In recently interviewing guitarist MICK MASHBIR on his new album Stungout On Strings, I threw in some last minute requests for Mick’s thoughts on the bonus tracks that make up the second disc of the Muscle Of Love deluxe version. It is well known that Mick played on both Billion Dollar Babies and MOL, as well as the accompanying tours. In my 2013 interview with Mick, he discussed this more in-depth, along with his first solo album, Keepin’ The Vibe Alive. So, below are some words from Mick on the Muscle Of Love alternates and demos from 2024.
Big Apple Dreamin’
My guitar is on the left and Mike’s is on the right. We shift roles between lead and rhythm guitar effortlessly. Its great to hear Bob Dolin’s parts so clearly.
Never Been Sold Before
Mike’s guitar is on the left I’m on the right. Mike plays great subtle variations and accents. Neal and Dennis really lock in during the outro with Dennis playing alot of bass runs.
Hard Hearted Alice
Acoustic guitars add feel to the verses. This track really shows off Bob Dolin’s keyboard skills
Crazy Little Child
How a bunch of hard rockers from the desert were able to capture a New Orleans Dixeland feel amazed me.
Working Up A Sweat
Dick Wagner steps in for the solo and kills it. No “Ricky and the Red Balloon” feel on that track!
Muscle Of Love
Mike is on the right and I’m on the left and center until the ride out when Mike moves to the center to solo through the outro. Classic Neal Smith drums.
Man With The Golden Gun
Bob’s Moog and B3 parts contributed a lot of the soundtrack feel to this track.
Teenage Lament
Rented acoustic guitars were delivered to the studio from S.I.R. and Michael’s acoustic part is featured on this track. Alice’s vocal delivery was subtle but really worked well in this context as a troubled teenager.
Woman Machine
This track had a very mechanical feel..as it should. The guitars provided the groove so Neal could play a lot more drum fills during the spoken word outro.
Guitarist / songwriter Klaus Hess was a founding member of German heavy progressive band ‘JANE’ . The band was a major draw in Germany throughout the 70s, beginning in 1970, and releasing their first album in ’72, Together. Hess left the band after their 1982 album, Germania, recorded a few solo albums, then formed ‘MOTHER JANE’ (after the courts settled the case of the name’s use between dissenting bandmembers).
For the most part, JANE remained a mystery and later a highly collectable band in certain parts of the world, as only their albums ‘III’ (1974) and Age Of Madness (1978) were released in Canada and the US. The last release of Jane material with Hess was 2012’s Turn The Page from MOTHER JANE (this was a compilation of ‘lost tracks’ recorded in 1982, featuring Jane members, as well as former Scorpions drummer Jurgen Rosenthal). The band’s favorite albums would include the 1972 debut (Together) and 1976’s classic Fire, Water, Earth & Air (highly recommended!), 1976’s Live, and 1977’s heavier Between Heaven & Hell is also highly recommended. Throughout the band’s career Hess would play more than just guitar on many albums (vocals, keyboards, bass…), produce, mix….Check out the link below for more on the history Klaus Hess and Jane.
from press:
JANE FOUNDING MEMBER KLAUS HESS DIES AT 78
Guitarist Klaus Hess was a founding member of Jane in 1970. Since there was some occupational turbulence in the German rock band already in the seventies, Hess also played bass and took over lead vocal parts. In 1982, the musician was terminated in a bad way, so he briefly tried a solo career and released an LP. In 1992, Klaus Hess was involved in a Jane reunion, but failed after only a short time. This resulted in three different Jane variants going on tour, which, according to the verdict, could only use the name “Jane” in conjunction with another term after a legal dispute. Klaus Hess named his version Mother Jane. Five studio and live albums were released between 2000 and 2012. 31st already Klaus Hess passed away in October at the age of 78, from a chronic lung disease.
Frontiers will release Jimi Jamison’s ‘1998 Live Hits’ on December 12. Jamison fronted SURVIVOR during the 80s, through a pile of hits and a few excellent albums. I always thought this guy was right up there with the likes of Brad Delp and Lou Gramm. His pre-Survivor bands COBRA and TARGET were more hard rock, making the albums he did with those bands highly recommended. But this Live Hits features largely Survivor’s biggest hits, as well as a few from Jamison’s solo catalogue, and a cover of The Doors “Riders On The Storm”. Check out the press info, as well as the bio below, the 2 videos released so far, tracklist…below.
‘1998 Live Hits’ is a powerful time capsule capturing the energy, emotion, and artistry of legendary vocalist JIMI JAMISON at a pivotal point in his post-Survivor career. Recorded across three vibrant shows in Little Rock, AR, Nashville, TN, and Bettendorf, IA, and now to be released by Frontiers Music Srl, this album showcases JAMISON’s electrifying live presence and undeniable vocal prowess as he revisits some of the most iconic songs from his time with Survivor, along with deep cuts, original solo work, and inspired covers. The album will be out on December 12, 2025.
Backing JAMISON is a seasoned and soulful ensemble: longtime collaborators Jeff Adams (bass, vocals) and Hal Butler (keyboards, vocals) were joined by guitarist Chris Adamson, drummer Pete Mendillo, and Memphis-based producer and guitarist Wes Henley, who also supervised these live album recordings. This lineup reflects a strong musical camaraderie built over years of touring, with several members having roots alongside JAMISON that date back to his 1970s band Target.
Now, years later, these recordings allow fans—old and new—to reconnect with a voice and spirit that remains timeless. ‘1998 Live Hits’ is more than a concert album; it’s a tribute to an era, a legacy, and the enduring magic of JIMI JAMISON.
One standout from the set is a haunting performance of “Riders on the Storm” by The Doors — a testament to JAMISON’s ability to tap into a wide range of emotions and his gift for storytelling through song. His delivery brings an atmospheric intensity, drawing the listener deep into the moment.
The track list includes fan favorites such as “Burning Heart,” “High on You,” “I Can’t Hold Back,” “The Search Is Over,” and “Eye of the Tiger,” all songs that defined a generation of melodic rock. Deeper cuts like “Oceans” and “Too Hot to Sleep” reveal the richness of Survivor’s catalog, while JAMISON’s originals, such as “Rock Hard” and “I’m Always Here” (the iconic Baywatch theme), showcase his creative versatility.
Of particular note is the interplay between Chris Adamson and Wes Henley on guitars. Though Henley’s primary role was behind the board, his friendship with JAMISON and passion for the Survivor material often brought him onstage. Together, he and Adamson bring layered, textured performances that do justice to the intricate compositions of Peterik and Sullivan.
Through warm crowd interactions and powerful vocal moments, ‘1998 Live Hits’ highlights JAMISON’s authentic stage presence, Memphis soul, and deep bond with both his band and his audience. As friends and collaborators reflect, this wasn’t just a group of musicians—it was a family.
1. Burning Heart 2. High On You 3. Rebel Son 4. I’m Always Here 5. I See You In Everyone 6. Rock Hard 7. Oceans 8. The Search Is Over 9. Is This Love 10. I Can’t Hold Back 11. Riders On The Storm 12. Too Hot To Sleep 13. Eye Of The Tiger
Line-up: Jimi Jamison – lead vocals Jeff Adams – bass and vocals Chris Adamson – guitars Hal Butler – keyboards and vocals Pete Mendillo – drums Wes Henley – guitars
Photo courtesy of Debbie Jamison
JIMI JAMISON earned recognition as the frontman for hard rock bands Target and Cobra before reaching platinum heights with Survivor, singing the hits “Burning Heart” from the film Rocky IV, “I Can’t Hold Back,” “High on You,” “The Search is Over,” and “Is This Love.” Acclaimed by legendary U.S. disc jockey Casey Kasem as “The Voice,” JIMI JAMISON’s performances are treasured by connoisseurs of AOR and melodic rock who consistently rate him as one of the genre’s Top 5 vocalists of all time.
