The latest from British blues rocker and ‘king of the slide guitar’ is The Wings Of Salvation, which boasts 10 cool sounding tracks. The album is lead by the singles “Gasoline”, driving rock of “Sweet Carolina” (the third video/single….vocally reminds me a bit of Brownsville Station, killer solo), and “Come On” — all of which sound & have choruses like they were written to be played for big crowds. But really this album just kicks ass start to finish with Redfern’s guitar sounds, slide work, and vocals, all delivered in a lively production with attitude! He writes memorable tunes and choruses – check out cuts such as “Mercy”, the slow blues of “Dark Religion”, the faster paced rockin “Profane” and “Down”, some neat storytelling within the songs as well. Available on CD, Vinyl LP, and digital formats at Troy Redfern’s site. Dig the cover, drawn by the man himself. Check this out!
Track Listing
1. Gasoline 2. Sweet Carolina 3. Come On 4. Navajo 5. Mercy 6. Can’t Let Go 7. Dark Religion 8. Profane 9. Down 10. Heart & Soul
Troy Redfern: Lead vocals, electric and acoustic guitars, backing vocals Dave Marks: Bass guitar, piano, keyboards, percussion, banjo, additional guitars, backing vocals Paul Stewart: Drums Produced by Dave Marks at Two Wolves Studios Engineered by Dave Marks and Troy Redfern
I’ll admit I don’t read a lot of books…in full, but rock bios are always of interest, and this one penned by Welsh musician John Sloman definitely is of interest. Sloman has had a lengthy roller-coaster ride of a career in the music business, having once fronted Lone Star (featuring Paul Chapman, pre UFO) and then Uriah Heep, and going on to tour with Gary Moore, Paul Young, and has recorded a number of solo albums (his latest Two Rivers, having just recently come out!). Lost On Planet Artifice takes us through John’s journey growing up in Grangetown, Cardiff (Wales) – his childhood, his intro to music, girls, his first band,… I do not usually read a book beginning to end, but more so pick out chapters and bits I want to know about first, then go back and forth, so picking up this 400+ page monster I went right to the Heep content to start! It goes without saying that this book should be a must-read for any Heep fan, and in particular those that either brushed over John’s 18 months in the band or lay the blame of the band’s demise in 1980/81 squarely with him. John finally gets to tell his version of events after decades of being dumped on by former band members, misguided fans, and unknowing journalists. So some stories may be a bit shocking, but worth the read. John has a natural knack for writing, and relaying recollections and events, as well as a pretty detailed memory.
Beyond the Heep era, John’s career would come across even more painful periods, such as the details of his time with Gary Moore, his solo album deal(s) and recording with Todd Rundgren. John’s story is a very brave and honest one, as he not only gets out all the things he’s bottled up over the years, but also talks about the depression and anxiety various situations and setbacks brought up, and how he dealt with them. Despite the ‘name’ and rock star tag, John’s story is. about his everyday struggles – as a musician trying to earn a living, as well as dealing with family and personal tragedies. Lost On Planet Artifice is Not one of those retrospective rock star books that simply recounts how great they once were! It also includes John’s insight into worldly issues, which some may take or leave (John’s well read on many topics, so I’m good with it). Throughout this you want to route for the guy that some big break or payday with finally go his way, as in later years John has threatened a few times to quit making music altogether, but he carries on, and anyone who’s heard his latest album Two Rivers, knows he still has plenty to offer. I think Two Rivers makes a great companion to his story here, so I’m guessing it won’t be his last! John seems a natural at writing as well, so hopefully there’ll be another book!? *There’s also a few pages of black & white photos, most of which have never been seen.
An excellent read and can be easily purchased for a good price on Amazon.
Caustic Casanova hail from Washington, DC, and are releasing their 5th album – Glass Enclosed Nerve Center! The band is progressive, but with some post-punk / 90s alternative influences to go with their King Crimson influence. Described as “Stoned Psych Sludge”. The album features 5 varied tracks, a few which are pretty trippy and ‘out there’, with some interesting titles, starting off rockin’ with “Anusbis Rex”, followed by the single “Lodestar”, and ending in the 22+ minute “Bull Moose Against The Sky”. Colorful cover-art by Scott Partridge. (*check out press info below for more info and to order).
