawton had passed away on June 29 came out. July 11th would’ve been John’s 75th birthday. Though best known for his time with Lucifer’s Friend and Uriah Heep, John had a very lengthy career full of great recordings — not only the 2 major bands he was known for, but plenty of one-off projects, solo albums, singles, guest appearances. One thing that is undeniable is that regardless of who John was performing with – it was his vocals that stood out. A buddy of mine used to say – “he could sing the phone book and make it sound great!”.
I’ve picked 15 tracks from throughout John’s career to celebrate his life and recordings. And this is just a scratch on how much great stuff the man was a part of. *Please leave a few favorite tracks in the comments.
Ride The Sky – Lucifer’s Friend
The best known song from Lucifer’s Friend, and probably the most well known vocal from John. He and the band sounding like they could fit in alongside the biggest names in early hard-rock / metal in 1970. Covered by a few bands, most notably Avantasia. One of a few LF songs that John would later include in his live repertoire for years. Lucifer’s Friend [II] would also re-record the song in 1994 for Sumo Grip.
Burning Ships – Lucifer’s Friend
From Lucifer’s Friend’s 2nd album – Where The Groupies Killed The Blues. An acoustic ballad that builds up. One of John’s trademark numbers, and many o’ Lucifer’s Friend fans’ favorite song. More recently Jason Kane & The Jive did an excellent cover of this. *I’ve included the 2015 live version here, as I’d previously included the original studio take in my post on John’s passing. I think the band still did an incredible job on this 43+ years later!
Mama Loo – The Les Humphries Singers
Many people may not realize that John’s main gig prior to Uriah Heep was recording and touring with The Les Humphries Singers, a pop band featuring a number of great singers, who played many top hits [covers], as well as songs written by Les Humphries. This was written by Les, and was the group’s biggest hit, with John singing lead.
High Flying Lady (Goodbye) – Lucifer’s Friend
From Lucifer’s Friend’s most ambitious album, and the one John cited as his favorite – Banquet. It was one album he’d have liked to have performed live in full. This is the a great upbeat rocker, full of brass, great production, and amazing vocal from John.
Little Chalk Blue – Roger Glover’s Butterfly Ball
John sang on this track written and recorded for Roger Glover’s 1974 theatrical album The Butterfly Ball And Grasshopper’s Feast. A sweet orchestrated ballad. It was issued as a single and part of an EP, but not on the 1974 LP. John would perform it at the 1975 live staging of The Butterfly Ball, where he also sang the song “Love Is All”.
Wiseman – Uriah Heep
Written by Ken Hensley, “Wiseman” was a minor hit in Europe. It’s a classic Heep ballad, and John once cited it as the first song he sang with the band. He would keep it in his live repertoire years later, and re-recorded it with Steve Dunning for their 2002 album Steppin’ It Up. The song also earned Heep a spot on UK TV show Top Of The Pops.
Free N Easy – Uriah Heep
John wrote a few songs on the last few Heep albums, and a couple of them were the heaviest things the band did during this period. “Free N Easy” [co-credited to Mick Box] was a huge fan favorite, from Innocent Victim [altho’ “Free Me” was the massive hit in some countries during this era]. The band would bring this one back in more recent years, and it would feature on the band’s Live In Europe ’79 album, as well as John’s reunion album with Ken Hensley – The Return.
Hey Driver – Lucifer’s Friend
After leaving Heep, following the recording of a 4th [as yet released] album, John recorded a solo album [co-written with Peter Hesslein, and using Lucifer’s Friend as the backing band], followed by an awesome reunion album with LF – Mean Machine. A return to straight ahead hard-rock, influenced by the New Of British Heavy Metal at the time. One of my top 3 LF albums with so many great hard rockers to chose from.
Heart Of The Night – Zar
In the early ’80s John sang on an album by German hard-rock band Rebel, featuring Tommy Clauss on guitar. Another opportunity arose for John to step in and recording with Clauss again at the end of the decade with the band Zar. Released in 1990, Live Your Live Forever was a fairly commercial sounding heavy metal album, full of killer tunes. John proving he could still rock as hard as he did on the first Lucifer’s Friend album.
Don’t Stop Believing – Gunhill
Gunhill was the band John formed in the mid ’90s. They were primarily a working band, doing plenty of covers, some originals, and a few from John’s past. They did release a CD in 1997 titled Nightheat, which included this as the opener. Written by John, I really liked this one, and a the band’s few other originals here.
Tonight – John Lawton [solo] / Uriah Heep
John was extremely busy in the early 2000s, with Gunhill coming to an end, and a few other projects, a new band, and this solo album from 2000 titled Still Payin’ My Dues To The Blues. A great set of lighter blues and blues based tracks. This is an outstanding ballad that John originally wrote and recorded as part of the 4th [unreleased] album with Uriah Heep. John also re-did this one with Steve Dunning in 2002 Should be interesting to hear Heep’s version.
Written On The Wall – John Lawton Band
The short lived John Lawton Band followed Gunhill, and the band toured and would release this line album, as well as a live DVD . Sting In The Tale was a solid set of blues based rockers. This is the stand-out track for me, a nice heavy rock song.
Steal The Night – OTR
OTR [On The Rocks] was a short-lived project John did latter day Focus guitarist Jan Dumee, as well as a few Brazllian musicians in 2008. A very different album that showed again how much John could sound great in any type of music.
Fairytale – Intelligent Music Project [Diana Express]
Intelligent Music Project is a recording band that is the brains of Bulgarian producer / songwriter Milen Vrabevski . John sang on the first 2 albums in this act. The first one billed as John Lawton & Diana Express and titled Power Of Mind.was a concept album, Diana Express being the Bulgarian band playing here as well. Again, a very different album, more adult contemporary, hard-rock, orchestrations… The ballad “Fairytale” was the first song released from the album, and the standout track John did with these albums.
Passengers – Lucifer’s Friend
From the last Lucifer’s Friend album Black Moon in 2019. A fantastic album, showing John and the band could still come up with good, memorable songs. The band had re-grouped in 2015 for a compilation album [with 4 new tracks], a live album, and a studio album Too Late To Hate in 2016.
FOR IMMEDIATE RELEASE:
Outsider Rock 