Raised on R&B, Blues-Rock, and Country music in Memphis, Tennessee, JIMI JAMISON released his first single in 1967 with a band called The Debuts. “If I Cry” was originally intended for fellow Memphis band, The Box Tops, featuring lead singer Alex Chilton. Jamison honed his craft by singing commercial jingles by day and fronting gritty rockers Target by night. His next band, Cobra, with Mandy Meyer on guitar, cut a cult classic in 1983’s First Strike, but that was just a prelude to Jamison’s breakthrough as lead singer of Survivor.
With JIMI JAMISON at the mic, Survivor proved that its earlier success with “Eye of the Tiger” was no fluke. The combination of JAMISON’s emotion-charged vocals with Jim Peterik and Frankie Sullivan’s masterful songwriting and Ron Nevison’s radio-friendly production resulted in 1984’s Platinum-selling ‘Vital Signs’ album. Its hit singles “I Can’t Hold Back,” “High on You,” and “The Search Is Over” were massive hits, later joined by Survivor’s Rocky IV theme, “Burning Heart,” and the further Top 10 hit “Is This Love.” Survivor’s 1980s trilogy featuring JAMISON – ‘Vital Signs’ (1984), ‘When Seconds Count’ (1986), and ‘Too Hot to Sleep’ (1988) – are acclaimed as AOR and melodic rock landmarks. Concurrently, JAMISON’s voice could be heard singing prominent harmony vocals on ZZ Top’s smash ‘Eliminator’ album, most notably on ‘Gimme All Your Lovin’.’
Striking out on his own in the 1990s, Jimi Jamison released the solo albums ‘When Love Comes Down’ and ‘Empires.’ His voice and songwriting reached new audiences through “I’m Always Here,” the theme song for Baywatch, the most-watched television series in the world with a weekly audience of over 1.1 billion viewers. But touring became his primary focus throughout the decade, both with all-star projects including Voices of Classic Rock and with his own band. JAMISON’s primarily Memphis-bred group comprised acclaimed musicians including keyboardist Hal Butler; guitarists John Roth, Jerry Riggs, Hal McCormack, and Chris Adamson; bass players Jeff Adams and Barry Dunaway; and drummers Bill Marshall and Pete Mendillo. The most stable lineup of Butler, Adamson, Adams, and Mendillo was captured live in concert in 1998, but the recordings went unreleased.
JAMISON returned to the record racks with a vengeance in the 2000s, with projects including Survivor’s 2006 album, ‘Reach’; the 2008 collaboration with Jim Peterik, ‘Crossroads Moment,’ and its 2010 companion piece ‘Extra Moments’; 2011 duo albums ‘Kimball Jamison’ with his longtime friend, Toto lead vocalist Bobby Kimball, and ‘One Man’s Trash’ with guitarist Fred Zahl; and his final solo album, 2012’s ‘Never Too Late.’ JAMISON’s triumphant first-ever UK appearance at Firefest 2010, backed by a band featuring guitarist Tommy Denander, was memorialized on the CD and DVD Live at Firefest. JAMISON performed his final show just two days before his untimely passing on September 1, 2014.
JIMI JAMISON’s family and friends have worked diligently to keep his memory and music at the forefront. Several all-star “Jam for Jimi” concerts have been staged in Memphis to raise money for JAMISON’s favorite charity, St. Jude Children’s Research Hospital. A stretch of Highland Street in Memphis was named “Jimi Jamison Street” in 2022. That same year, the first of several CD releases from the Jimi Jamison Archives, ‘Rock Hard,’ presented his 1990 solo debut album as it was originally intended. JAMISON was inducted into the Memphis Music Hall of Fame in 2023. Memorabilia, including a fan-funded bronze bust, is on permanent display at the iconic Memphis venue, Lafayette’s Music Room. The tenth anniversary of JAMISON’s passing was acknowledged by Representative Steve Cohen in the United States House of Representatives. Jimi’s shelved 2008 country rock collaboration with Jim Peterik, entitled ‘Jimmy Wayne Jamison,’ was unvaulted at the same time. Members of JAMISON’s solo bands continue to play together in both .38 Special and Starship. A film, Resonating Voices: The Jimi Jamison Documentary, is in the early stages of development.
2025 brings the most exciting Jimi Jamison Archives release yet, one which his fans have been anticipating for 25 years: the never-before-issued live album he recorded in 1998. With a setlist drawn from Survivor, his solo career, and even a cover of The Doors’ “Riders on the Storm,” ‘1998 Live Hits’ ensures that JIMI JAMISON’s strong, clear voice will continue to thrill fans worldwide.
In 2007 MICK MASHBIR released his first solo album, Keepin’ The Vibe Alive. Mashbir, from Phoenix is a guitarist/songwriter, who in the 1970s played on 2 ALICE COOPER albums, as well as accompanying tours (1973-74), as well as Alice Cooper bandmember solo projects, and later with Flo & Eddie, and The Turtles. Mick has a new album out, digitally only (so far), titled Strungout On Strings, which includes a few tracks from his previous album, a few new ones, and some written and recorded in-between. (I’m kinda hoping for a CD (:-)) in the future). You can check out Strungout On Strings on Youtube (see link at the bottom, and give the songs a like).
Can you give me the basics on your new album? (when songs were written and recorded, title…)? I notice a few titles which were previously released as singles.
STRUNGOUT ON STRINGS is a compliation of songs recorded before and after KEEPIN’ THE VIBE ALIVE was released. It is varied in styles because as a guitar player I have played many styles beyond what I did with the ACG. I released “De La Vina”, “Now” and “Bottom Feeders” after KTVA because I wanted them to be available for all to hear. My love for guitar is not about one style. The title says it all. That’s why I’m still playing. The 12 tracks are; NOW, AMERICAN WEIRDO, BOTTOM FEEDERS, POINT DOOM, BORN TO ROCK, FLOAT, HERE IN THE FLESH, DE LA VINA, 1-900-4AGOD, MEMNOCHS BLUES, COMPASSION and HOLD ON.
Are there any special guests on this one?
“Born To Rock” featured my band the YARBLES. It was recorded at the Record Plant in LA. The drums on that track are the only live drums on the album. I programmed all the drums on the other tracks.
Is Bob Dolin (RIP) on any other tracks (aside from “Hold On”)?
Unfortunately no. The upside is that it forced me to upgrade my chops on the keys.
You included “American Weirdo” and “Hold On” from your previous album. I notice that “Hold On” plays out til the end instead of fading out. Is there anything else you altered on either track? Both make great singles btw. I always thought “American Weirdo” would’ve been a cool AC song way back.
“American Weirdo” was remixed, remastered and re-released because I felt it spoke to what is happening in America today. At heart it is a blues song, relevant in the 80’s and still relevant today.
The images in the accompanying video are symbolic of the political, economic, religious and social conflicts we as Americans are experiencing regardless of our race, chosen religion or political affiliation. The video shows it all.
“Hold On” was remixed, remastered and re-released as a tribute to Bob Dolin. His piano part in the coda was cut short by the fade out version on KTVA. I thought it was important for that to be heard in its entirety. His piano in the coda was one take. His overdubs..the cellos, violins and piano took about 3 hours. Funny thing about Bob, he really wanted to be a lead guitar player. The last time I saw him perform he playing lead guitar in a cover band!
“Hold On” is a song of struggle and hope. It helped a couple of friends of mine make it thru their dark and difficult times.
Can you comment on a few of the tracks, such as “Now” (from 2013), “Here In The Flesh”, as well as instrumentals “Point Doom”, “Float” (who’s playing keyboards on this one?)