On their fifth album, the brain-frying “Glass Enclosed Nerve Center”, Washington, DC-based riffonauts CAUSTIC CASANOVA pull an expansive range of sounds into their tight, hyperkinetic core – and explode them outward in a kaleidoscope of progressive heavy rock exuberance.
In ferocious opposition to playing music in an established style that might give listeners a way in but can narrow down what’s allowable, CAUSTIC CASANOVA plant their flag dramatically on the side of genre-agnostic exploration. Simply put, the Americans allow each song to go wherever the hell it wants (or needs) to head towards.
Formed in 2005 as the trio consisting of drummer and vocalist Stefanie Zaekner, bass-player and singer Francis Beringer, and guitarist Andrew Yonki, CAUSTIC CASANOVA‘s chose a path to constantly refine their thrillingly unpredictable music, which careens from sardonic noise rock to proggy sludge in the vein of BARONESS, RED FANG, and TORCHE, while also taking inspiration from the gargantuan heft of MELVINS to BORIS, and fleet guitar heroics with flashes of dark-hued post-punk.
After a number of proudly DIY releases, CAUSTIC CASANOVA caught the attention of KYLESA, who released the band’s third full-length “Breaks” through their own label. Having brought their pure rock fury to the riff-thirsty masses on more than a dozen full and regional US tours, CAUSTIC CASANOVA applied their road-honed chops to bang out a heavier, more joyously swaggering set of righteous songs for 2019’s triumphant album “God How I Envy the Deaf”.
With the addition of second guitarist Jake Kimberley in 2019, the now-quartet set their sights on making the most adventurous and prog-rock CAUSTIC CASANOVA record yet. “Glass Enclosed Nerve Center” underscores all their strengths, while making the most of the expanded line-up that opened up their sound to new possibilities. Beringer’s reedy, melodic bass dances heavily alongside the two frying guitars to empower a trio of lead voices. Zaenker’s percussion is powerfully inventive across the album’s five expansive songs, sounding equally at home in swinging, Bill Ward stomp as in math-rock jitteriness.
Long-time travelers in CAUSTIC CASANOVA‘s orbit will doubtless find “Glass Enclosed Nerve Center” an exhilarating welcome back that includes the ambitiously sprawling, 22-minute epic ‘Bull Moose against the Sky’ which occupies the album’s entire B-side. Yet those who are new to the massive sound of these raging psychedelic sludge buffaloes will find outstanding songcraft and rich storytelling that is worth every second and countless repeat spins. Three, two, one… go!
Tracklist 1. Anubis Rex 2. Lodestar 3. A Bailar Con Cuarentena 4. Shrouded Coconut 5. Bull Moose against the Sky
Line-up Francis Beringer – vocals, bass Stefanie Zænker – vocals, drums, percussion Andrew Yonki – guitar Jake Kimberley – guitar
NESTOR – “KIDS IN A GHOST TOWN” RE-RELEASE DELUXE EDITION WITH BONUS TRACKS OUT SEP 30TH
The unanimously acclaimed debut album from Swedish nostalgic rockers NESTOR is getting a re-release. After signing with Napalm Records earlier this year the band and label decided to give new life to the record, with new music and new cover art. The deluxe edition, that will be released on digital, CD, vinyl and cassette includes the latest single “Signed In Blood” that was released this spring, a song based on a true friendship that can be traced back to the band’s humble beginnings in 1989, before the three-decade long hiatus that lasted until their reformation and glorious return last year. Two additional songs round out the enhanced track list. The somber and reflective “A Losing Game” contains so many key changes that it will bring tears of joy in the eyes of anyone that listens to it (even the guys in Ultravox)! And the cover version of “I Wanna Dance with Somebody” sounds like the perfect summer fling lovechild between Whitney and Van Halen! A great album has become even greater! The deluxe version of Kids In A Ghost Town will be available on September 30th everywhere – Even in your Walkman!
Seattle and Los Angeles-based heavy metal four-piece RivetSkull’s re-imagined full-length album was released on July 8th of this year. Trail of Souls: Samsara is a complete re-recording of the band’s self-published 2020 album Trail of Souls. The first single released was “Crash and Burn”, along with a psychedelic video. Of the single, RivetSkull says:
“‘Crash and Burn’ is about the pitfalls of relationships. Though you can try to stay clear of danger, sometimes you can’t help but fall into the same traps! The new recording and production convey the drive and momentum a song about recklessness should be swimming in. We think we got there with this song and all the others on the album.”