POINT DOOM is a nod to my first band The Jaguars. We were playing Surf Instrumentals in the Arizona desert. It was written in the 90’s while I was living on Point Dume’ (Doom) in Malibu, California. The video features old school skateboarding.
NOW is auto-biographical history. I had never played a solo using the whammy-bar on my Strat so that is my first attempt. The video reflects the philosophy and reality that NOW is all we really experience in our lives. The video is a psychedelic take on time.
The lyrics of HERE IN THE FLESH were written by Curt Phillips (RIP). When I first met Curt he was in an Alice Cooper cover band so I think that’s what inspired him to write those lyrics. The lead was cut in one take on my Fostek 4 track cassette deck with my 58′ Sunburst.
FLOAT was a track that I created to jam to. I played piano and B3 organ. That guitar was my first take on the first jam. I thought “this works, this is a keeper.” COMPASSION and MEMNOCHS BLUES were both done the same way with the same results.
DE LA VINA was inspired by an Ayahuasca journey in the jungles of Los Angeles. Again, the video gives a little symbolic insight to the experience.
You’ve only put this out on Youtube so far. Will it be available on other streaming services.
It is available on about 35 other streaming services, some not available in the USA. Check out: Amazon, iTUNES, deezer, iHeart Radio, Pandora and Spotify.
Will there be downloadable or physical copies (maybe in the future)?
That all depends on the reaction to the initial YouTube release.
Who created all the videos?
All the videos were created by me. I wanted SOS to be an audio/video experience and that’s why “SOS” was initially released on YouTube. The videos are very symbolic in their nature letting the viewer interpret them as they wish.
Who created the cover art for this?
I created the art as well. It’s a nod to AI. I would never use AI for music, but since I’m not a practiced visual artist, AI is a handy tool.
There’s been a lot of activity from the original Alice Cooper group these last few years, notably the deluxe reissues of albums you played on and a live album from your time with them. I notice you were included in the extended liner notes to Muscle of Love, but didn’t see much in B$Bs. What did you think about these releases?
I am not familiar with the B$Bs reissue so I can’t really comment. I was not asked to participate so no free copy for me. ..lol
How did your inclusion (interview?) come about for the Muscle of Love release?
That was because Mike Bruce put me in touch with the incredible Jaan Uhelszki (founder/editor of CREEM magazine) who was doing the liner notes. She made sure I received a promo copy. I was impressed with the remastered sound and Alice not singing in character on “Crazy Little Child” isolated vocal…a real crooner.
In the Billion $ Babies release, Michael Bruce mentions your involvement in the early stages of what became “Raped and Freezin”. Do you recall that?
It was the first song we worked on at the first rehearsal…The Latin rave up at the end was our nod to the instrumental “TEQUILA”.
Have you kept in touch with any of the AC guys in recent years?
I saw Mike Bruce about 10 years ago if that counts as recent. He is the only person in the band that made any effort to stay connected.
Have you heard the new AC band album (any thoughts on it)?
I thought the relaxed, not so polished production that killed the feel of most of ACs solo stuff, really made it sound like ACG groups early records. I notice on Wiki there were 5 additional guitar players which dissapointed but didn’t suprise me.
What else are you up to these days? (still play live much?)
I’m writing and recording new material. I no longer gig.
Singer Peter Goalby is mainly known for years during the 80s fronting Uriah Heep, with whom he recorded 3 albums, and prior to that a few years with Trapeze, where he recorded one studio and one live album. But in-between there, very briefly, Peter was chosen to sing for another, bigger band, at the time. His time with Rainbow didn’t last long, and he’s often (if at all) merely mentioned as a footnote as someone who auditioned for the band. Goalby’s story of that time, and his first ever detailed recollection of that period is a very fascinating read. Peter recalled it all to myself and Peter Kerr (Rock Daydream Nation). The 3rd part of this article contains questions (from Peter Kerr & myself), answered by PG.
Please note, Peter has wanted to tell this story for a long time. I know he has a very good memory of his career, and fine details. This is his account being told for the first time. It was a long time ago, and it came at very busy period in his career, while he was still with Trapeze. He would soon record a project later in 1980 under the name ‘Destiny’, followed by Trapeze tours and a live album. By late ’81 he was ready to step into the role of lead singer for Uriah Heep. Ironically, the 1982 album Abominog, a fantastic album, was comparable in direction (that American Hard-rock/AOR) to what Rainbow was also recording during the early 80s with Joe Lynn Turner. So, frankly, I don’t see how Peter wouldn’t have been a good fit for that band, but oh well….On to Peter’s story….
My Audition / Initiation
The day before New Years Eve, sitting in my unfurnished flat (apartment) in Wolverhampton phone rings – “Hello is that Pete?” , I said yes, it is. “Pete this is Ritchie Blackmore “, Fuck off I said, who is this? I thought John Thomas from the band Budgie; he was a prankster.” Pete, its Ritchie really (LOL) “He said I “got your number from…” I can’t remember who he said but I thought, ‘Oh Its Ritchie alright’.
“Would you be interested in joining my band, Rainbow? I have heard a lot of great things about you and your work with Trapeze. Mel Galley is gonna hate me even more if I steal you That will be twice.”
We chatted for a few minutes and then he asked, ‘do I have anything I can play to him?’ I said I have a copy of the new Trapeze album Hold On, “I can play you a track down the Phone(?)” I played him “Don’t Break My Heart Again” (phone to the speaker). It’s 6 minutes long, I thought he will have hung up by the end. “Are you still there?”, I said. “Very much so. Would you like to come to New York? “, I said ‘yes when’. “Tomorrow”, he said.
I was told to arrive at Euston Train station. I would be met and taken to the Airport. I was given a ticket and some money and put on a plane
(In New York) I was detained at the Airport upon arriving and taken to a back room where I was questioned and my luggage searched. They thought I was trying to work in the U.S I said I was there for an audition. I was asked who the band was. I said Rainbow. One of the security guys said Ritchie Blackmore(?), “then re pack your case you can go”.
I was met by a member of the Rainbow crew and taken to the Holiday Inn, Connecticut. I was there on my own for 2 days waiting for someone to greet me. I spent New Years Eve on my own, well me and the barman in the hotel.
Next evening I was in the Bar and who should walk in – Cozy Powell (LOL). Then in walks Don Airey (LOL). WE all got on great from the off. I had met Cozy before.
I said, ‘where is Ritchie?’, I was told he lives next door to the hotel. So, I had been left on my own for 2 days with Ritchie living next door celebrating the New Year. I was starting to get the picture and the way they all spoke of Ritchie, he was the Boss for shit sure.
Ritchie walked in the bar with his then very large breasted girlfriend, and we spent the evening talking – me, Ritchie, Don, and Cozy. I can’t remember when Glover arrived.
We arranged to meet for rehearsals next morning.
Down To Earth (with a Bang) LOL
I arrived at the Geneva; the place was incredible with a Moat and a Drawbridge, WoW.
Don arrived soon after me, we got on so well it was all fantastic. There was a guy called Jack Green there he was the new bass player, as Roger Glover was producing Down To Earth he was not playing – only producing. There was a mobile Recording Studio outside belonging to Jethro Tull. All the band gear was set up in the Dining Hall which was the size of a banquet Hall.
Cozy arrived, he was such a compete gentleman, he was such a complete person he really was great.
We were all there for a couple of days before Ritchie arrived with the girlfriend. He spent a few days in his room only coming out to have meals. We had a Cook living in with us. From time-to-time Ritchie would come out and ask me and Jack to write some lyrics for an idea he would have. Then he would say forget that one. “Can you do some words for this?” That would be another Idea he would be playing. I was finding it frustrating as we did not seem to be doing much at all. I used to have a play on Don’s Hammond organ to pass the time. We were all just waiting for Ritchie. After a few days Ritchie had come up with some riffs. One night about 10.30 to 11pm I was going to bed and was told Richie wants to rehearse now. I foolishly said I was about to go to bed. Never mind. We went down into the Dining Hall They all started jamming led by Ritchie showing them the ideas he had. I was expected to just sing something over them. Something I had never done before. I was used to having a structured song to sing knowing the melody etc. I just looked at Don thinking ‘what the fuck does he want’. So, I started warbling some nonsense. So, we did this for some time. Don was looking at me and encouraging me to sing anything by pretending he was singing. I found this all a bit bizarre. Next morning there was a bad atmosphere from the off. I did not see Ritchie at all. Roger said “can we talk in your room”. I said of course.
Roger said Ritchie is not happy. I said neither am I. I don’t know what he wants I am not used to working like this. Roger said you are fired. I said couldn’t Ritchie face me and Fire me himself.
Roger said I will take you to the airport now. So, I went and told the guys I was fired they were shocked. Ritchie did not even come to say goodbye. He did send me a message through Roger, he said You Know that riff you have been playing on the Hammond could you show Don how it goes before you leave? On the way to the Airport Roger said did I know any good bass players as Ritchie was not happy with Jack Green either
I was given no reason other than Ritchie was not happy.
It later transpired he was not happy with my vocal range he said my top note was an A which is not true as the world can hear on the Heep albums I did.
I did not apply for the job in Rainbow I was invited by Ritchie Blackmore after listening to me singing “Don’t Break My Heart Again” by TRAPEZE I made no claims about my vocal range.
I am very happy to finally tell the true version of my very very brief time in such a great band
Peter Goalby 09-09-2025
Did you talk for a while with Ritchie before having a sing?
It was all quite natural mainly down to Cozy being such a great and honest guy (what a lovely man)
What was he like?
Ritchie enjoyed being Ritchie and enjoying being number uno.
Were there any band members at this first meeting? Describe the rehearsal with the band? What songs did you play? Any of your originals or non-Rainbow songs were played?
A tiny rehearsal room. I was stood facing Cozy when he hit his bass drums My jeans blew back at the ankles LOL, He was making me laugh to make me feel at home. In fact, Don was the same very friendly as if they were relieved, they had got me there.
WE did “Long Live Rock and Roll”, I enjoyed that, not too many words LOL
I think Cozy said “we have this song demo with a girl singer”. He said Ritchie does not like it, but the record company want us to do it as a single. I said it’s a great song. I think. We ran through it. I can not remember what else we did. I kept thinking this is me singing with Rainbow LOL.
Did you get a good vibe as to how things were going?
I got great feedback from the guys they were talking like it was a done deal. Like I said I felt they were relieved they had a singer. Ritchie was very reserved I think that’s how he liked people to see him.
What was said at the end of the play through?
All very positive but what was weird is It was as though I was in, but no one said You are our new singer. I was given a plane ticket and told Bruce Payne (manager) would contact me, which he did when I got home. I was put on the payroll. I think it was £2000 per month. Little knowing it was to last only 2 months at that time. Bruce said we were to do a demo of “Since You Been Gone” at Roger Glover’s house, which we did. I remember Ritchie playing the wrong chords when we were recording LOL.
Then the recording date for the album was announced and I went off to Geneva to the chateau.
Did you think you would be offered the role?
Of course. I would have been great in that band
I am curious – Had you told anyone on your side (bandmates, management) that you were off to NY to possibly join Rainbow(?)
I did not have time; I was called and then the next morning I was on a plane. I only told my wife, I don’t think she believed me at first. And Then I told her I got the Job then a couple of months later I told her I was FIRED LOL
What were you up to when Ritchie called? Was there a Trapeze tour being planned or any other recordings?
I was in my apartment (flat) with no furniture I can’t remember what was happening with Trapeze. I had just got the first copy of “Hold On”, the Trapeze album. Thank you, Mel, for writing the song that got me in and out of Rainbow LOL.
Considering Ritchie was concerned about image (i.e. he hated Graham Bonnet’s short hair and choice of clothes). Did any appearance or image stuff come up?
No, he knows a star when he sees one LOL.
Was your audition or time with the band given any press treatment? Ie: photos taken, bios written, or mention in the press?
Only my local town paper; I was on the front cover if I remember correctly.
Did you really get to talk to Ritchie much at all? (Even in the bar) And was it all business?
I did talk to him, yes, I did get on with him socially. But then again, I get on well with everybody.
“And we had a singer called Pete Goalby, who did great things with Uriah Heep, but he didn’t quite get what Ritchie was going on about” – Don Airey (Rolling Stone)
“I was the one who helped talk Ritchie into doing it. His manager Bruce Payne NEEDED A HIT SINGLE. We did a demo at Roger’s house with Jethro Tulls’ Mobile.” – PG
PETER GOALBY & GRAHAM BONNET
There is one song that ironically both Peter Goalby and Graham Bonnet sang, and that is a cover of Paul Bliss’ “That’s The Way That It Is”, which I’ve put below. The song appeared on Bonnet’s 1981 album Line Up, as well as Uriah Heep’s 1982 album Abominog, and released as a single in both cases. Interestingly, Bonnet also covered Argent’s “Liar” (written by Russ Ballard) on that album, while Goalby had sang the song years earlier as a demo for his band Fable! Abominog would instead feature a different Russ Ballard track, “On The Rebound”.
I could not find any songs that both Goalby and Bonnet’s successor in Rainbow – Joe Lynn Turner both sang, but both Heep (w/ Peter Goalby) and Rainbow (w/ JLT) both took a similar direction in the 80s, which is discussed with Martin Popoff in an episode of History In 5 Songs – https://cms.megaphone.fm/channel/history5songs?selected=PAN4285683323
Goalby’s post-Heep solo recordings are also much more in the 80s AOR style that would’ve definitely suited either Foreigner or Rainbow in that decade (Ironically, Goalby’s name came up when Foreigner was looking for a singer when Lou Gramm left the first time, but not bigger discussions or offers came about). But check out tracks like “Take Another Look”, “Waiting For An Angel“, or “It’s Just My Heart Breaking” and “Show Some Emotion” (from his upcoming 3rd album), they would sit comfortably on an 80s Foreigner or Rainbow album, IMO. As for the one ‘new’ song that Goalby sang with Rainbow, “Since You Been Gone”, no recording from those rehearsals exists, but both Bonnet and it’s writer, Russ Ballard, both have new versions of it in 2025.
US heavy metal band WINGS OF STEEL have released their second album, Winds Of Time. The band, which is heavily influenced by 80s LA metal, as well as classic hard rock & metal acts like MSG, Queensryche, Rainbow, Dokken….The band is based around Swedish singer Leo Unnermark and guitarist Parker Halub, who formed the band and write the songs. There’s 3 videos out from Winds Of Time, which you can check out below, including the epic 10 minute+ title track. Order the album at the links below. Band bio and press info below. If you’re missing high energy 80s heavy metal, check these guys out. Bandanas included. Another cool album cover from Spencer Caligiuri.
Los Angeles-based heavy metal powerhouse WINGS OF STEEL returns with their second full-length album, Winds of Time — cementing their status as one of the genre’s most exciting new forces.
Hailed by fans and critics alike as one of 2025’s most anticipated metal releases, Winds of Time builds on the band’s fast-rising legacy with a sound that is both nostalgic and unmistakably fresh. From the first note to the last, the album channels the spirit of a golden era when titans like Judas Priest, Dio, and Queensrÿche ruled the stage — yet it does so with modern intensity and pristine production. Across eight electrifying tracks, Winds of Time delivers soaring vocals, blistering guitar work, and a rhythm section that strikes with the unyielding force of a hammer.