Oozing energy and easy-to-move-to vibes, the single brings back the classic sound of the 90s, played with precision and expert musicianship. The members of RivetSkullhave been playing together previously for many years and vocalist Chad McMurray has training from Maestro David Kyle (vocal coach to Geoff Tate, Layne Staley, Ann Wilson), ensuring that the band is able to deliver a high level of production and professionalism. After self-recording and releasing their debut album during the global pandemic, they’ve revisited their songs with professional production that captures the massive sound that fans have come to expect from their live shows.
Since it’s release, Trail of Souls: Samsara has only been gaining momentum. Within the first month of it’s release, RivetSkull was fortunate enough to be featured on Band in Seattle, KISW’s Loud and Local Band of the Week, and they were interviewed for the Concerts that Made Us podcast.
Recorded at London Bridge Studio (Alice in Chains, Soundgarden, Queensrÿche) and produced by Matt Hyde (Slayer, Deftones, Seether), Trail of Souls: Samsara promises much more than a sonic retouch of the original. The reworked collection features new cover artwork and the previously unreleased recording of a cover of Aerosmith’s “King and Queens”, which has now been issued as the album’s next single/video –
*Recommended for fans of Dio, Black Sabbath, and Judas Priest, RivetSkull is well suited for those with a taste for classic metal).
Track Listing: 1. Crash and Burn (2:49) 2. Forever (5:24) 3. Mystified (3:45) 4. Another Way to Heaven (7:29) 5. Narcissus (5:01) 6. Trail of Souls (4:04) 7. It’s Not Enough (4:02) 8. Kings and Queens (Aerosmith cover) (5:16)
Singer/songwriter Jann Klose was born in Germany, raised in Kenya and South Africa, and eventually wound up in New York. Klose is currently working on his 7th album Surrender, for 2023 release. From Surrender there are new 2 singles / videos – “Sugar My” (released in April) and his latest “Flesh And Blood” (released July 22). Both tracks written by Jann Klose w/ Alex Forbes are catchy pop, upbeat, with Klose’s wide ranging clear vocal, acoustic guitars, and backing band. A change of pace here (on my pages), minus heavy guitars or thundering drums, but for something new and easier going, check ’em out!
In the first single release – “Sugar My” Klose sings – “Up is down, day is night — not what it seems! Like Alice in Wonderland, stuck in-between.” The song is a commentary on the sometimes baffling and inexplicable state of the world today.
Jann recalls the writing session with Alex Forbes – “We wanted to create a feel of a sort of ‘Alice in Wonderland’ type vibe where there is a palatable sense of confusion and one is not entirely sure what’s real and what’s not. We wrote it at the onset of the pandemic, so it was very much a strong reflection on how we were feeling ourselves!” Jann then joined producer Marcus Dembinski to record the single, which in true pandemic style started in his bedroom studio until they could access the recording studio. “Well, at first it started there anyway and then, as things opened up, we tracked live instruments at Studio G in Brooklyn, New York,” recalls Jann.
For the song’s unique video Jann reunited with video director, Alex Vishno, who also worked on the music videos for his “Love You The Most” and “Pilot Light.” Alex recruited Eileen “EJ” Jaworowicz to choreograph and co-direct, and she brought in the 10 incredible dancers in the music video. Looking at the visuals and concept for the video and how it connects with the theme of the song, the music video for “Sugar My” celebrates this unity beautifully. – “It was really my manager, Morey Levovitz and Alex Vishno with EJ that conceptualized the idea. I think they intentionally sort of put me into a situation in which I kind of knew what to expect but only fully started to realize what they were going as we were shooting. As you can tell, there’s a lot of trust involved, but I also knew that they got the song and what it was about, so I went with it. The idea is that people in the video start morphing from a state of disconnect into an open, free state where they become ‘liberated’,” remarks Jann on the concept idea behind the video. Jann has just one wish for those who hear and see “Sugar My.” – “I hope that people will love it as much as we do. It’s a really fun, upbeat tune with a cinematic production vibe to it. ”
Jann Klose’s latest single is “Flesh and Blood”, again written with Alex Forbes – “Writing with Alex is a real gift. She fills space when I draw a blank and vice versa. We have developed a great friendship and there’s a lot of trust between us. It grows with every song. We had already written other tracks for my upcoming new album, including ‘Surrender’ and ‘Sugar My’. When we got to ‘Flesh and Blood’ we had settled in to a very open and reflective approach that has worked for us in the past with the difference being that we wanted to go deeper and dig further into human behavior.”