The band comments: “Winds of Time is not just an album; it’s an immersive journey into the heart of heavy metal. It’s boiling with passion, precision, and raw power — a record that will resonate deeply with both new listeners and lifelong metal fans. Every note, every drum hit, every lyric was crafted to capture the essence of what makes heavy metal so timeless”
Formed back in 2019, WINGS OF STEEL is a Los Angeles-based heavy metal/hard rock band rooted in the classic styles of the 70s and 80s. Their sound combines Unnermark’s bluesy, powerful vocals with Halub’s bombastic riffs and expressive soloing, creating a distinctive and massive sound reminiscent of the glory days of heavy metal combined with all the crisp clarity that modern recording techniques have to offer.
After their 2022 debut EP, “Wings of Steel,” they released their critically acclaimed first full-length album, “Gates of Twilight” (2023). In spring 2024, Wings of Steel embarked on their first European tour where they reaffirmed their position as one of the most prominent new bands in Heavy Metal. Wings of Steel continues to be praised for their energetic and captivating live performances, which can be experienced sonically on their live album “Live in France” (2024).
To date Wings of Steel has played numerous shows in the US and Europe, including festivals and venues like Heavy Week-End, Rock Hard Festival, The Whisky-A-Go-Go, Up the Hammers Festival, Keep it True Festival, and more.
Additional information/credits: Recording on the album: Vocals: Leo Unnermark Guitars & Bass: Parker Halub Drums: Damien Rainaud
Tour lineup (as featured on pictures): Vocals: Leo Unnermark Lead guitar: Parker Halub Rhythm guitar: Stefan Bailet Bass: Mathieu Trobec Drums: Marcel Binder
February 9 – Ft. Lauderdale, FL – War Memorial Auditorium February 10 – Tampa, FL – Yuengling Center February 13 – Houston, TX – 713 Music Hall February 14 – Dallas, TX – South Side Ballroom February 15 – San Antonio, TX – Boeing Center at Tech Port February 18 – Phoenix, AZ – Arizona Financial Theatre February 20 – Los Angeles, CA – The Kia Forum February 21 – Wheatland, CA – Hard Rock Live February 24 – Salt Lake City, UT – The Union Event Center February 26 – Loveland, CO – Blue FCU Arena February 27 – Omaha, NE – Steelhouse Omaha February 28 – St. Louis, MO – The Factory March 2 – Des Moines, IA – Vibrant Music Hall March 3 – Minneapolis, MN – The Armory March 4 – Chicago, IL – The Salt Shed March 7 – Cincinnati, OH – The Andrew J Brady Music Center March 8 – Detroit, MI – The Fillmore Detroit March 10 – Pittsburgh, PA – UPMC Events Center March 11 – Philadelphia, PA – The Met March 12 – Boston, MA – MGM Music Hall at Fenway March 14 – Virginia Beach, VA – The Dome March 15 – Washington, DC – The Theater at MGM National Harbor March 17 – Greensboro, NC – Greensboro Event Center March 18 – Atlanta, GA – Coca-Cola Roxy
Canada
April 6 – Halifax, NS – Scotiabank Centre April 9 – Laval, QC – Place Bell April 11 – Toronto, ON – Great Canadian Casino Resort Toronto April 14 – Winnipeg, MB – Burton Cummings Theatre April 17 – Edmonton, AB – Edmonton Convention Centre April 18 – Calgary, AB – Grey Eagle Event Centre April 20 – Vancouver, BC – PNE Forum
Canadian singer and songwriter RICK HUGHES has a new solo album out (October 24) called Redemption. Rick is also the singer for Canadian heavy metal band SWORD. Sword released 2 albums in the 80s on Canadian label Aquarius, and went on to tour supporting Alice Cooper and others (I must’ve seen them in Toronto on the Raise Your Fist and Yell tour in Toronto). Since then Rick went on to front SAINTS & SINNERS, and release a few solo albums. Now Rick is back with an excellent new solo album, with great songs, including a few covers, and some very special guests. Redemption can be ordered at: https://www.dekoentertainment.com/inthesquare/rick-hughes
Below, Rick and I talked about his new album, plus Sword, as well as his influences, and favorite artists. …..
With the first single, “The Real Me”, you had a lot of guests on it and that, so I’m wondering from where you’re based, how you got all those guys involved? What the connection is with Brad Gillis and Tommy Aldridge and that?
That’s a connection that comes from my Saints & Sinners days. With Saints & Sinners, I was working with the keyboardist from San Francisco, Jesse Bradman, a good friend of mine. When we started to get the project for my new album, that was like two years ago, we went about asking for songs. We asked Jesse if he had some songs to propose for my new album. And he says, “Yeah, I got a couple of songs that I wrote with Brad Gillis”. So, we said, Oh, we want to hear that song. Upon hearing the songs, I fell in love with the songs. I says, can I please have them? They say, Yeah, of course! That’s how we got Brad Gillis, because he accepted to let me record the song. And then we became friends. So, when it was time to record “The Real Me”, we said, well, we have Brad for his songs, because he plays on his songs, of course. And lucky for us. So, we said, “Can you do another one?” And we asked him to play on “The Real Me”. And that’s when the idea came about to reunite him with Rudy (Sarzo) and Tommy Aldridge.
That’s interesting, because when I saw that, obviously, like, I was a big Speak Of The Devil fan when that album came out with that Ozzy lineup.
So Was I !
I’m curious how you got to where you are now with this new album Redemption, because I’ve recently picked up a couple of the Sword albums. So obviously, it’s a very different sound. You got a lot more variety on the on your new album that. Can you talk a bit about how you are where you’re at now, as opposed to just doing the Sword stuff or kind of more of the metal stuff?
That’s a very good question. And the answer is quite logical, is that when I’m a metal singer, or I chose to record metal, I do it with Sword If it’s a solo project, like here in Quebec, I’ve been doing 50 to 100 shows a year for the last 20 years. And the shows that I do are for seven years old to 77 years old people, you know. I’m the kind of guy that when I wake up in the morning, if I listen to music, I listen to The Band, Elton John, metal stuff. Later on in the afternoon, if I have to go around and do other stuff, listen to blues, hard rock… When I ride my Harley, sometimes I listen to heavy metal. But I’m a fan of music. My biggest influence is Robert Plant. So, if you take Robert Plant’s career, I’m not trying to mimic or duplicate, but when your mentor does stuff, you kind of go that way without even noticing it. When you think about Robert Plant, since Zeppelin and today, it’s totally different. He’s never redone the same album. It’s always been different. So that’s what I try to do with my solo career, I do what people already know me for. I’m a singer and I love rock music. So, rock music’s got plenty of genre – it’s got heavy metal, it’s got hard rock, it’s got blues rock, it’s got heavy blues, it’s got pop rock, it’s got rock, it’s got country rock. So that’s the sound you hear on my album, just what I just described.
Now you do have a few covers on the album, in particular, “The Real Me”. I love the Who albums. I’m kind of curious why you picked that one of all the Who stuff.
Because of the playing. When my manager and I decided on this song, we said, “Okay, let’s redo The Real Me, and let’s find the perfect musicians to render the song. So, it was magical because that was way before Brad was even in the conversation. So once Brad got in on the song, then we went for Tommy Aldridge and Rudy Sarzo, with the result that we hear on the recording.
There’s a few other covers, you do the Michel Pagliaro song. I imagine he’s a big influence on you. We don’t see him much outside of Quebec, I assume, but the albums are pretty easily to find here. But I wonder if you can talk a bit about that track that you chose.
Again, a very good question and I’ll answer it by answering two questions because probably you’ve got another question around the corner. Michel Pagliaro, we affectionately call him ‘Pag’, is one of my main influences. As a kid, when I first saw him on TV, that’s when I fell in love with the guy, with the attitude, the music, the sound. Pag is like the rock and roll attitude, man; this guy is amazing. And when it was time to choose the songs, I said to the producer, John Webster, and my manager, I told them, “We need at least a couple of French songs on the album”. And they obviously asked me, “Why is it so important?” I said, “Because I’m a loyal guy. I’ve been playing here in Quebec for 10 years. I’ve been doing 50 to 100 shows a year, there’s some French material in the show. There’s obviously a lot of English material because I’m more at ease singing Americana kind of stuff, or even British stuff. But still, there’s a section in my show that that’s Francophone for my Francophone fans. So, I said to my producer, I said, “Listen, John, you’re the best producer in the world in my book. I’m about to do one of my most important albums. There’s got to be a couple of songs in French”. I’m a loyal guy. I don’t want to leave my French speaking fans out of this album that is so important. And the way I closed the deal I said to him, I said, “It doesn’t matter if it’s French or English at the end of the day, because just think about Rammstein, they’re German, they sing in German, everybody loves it. You wouldn’t change German to English because of the way it sounds. So same goes with my French song on the album. I’m sure that the English-speaking fan will find something interesting in the French song or they’ll catch a glimpse of the words. And yeah, I’m confident they’ll like it as much as they’ll like the English song.
It’s interesting because I think Michel Pagliaro did the same thing where he had some French and some English songs on various albums and that. Correct?
True. Yes. A lot of artists here in Quebec do that, they mix both, because as you can hear, I’m a French speaking guy. Rick Hughes is my real name. It’s not a stage name. My father was from Irish descent. So, it is my real name. But I’ve grown in a French environment. My girlfriend is French, my dogs, my kids, everybody around my neighbors. I speak French 24 7. So that’s it. But like I said earlier, I love the sound of singing a song in English.
The other cover, I wouldn’t say it’s cover. Actually, it’s your song, the Aldo Nova track “Someday”. I listened to that. I thought I know that because I got that here (held up Blood On The Bricks CD). Obviously, that song is good 30 plus years old. You’ve done a lot of work with Aldo as well, that song and some other stuff as well.
This is such an important song for me. And I’ll tell you why. I wrote the song while I was working with Aldo on Saints & Sinners album. Aldo was producing the Saints & Sinners album while Jon Bon Jovi was producing his album, Blood on the Bricks for Aldo. So, while he was producing Saints & Sinners, he had written some amazing songs for the album. And so one night I came to him and I showed him “Someday” and he says, “Wow!” I said, “Cool, you like it? So, it’s going to be on the album?” He says, “No… let me ask Jon because we’re looking for a ballad right now. We’re missing a ballad. And if you would allow me to use your ballad on my album, I’d be very grateful.” I says, “…if Jon likes it, then it’s yours! I got plenty of good songs on Saints and Sinners. And again, you wrote some excellent songs for me. So, it would be just a show of gratitude to leave you the song.” So, the next day he called me and says, “Jon loves it. We’re going to use it for my album”. A couple of months after that, they gave me a call, they were in studio and they were rearranging the song, changing some lyrics, adding some parts here and there. So that’s how Aldo and Jon are credited on the song. But I am the main songwriter of the song. So, I wanted to redo it. But I waited to make sure that it was okay with Aldo.
Well, it’s a great inclusion. It was a hit and it’s something obviously people will be familiar with.
And what I meant by this song is very important is that, like you said, that’s 30-something years ago that Aldo recorded that song. At that time, I was a young, struggling artist from Quebec. I had two kids that were just born. My wife, at that time and I wanted to buy a house, but we needed the down payment for a house. And we were, you know, scratching and putting some money aside and getting ready to buy a house. It would have taken us a long time. And by leaving that song to Aldo, the first royalty check that I got was the down payment for the first house I bought. So, it’s a gift that keeps on giving.
Well that works out then…The other person you have on here I see a lot lately, he’s on the new Alice Cooper album as well, is Robbie Krieger (on “Dans La Peau“) . How did you wind up with him on the album?
The album was recorded at Little Mountain Studio in Vancouver where Aerosmith, Bon Jovi, name it, they all recorded there. Now it’s called Iposonic Sound, but it’s the same. Nothing has changed. Frames on the wall, everything’s the same. So, everything was recorded there. It’s a live album. We got the rhythm section to record all the songs there. So, it’s a live album. But when it was time to record my duet with Amy Keys, a fabulous female singer. Man, I’m a big fan of hers. She was available but only in Los Angeles. So, they gave me a call.
They said, “Okay, Amy wants to do the duet with you, but it’s going to have to be in L.A. I said, “okay, so let’s do it in L.A”….”Okay, well there’s a studio in L.A. It’s Robbie Krieger’s studio, and it’s near where she lives. They got the equipment”, I said, “Wait, wait, wait! … you had me at Robbie Krieger”. I’m a big, big, big Doors fan. We went to Robbie Krieger’s studio to record Amy Keys. And while she was there recording the song, I came up with the idea. I told my manager, I said, “Why don’t we ask Robbie to play on that song?” It’s a kind of bluesy country-ish kind of song. And he goes, “that’s a long shot”. I said, yeah, but if we don’t try it, we’ll never know. So, we tried and he said yes. And that to me is like, it’s not even a dream come true because I never even dreamt that Robbie Krieger would play on one of my albums. I’m very, very grateful to him.
Well, yeah, it’s an interesting inclusion. He seems to do a few guest appearances; he’s on the new Alice Cooper album and he’s on an album by Blue Coop, which is the BOC guys and that. And the other guy you’ve mentioned on this album, I’m not familiar with him, is Johnny Hallyday.
Oh, Johnny Hallyday! I’m a fan of this guy. He’s like the French (from France), Elvis Presley. He died in 2017. And he was filling stadiums back in France, like 80,000 people.
He was a big, big, star, big, big influence on me as a kid, because my mom was a big fan of Elvis and of him. My mom was an artist, you know!? The Johnny Hallyday song is not known. It was kept quiet. It was released and they took it out. But before they took it out, I had a copy of it that I had put on a CD that time when we could burn CDs. So, I was listening to the song all the time and I kept it private, I didn’t want anybody to steal that idea because I thought it was such a good song. It’s like a hard rock, heavy blues kind of song. And the subject matter is so, so, SO, up to date.
How did you get a hold of it? It was an outtake from an album?
Well, you know, when I mentioned Amy Keys; Amy Keys was one of his backup singers for many years. So, he would do duets with her. The guy that wrote the song, the duet with Amy Keys, wrote the song for Amy Keys and Johnny Halliday, but Johnny died. He never could even listen to the song or let alone record it. So, it fell into my lap. That’s when I said, “Yeah, I’m a big Johnny fan. That was meant for Johnny, I want that song!” That’s how the connection was made.
You mentioned this album being a very important album. I get the impression in like reading some of the notes that it’s quite, some of the songs are quite personal for you. So, I wonder if you can talk a bit about the importance of everything as an album and some of the songs as being personal to you.
Just the title, you know, I was looking for a word that was the same word in French than in English, so not to deny my French root. And a couple of words came to mind, and then I came up with, Redemption, came into my head. Because I’ve been around the block a couple of times.