Explaining the theme and inspiration for the single –“When Alex Forbes and I were in the writing session that yielded ‘Flesh and Blood’ our aim was to talk about a society that feels disconnected. People feeling disconnected from each other. Our “addiction” to technology… And instead asking for a return to nature, healing divisions and finding our common humanity.” On the production (w/ Marcus Dembinski) Jann recalled –“The arrangement credit [for the song] really must got to Marcus! He created a beautiful — and more progressive/rock — structure for the track that lifted it to a state I didn’t imagine until he shared his ideas with me. I loved it immediately. His drumming on the track is very powerful,”
For this video (which was premiered with GaloreSA.) Jann once-again worked with video director, Alex Vishno, and Choreographer, Eileen “EJ” Jaworowicz at the Lee Lund School of Dance and filming took place in Milford, Connecticut during the last week of June 2022.
As with his previous music video for ‘Sugar My’, this production was once again a collaborative effort between Jann’s label, Honey Rose Records, Big Management and Alex, EJ and Marcus – “I feel quite lucky that I have this great team in my corner. There is never a reluctance to speak openly about what we are going for and to make changes if necessary. I love working through dance and ‘Flesh and Blood’ gave us an opportunity to tell a story about beauty, innocence and healing through movement, music and re-connecting with nature which I think is somewhat of a lost art. I don’t want to give too much away but the visual aspects of this, I feel, are pushing all of us to a new level.”
Jann has performed as an actor and singer in touring companies of Broadway musicals, including “Jesus Christ Superstar,” “Jekyll and Hyde,” and “The Who’s Tommy” . He has won 4 Independent Music Awards (IMAs). His podcast, Making Sound with Jann Klose has featured industry legends like Renaissance’s Annie Haslam, Frank Bello (Anthrax), Simon Kirke (Bad Company) and kicks off Season 5 this autumn.
British singer/guitarist John Verity (ex Argent, Phoenix) has recently released a 4 track disc of acoustic tracks. The songs, previously released, are all stripped down and re-done along with guests Max Milligan (acoustic/slide guitar) and Roger Inniss (bass). These are excellent new ‘unplugged & unhinged’ versions, particularly “Broken Heart”, a favorite from 2020’s Passion album.
Released ahead of the Uriah Heep’s sixth album in September of 1973 (Sweet Freedom), “Stealin'” would become one of the band’s best known and most played classics. It is still one of the few Heep classics that gets fair play on classic rock radio and has been covered numerous times. But the single that started out strong would not become a huge hit single. The band had finally had a top 40 hit in the US with the single “Easy Livin” (from Demons & Wizards) in 1972, and a minor hit with “Sweet Lorraine”, later that same year, so another big single follow up was due and should’ve been with this track. The band signed a new record deal with Warner Brothers in North America (who had so many great acts), and “Stealin” was Heep’s first single for their new label.
However, the song’s lyrics based on the imagination of Ken Hensley included the line “I done the rancher’s daughter”. It was term ‘done’ that seemed to put a damper on the single, as many radio stations would choose to pull the song based on that line.
In an interview with Jeb Wright (ClassicRockRevisited.com), Hensley recalled: “I went to Gary´s flat in London…. We smoked a couple of joints and played a bit and I wrote ¨Stealin¨ from that moment. The story is purely imaginary as I didn´t know any ¨Rancher´s Daughters¨, or ¨Gypsy Queens.¨”
Hard to imagine such a line being remotely controversial nowadays, but in 1973 radio stations (perhaps more so in the US south) might’ve felt pressured in to passing on playing the song. That did not stop the song from becoming legendary though, as it is often regarded as one of the band’s most recognizable songs with it’s quiet bass start, joined by the Hammond organ, David Byron’s distinctive and clear vocal, convincingly delivering the tale of a man on the run, and then the band kicking in with Mick Box’s guitar, Lee Kerslake’s powerful drumming, the band’s harmonies…and it all builds up to a classic Mick Box solo, and the band coming back in with more energy to the end.