I’ve toured with Motorhead in the UK. I’ve been here, there, everywhere. I say that very humbly. I had my shares of let down and get up again and fight more – that’s the story of my life. And my philosophy about that is that we’re in a constant state of redemption if we strive to get better every day as a human being. So, if you look up redemption, not in a biblical sense, but in the literal sense, it’s about focusing on yourself, not on others or what happens around the world. It’s just focusing on you and how you can make your world better. And the best way to do that is to forgive yourself all the time for everything that you do. If you’ve done something wrong, or that was not quite right, just forgive yourself and just readjust. That to me is redemption. I thought the title was perfect because of my age, where I’m at in my life right now, the importance of that album, and all the subject matters on the album. They’re not that serious; they’re not pointing fingers at anybody. I wanted to create an album where if somebody digs it, well, while he listens to it, he forgets about the world, he forgets about anything, he just thinks about himself and how he feels upon listening to the album. That’s why there’s so much difference between one song to the other, so people can travel in their mind, and not always stay on the same train.
What else do you have planned for promoting this? Will you be doing any shows outside of Quebec? Anything planned as far as a band goes or anything?
That’s the main reason why I did the album, is to get more shows going. I really, I truly come alive on stage. That’s my second favorite place in the world. My first favorite place in the world is here at home with my wife and my people. My second favorite place is on stage.
As soon as I put one foot on the stage, “Whoa!”, something happens. And it’s been like that since the beginning; and it’s still like that. So, yeah, the reason for this album is to get us more shows, you know, abroad, not only in Quebec. I would love to go play in Niagara. I’ve been there before.
Growing up where you did, obviously, there’s a lot of Montreal, Quebec has kind of its own scene. There’s a lot of stuff that we don’t see much out of over here. But there’s a lot of great bands from Quebec, like Frank Marino, Pagliaro, Offenbach.
April Wine! They were based out of Quebec.
I’m a big April Wine fan.
What kind of stuff you grew up on and what some of your favorites as far as the Canadian scene went.
When we’re young, we get influenced by the music our parents listen to, as long as they listen to something cool. My parents were really cool. My father was a guitar player, singer, leader in a rock band, and my mom would sing in the band with him, a bit Johnny Cash- June Carter kind of stuff. They had this amazing vinyl collection when I was a kid. They had Zeppelin, Janis, French stuff, lots of Elvis. So, it was very rock and roll. So, my early influences were Led Zeppelin, Janis Joplin, Pink Floyd, some French stuff like Offenbach, Pagliaro. But yeah, it starts at home, or with your friends. In my case, it started at home. We’re a musical family. Everybody does music in my family. My sister sings on the album with me. My brother plays drums in Sword.
Did you keep a big record collection growing up?
Yes, I still have my vinyl collection, and I still have some old record players, like we used to have when we were kids, with the cabinets there. I got two, and I play my records on that. I got one in this room and I got one in my ‘man cave’.
The SWORD albums, which I recently picked up, the Unidisc reissues. You guys were on Aquarius, and I think Aquarius closed up at some point in the early 90s. Did you guys have any say in these reissues?
No, it’s Unidisc that handles that, but we had a good relationship with Unidisc. George, the owner of Unidisc, is a great guy. He’s taken good care of Sword’s albums. As you can see, the reissues are beautiful. The way he redid the sleeves and everything. It’s really good. Are you aware that we recorded a third album!?
Yeah, I was looking at that, and I see there was a limited amount of vinyl for that. I was just looking at trying to find a copy.
It’s just called Sword III.
Yeah, and then there was the live album as well?
Yeah, the live album was (done) before, but Sword III was released in 2023, a couple of years ago. We love that album too. It sounds great. By the way, I’m rehearsing with Sword tonight. I’ve been rehearsing for the past five weeks because we’ve got some shows coming. We’re friends since we were 15 years old. We’ve always been together.
You guys must have had some success. You had a lot of names on the albums. You had Gary Moffet, you had Jack Richardson producing the one album and that. So, what are some of the highlights of those first two albums, that period there?
Well, it was the best of times. My brother and I started to make music like we were 13. I was 13, he was 14. I played the guitar and he was banging on stuff. And then he got drums, I got an electric guitar. Then we met the two Mikes – Mike Plant and Mike Larock. We were living in the same town. So, we were 16, 17 years old. We did the bar circuits for years and years. And we built up a fan base. In 1986 we signed with Aquarius. We released Metallized, and the next thing you know, we’re opening for Metallica! And then we got a call from the UK to go open for Motorhead. We got back, we did the second album, and then we went on tour with Alice Cooper.
That was a dream come true because my brother and I, when we were in our teens, we were the guys that would go in line at the A&M record store and wait till the door opened to buy the new Alice Cooper album, Welcome to My Nightmare and all that stuff. We were big fans of Alice Cooper. So, we got to open for him like 10, 15 years after being big fans, and get to meet him! We were so in awe. And you mentioned Jack Richardson, who worked on some Alice Cooper albums; and that (again) was another dream come true.
The other guy who recorded one of your albums was Gary Moffet, an amazing guitar player.
Yes. And amazing songwriter.
Have you seen the new version of April Wine at all?
Yes, I saw that. And the singer is a good friend of mine – Marc Parent. I played with him a couple of times. We had a show together. He’s good, he’s got a good voice, and he’s a good Good guitar player!
What else do you have on the go?
That’s it. I’m very happy with the team I have on this album. I’m really looking forward for the world to hear it because I know that with Sword and with Saints & Sinners I’ve got some fans here and around the world. So, they’ll discover a new sound, which is who I am today, what I listen to, what turns me on, what gives me the shivers, what makes me think. It’s like a good movie – if you sit down and watch a good movie, for a couple of hours you get inspired because of the message, well, the same goes for music. That’s what it does to me. If I put on a good album, I won’t stop in the middle I’ll listen from beginning to end because I know it will take me somewhere else in my head and my thoughts. You travel without leaving home! Just sitting down. Like when we were kids, and we got Pink Floyd The Wall, how that changed our lives. I remember as a kid listening to The Wall and crying on some songs because I thought ‘wow, this is so beautiful!’ And it changed my life, a little bit. And then I heard another album that changed my life a little bit. Music does that to you.
A good songwriter will not only work on the music, but also on the lyrics to make sure that what he says reflects what he thinks, and what he thinks is right. And again, a good songwriter will do that. There’s songs that I’ve heard 20-50 times and they still do the same thing to me. They make me want to be a better person. Music does that to you. People take it for granted, but music is like food for thought; it’s food for your soul.
Is there any plans for another Sword album?
Yeah, probably. I’m doing some rehearsals with Sword because we got some shows coming up, but I’m really focused on my solo project. I just can’t wait for the album to get out, and to start to tour for that album. When I’m done with that, the timing is right, then it’s going to be Sword.
You mentioned a few of your influences. What are a few of your favorite albums of all time; albums that have stuck with you, that you can put on anytime?
Of all-time, I’d say Led Zeppelin I,II, III, and IV. Every Black Sabbath with Ozzy, with Dio, and Born Again with Ian Gillan… Those are my favorites – Dio, Ozzy, Robert Plant, some Judas Priest. Those are my favorite singers, biggest influences.
Canadian singer Ron Moratti will have a new solo album, Sovereign, out December 12, on Frontiers. There’s a new single out now. The album features Joel Hoekstra (!) on lead guitar, among the players. *Check out the video below, as well as the bio, track-list, and links at the bottom.
Talking about the new track, Rob stated: “It is the perfect opener. Most of us have struggled with relationships and this song is packed with the most powerful positive energy, you can feel it! We are all here for each other to lean on and help you win again. We hurt and we heal. We learn from our mistakes. Just don’t give up on love”.
Rob Moratti is a solo artist, formerly lead vocalist of Moratti, Final Frontier and of course Saga. Rob Moratti, a genuine and true original, has an astonishing range and has carved a unique style for himself, blending the finest elements of melodic and progressive rock.
“Sovereign” is Rob Moratti’s sixth solo album on the heels of the critically acclaimed release “Epical”, his debut on the Frontiers label. Filled with his trademark harmonies and memorable choruses, the songs on ” Sovereign” develop from where “Epical” has left off and are easily some of the most exciting that he has ever put his stamp on. An absolute must for fans of classic AOR music in line with The Storm, Journey, Survivor, Strangeways and Signal.
The album once features a stellar cast of contributing writers and performers, including Joel Hoekstra (Whitesnake, ex-Night Ranger) on lead guitar, Tony Franklin (ex-The Firm, Blue Murder) on bass, Felix Borg on drums (and co-writing), Fredrik Bergh on keys (and co-writing) and Pete Alpenborg (who also contributes rhythm guitar and keyboards). A real all-star line up for this excellent album!
Moratti started his professional singing career in the early 90’s as lead vocalist and songwriter of the band Moratti. They were immediately well received, garnering airplay in Japan and Europe. In 2002, Rob’s future went forward with Final Frontier, a band with whom he has released four incredible melodic-minded metal albums.
Over the years, despite all the changes in the music scene, Rob’s perseverance and passion have stayed strong. His talent captured the attention of the multi-platinum selling legendary progressive rock band SAGA and in 2008, Rob Moratti would become the new vocalist for the band for a while, appearing on 2009’s “The Human Condition”.
Over the course of his solo career, Rob has also worked with many incredible musicians like Joel Hoekstra (Whitesnake, TSO, ex-Night Ranger), Reb Beach (Whitesnake. Winger), Tony Franklin (ex- Blue Murder, The Firm), Brian Doerner (Saga), Ian Crichton (Saga), and Steve Augeri (ex-Journey).
1. Don’t Give Up On Love 2. Can’t Let You Go 3. Every Word 4. Waiting 5. Locked Down 6. Two Hearts 7. In The Air Tonight 8. I’ll Never Break Your Heart 9. The Calling 10. Angel 11. This Is Forever
Line Up: Rob Moratti – vocals Joel Hoekstra – lead guitar Tony Franklin – bass Felix Borg – drums Fredrik Bergh – keyboards Pete Alpenborg – rhythm guitar and keyboards
CREATURES is an ’80s influenced hard-rock / heavy metal band from Brazil, who are about to release their second album. Their sound, riffs, vocals….reminds me first of early-mid ’80s Judas Priest, among others of the era. *Check out the press info below, as well as the 2 videos from their forthcoming album Creatures II, which will be out November 14, on High Roller Records.
Creatures were originally formed in the summer of 2019 in the city of Curitiba. Like most places in Brazil, the scene there is dominated by extreme metal. However, there are some small “pockets of resistance” carrying the torch for more of a traditional heavy metal sound. And Creatures (along with a group called Trovão) is one of the most talented of the lot.
After having issued a few singles, Bart Gabriel offered the band a deal to release their debut album from 2021 through his former label, Iron Oxide Records.
The follow-up “Creatures II” is now due to be released on High Roller Records. “Creatures II” was recorded between September 2024 and March 2025 at Heavy Tron Studio, by Arthur Migotto (Hazy Hamlet). It was produced by Mateus Cantaleano and Migotto. Mateus Cantaleano wrote all the music and lyrics. The line-up on the recording was Marc Brito (vocals), Mateus Cantaleano (guitar), Ricke Nunes (bass), and Sidnei Dubiella (drums). There were also a few special guests, like Caio Vidal on keyboards and Arthur Migotto himself doing some additional vocals.
“Musically, I’d say the album is literally a mix of heavy metal and hard rock, with a darker, more evil vibe,” explains guitarist Mateus Cantaleano. “It carries what I believe is the essence of the band – dynamic songs that combine riffs with arpeggios, catchy choruses with darker minor melodies. Something like that, I think.”
Creatures were once described as a mixture ofDokken, Ratt and Judas Priest, a description Mateus Cantaleano can live with: “Absolutely, that’s true. Those bands – especially Dokken and Judas Priest – are very important in my life, and I carry their influence, even indirectly, in almost everything I do. Of course, I always aim for inspiration, not copying either of them exactly.” Comparing “Creatures I” and “Creatures II”, the guitar player continues: “I’d say “Creatures II” is a bit heavier, darker, and a more mature album than its predecessor. While the first album was recorded just by me and Roberto, this time we had a full band involved. Both albums share the same essence – very dynamic songs, heavy tracks, power ballads, lots of vocal harmonies, catchy choruses, wild guitar solos, and so on. To me, ‘Beware The Creatures’ is the track that best sums up what I’m aiming for musically with Creatures.”
My friend Boris Shnitzer from Israel has been a lifelong Uriah Heep fan. What is most interesting about Boris’ huge Heep collection is his focus on collecting variants of his favorite Heep album – Salisbury (the band’s second album, from 1971). It’s Boris’ Salisbury collection that got me wondering how one gets in to such an extreme collection of one album. Heck, I know many Heep fans have multiples of various favorites, and I people who know think I’m ridiculous having about 20+ copies of Demons And Wizards, but clearly I am small-time! Boris discusses his Heep and specifically, his Salisbury collection below. And in his latest emails, Boris has since gained 2 more unique vinyl copies of Salisbury!
How and why did you start collecting Salisbury variants?
I had this idea to frame the Live 73 inserts to put on a wall. So, I bought a few copies of the album, and I basically figured out that there are different releases. Before that I had all Heep albums, but one copy was good enough for me😉 So I started to buy some other copies of Heep albums, and got infected by the collecting virus. For several years I bought all things Heep, vinyls, various compilations, CDs, cassettes, posters, whatever. At some point I saw I don’t have too many copies of Salisbury, and since it is my favorite album, I decided to concentrate on it. The idea was not to have as many as possible copies, but as many as possible different releases, noy only vinyl, but also CDs, cassettes, 8-tracks,7-in. I would ask sellers to provide info on the albums, so I can figure out if it’s something I don’t have already.
Why (presumably) is this your favorite Heep album? and is it the only one you collect to this extreme?
Salisbury is my favorite Heep album because it was the first Heep album I bought when I was 16, and it made me a Heep fan. Something on that album hooked me on the first listen. I even started to learn English more seriously because I wanted to understand the lyrics.
It is the only one I collect to this extreme, thou I do have 20-25 copies of some other Heep albums, practically at least several copies of each album.
How many copies do you have (LP, CD, cassette, 8-track, reel to reel?)?
148 different copies on LPs (various countries, various years, various labels, etc.). 25 copies on CD, 24 cassettes, 6 8-tracks, 18 7in singles.
As far as I know Salisbury was not released on reel to reel. I think only Live 73 and Sweet Freedom were released on RtR. I have the Live 73 one, but never came across the SF.
Can you pick a favorite copy of the album from your collection (either for $ value or for personal reason) ?
I don’t really look at it from a favorite point of view. I would say the favorite copy is the first one I bought, an Israeli pressing from 1973, which made me a Heep fan.
What is the rarest copy of Salisbury you have?
I don’t know. Not sure what might be considered as a rarest one. Maybe the Vertigo mono pressing from Colombia. Probably the rarest are the ones I don’t have😉
Is there many more variants (in all formats you’re still looking for)? and is there a ‘holy grail’ copy of Salisbury that you still would like to find?
I wish I knew for sure. I suspect there are some more, like Yugoslavian or Turkish, other Heep albums were released in those countries, but I never encountered a Salisbury. Maybe more from South America.
A holy grail? I don’t look at collecting so zealously😉 Maybe the 17inch metal master, I saw it once, but wasn’t able to buy it. I guess it’s a lost cause😉
* Thanks to Boris for his replies, photos, And the Heep LPs from Israel I received a few months back, great additions to my collection.
Outsider Rock 