Though the band still plays a great rendition of this to this day (I love the John Lawton-fronted version from Live in Europe 1979) and there are plenty of excellent cover versions — nothing comes close to the original production. In Canada the single made it to #65 on the Cash Box chart, while in the US it merely cracked Billboard’s Top 100 at #91. In Norway, however, the song reached #9!
Below is a list of cover versions of the Heep classic. I’ve included those that have been released commercially, and not the numerous live versions found on youtube (OK, i did slip 1 in at the end!). Enjoy.
Karma (1973)
This must be the first cover of Stealin’, recorded and released in 1973 by Finnish band Karma. They translated the words to Finnish and released it on their debut album for CBS! The song was also issued a single, with a (translated) cover of Elton John’s “Goodbye Yellow Brick Road” on the B-side!
Panorama (1986)
An interesting pop version by this Italian group. The 12″ single also came with an instrumental version (hmm).
Zoid (1988)
Released by this LA band in ’88. It was the band’s only other release following their lone album in ’87, on Third Orbit Records. Interestingly, the band featured keyboardist Lou Segreti, who went on to record an album with the band Bloodline (1994) – which also included Joe Bonamassa. This is an interesting extended version of the song (with a lengthier mid section, minus guitar). The 12″ single included both a long and short version of the song. The band’s producer had been Matt Forger, who worked on a number of Michael Jackson albums.
EZ Access (1990)
Detroit hard who rock band who released this lone album 10 track album titled One Track Mind, on U.S.A. Records – and on cassette only, in 1990. “Stealin” was the only cover-version included. The band recorded a follow up album, but it was never released. Both albums can be found on youtube.
Satrox (1992)
Swiss band who released this cover on their 2nd (of 2 albums) titled Energy. Pretty 80s ‘metal’ sounding. Interesting that there is a few Heep connections on this albums – Daniel Boone (David Byron) on backing vocals, Derek Holt (who recorded with Gary Moberly… see Heep’s Equator!) also on backing vocals, and produced by Mark Dearnley (who was an assist. engineer on at least 1 Heep album in the late 70s).
Night Crawler (1996)
Night Crawler, from Minneapolis, released their debut album World Of Make Believe in 1996, which included their version of “Stealin'”. It’s a good version (and hard-rock/aor album). The band’s follow up (and last) album was 2001’s Second Nature – which included a cover of “July Morning”! The band’s drummer Billy Thayer is the brother of Kiss guitarist Tommy Thayer.
This band from Saskatchewan originally released this track on their debut 4-track CD, which also included covers of songs by Nazareth, April Wine, and Nick Gilder. The band released one album: Triple-Ply, from 1997, which was largely covers, along with a few originals.
Native Son (2000)
Originally included on the 2000 2Cd tribute album Heepsteria on Red Steel Music. (The band also did a cover of the unreleased John Lawton era track “That’s How I Am”). Native Son had previously released 3 albums… not sure after this.
Nightingale (2003)
This was recorded for the 2003 Heep tribute album A Return To Fantasy. Nightingale was a Swedish prog/metal act, featuring singer Dan Swano . Many years ago I’d corresponded with this guy, and he sent me a CD of a couple of Heep covers he did way back. He also did a cover of “Gypsy” as part of Odyssey for their 2010 album Reinventing The Past.
Tesla (2007)
Included as part of Tesla’s 2007 ‘covers’ album Reel To Reel. An interesting collection. The band made it big in the ’80s with hits like “Little Suzi”, “Heaven’s Trail (No Way Out)”, and their 1990 cover of “Signs” (originally by Canada’s Five-Man Electrical Band).
Out There (2015)
A very interesting version, as it features Stephen (Steff) Fontaine – who briefly fronted Heep in 1986. As he never recorded anything with Heep, I’ve included it here. Out There is an Arizona band (where Fontaine was originally from), and this came from their 2015 album Out There Again, which Fontaine sang all the vocals on. Out There Again is a pretty decent album with a couple of other covers as well.
Jason Kane – Jason Kane (of JK & The Jive) recorded a version acoustically, on his own (not totally sure of the yearbut about 2014). This version is excellent, and can only be found on Youtube, as he made a video for it. A shame it’s not been included on any actual release as it’s the most interesting cover to be heard.
Grenzgang (1994) – Austrian band who released a few albums did this cover for a compilation titled Metal Freak Sampler – Cover Me, on CCP Records.
Talas (2001) – Buffalo based band that features Billy Sheehan, included “Stealin” as part of their encore many times. This can be found on Youtube, as it was included in the band’s set at the Buffalo Guitar Festival concert (also on dvd). I would love to hear an archival live release from the band with their version included.
Kings of Mercia is a band, something of a ‘supergroup’, consisting of guitarist Jim Matheos (Fates Warning, OSI), singer Steve Overland (FM-UK, Lonerider), bassist Joey Vera (Armored Saint, Fates Warning), and legendary drummer Simon Phillips (Toto, Intelligent Music Project, MSG, and a thousand other credits!). So, began by Metheos, who soon got together with Overland and began putting songs together. I don’t know much of prog-metallers Fates Warning, and little more about AOR-rock act FM-UK, but I like Overland’s vocals guesting on the new White Spirit album, and sometimes not knowing too much is a nice start, without any expectations. So, this one I’ve had on a few times, and it has grown on me as a mighty fine listen, where every track is good (at least) and it all flows so well from song to song.
Steve Overland (who also has a new album out with Lonerider) has a very unmistakable voice, who would’ve been a fine fit to replace Paul Rodgers (hence Lonerider with Simon Kirke!). A solid set of heavy guitar melodic rock, with excellent vocals, harmonies, and arrangements. Love the guitar tone, and the production. It’s heavy overall – but not quite metal. Progg-ish, but not totally progressive or AOR, for that matter. So you get to the end of this album having thought ‘this is awesome’ – but it’s over! “Wrecking Ball”, “Humankind”, the powerful heavy “Set The World On Fire”, “Is It Right” — all great rockers. A couple of ballads here as well, notably “Everyday Angels”, this would make a fine single.
The band has also just released a new video for the track “Humankind” –
Buffalo’s TALAS had gone through many changes over their years of activity from the early 70s to the mid 80s. The 3-man line up of Billy Sheehan, Paul Varga and Dave Cosentino had reunited a number of times, but in 2017 Billy Sheehan reassembled the last incarnation of the band he was in (pre David Lee Roth Band; MK 2) – with singer Phil Naro, drummer Mark Miller, and new guitarist Kire Najdovski (in place of Mitch Perry). The band played several shows over the few years prior to Covid shutting down shows, and then the passing of Phil Naro (RIP). But in there the band signed with Metal Blade and recorded a new album. In fact they recorded the album they really intended to in 1985! Almost all of these songs came from that period of the band, with a couple having been included on the band’s 1984 live release Live Speed On Ice. So, for fans one could say this was long overdue and a most welcome album.
1985 kicks off with “Inner Mounting Flame”, a hard driving fast rocker that sets the tone for what’s to come, you’d be hard pressed to find a better album opener IN 1985! The album was recorded in Mark Miller’s house, and it’s very energetic and has a very live feel to it all. Tracks like “Do You Feel Any Better” (originally on the live ’84 album), “On The Take”, “Come When You Call”, “I’ll Take The Night”, and “Close To The Killer” are all enjoyable Talas rockers. Also included is “Power To Break Away”, which pre-dates the Phil Naro years (see youtube), and debuted on Mk 1’s 1998 live album If We Only Knew Then What We Know Now, and “Crystal Clear” – which also was included on the live ’84 album, as well as covered by Jim Crean (on his Velvet Crush album, feat Naro on backing vocals). The one ‘new’ track is “Black & Blue”, which a bit slower paced, near ballad; Phil’s vocal on the verses reminds me a bit of Kiss’ “I Love It Loud”. A good addition to the mix.
A great return album from Talas, though saddened that Phil Naro is no longer here to see it and see the reaction. The guy did an amazing job leaving fans with 2 excellent albums – Talas 1985 and Lips Turn Blue LTB (released a few months ago). Rockers will dig this album, it sounds awesome, probably a bit heavier than Talas’ 2 early studio albums, with lots of cool intros, riffs, and guitar solos. Love the album cover, very 80s, very fitting!
Outsider Rock 