Well, another episode of putting together a list of those songs that share a title, but a re totally different, and great rock tunes. “Are You Ready” makes for a great opening song title, but it’s not in all these cases. If you know of one I missed, please leave it in the comments…
Grand Funk Railroad
The opening track to GFR’s classic debut album On Time in the summer of 1969. Penned by guitarist/singer Mark Farner (who wrote the entire album). A great intro song; it would also feature on the band’s Live album a couple of years later.
Pacific, Gas & Electric
Formed in LA in the late ’60s, Pacific, Gas and Electric would feature original James Gang guitarist Glenn Schwartz and original Canned Heat drummer Frank Cook, who joined so that Charlie Allen could become the band’s singer. These guys released 4 albums in the day, featuring rock, funk, blues, and even a bit of gospel, as on there track “Are You Ready”, taken from their 3rd album of the same name in 1970. It also features a cool heavy guitar solo. The song was the band’s biggest hit [top 20]. Great cover art by David Willardson.
Moxy
From the Canadian band’s 3rd album Ridin’ High, released in 1977. This rocker, penned by guitarist Buddy Caine and singer Buzz Shearman is one of the best tracks on this album. The song’s story revolves around getting ready for a night out (first to a bar, then with the drink server).
Phoenix
A new addition to this group (and what inspired this list). The opener to the ‘new’ 2nd Phoenix album, recorded in ’77, but shelved and just released by the band’s singer/guitarist John Verity. A solid rocker, penned by bass player Jim Rodford, which seems to be about points in his life & career and being ready to have a good time, as the song mentions various dates, places, venues, etc…
Thin Lizzy
A classic Thin Lizzy rocker, that debuted on 1978’s Live & Dangerous. I’m not sure if a studio version exists, This one – penned by Phil Lynott, along with Scott Gorham, Brian Downey and Brian Robertson., sounds like it was just written for the stage, so you’ll find it on other Lizzy live albums.
AC/DC
From 1990’s hugely success The Razor’s Edge, the lone AC/DC studio album to feature the legendary Chris Slade on drums. This was the 3rd single from this album, a top 20 in the US, and the band’s only #1 hit in New Zealand. A typical AC/DC anthemic rocker, putting out that rockin’ party vibe.
PHOENIX formed after ’70s classic band ARGENT disbanded, as it consisted of John Verity, Jim Rodford and Bob Henrit. Verity had joined Argent for their last 2 albums, replacing Russ Ballard; the band took on a change of direction, but Verity wanting to get back to a more straight ahead rock band came up with Phoenix. The band debuted in 1976 with their self-titled album. Not sure how well it did, but it is a classic ’70s hard-rock album, full of great guitar, Verity’s distinctive vocals, and a killer rhythm section., and stand outs like “From The Ashes”, “Woman Like You”, and “Easy”. Highly recommended ’70s rock listening, with Verity putting out a 30th anniversary CD edition some years ago.
Anyway, the band went in to record a 2nd album (which is the topic here), which was shelved as the record company at the time wanted the band to take on a more American radio friendly sound, hence 1979’s flop – In Full View. The band would release 1 more single before disbanding.
Now, nearly 43 years later that 2nd ‘lost’ album has been rediscovered and mastered for release by John Verity. Titled Out Of The Sun, with a cover that resembles that classic album cover for the Phoenix debut album, featuring 8 tracks individually penned by each band member, as well as a track from Chris White (Zombies).
Upon first listen through, it is safe to say if you liked that first Phoenix album – you will really like this! A great mix of rockers, ballads, a bit of funk, blues… Out Of The Sun opens with “Are You Ready”, an upbeat heavy rocker, very fitting musically and lyrically here. (Can’t help but be reminded of Grand Funk’s song of the same title). There are a couple of piano based ballads [featuring Rod Argent] – “Fallin'”, which is highlighted by Verity’s vocal, harmonies, and a smokin’ guitar break, as well as the cut “When My Boat Comes In”, again with a great high vocal,, a bit of synths, – this one would’ve made a fine single. “Loser” is a rocker, with a good bit of attitude; this song really makes me think these guys were really having a blast recording this stuff. “Spider Woman” is a cool sounding slower number, a bit funky, great groove, one of my favorites here, as is “Take My Music”, a bit more of an uptempo rocker, complete with some nice backing harmonies, a few changes, killer guitar sound; too bad this one fades out so soon. “Winds Of Change”, followed by “You Got Soul” close out this disc, both strong cuts, a bit of blues, soul, funk, and solid rock.
It is a shame this album was lost for so long, because it is a fantastic follow up and equally as impressive as the debut. Not a dodgy cut here. Just a very cool sounding guitar rock album of the 70s, from a tight sounding band that ended too soon.
Davey Johnstone is the Scottish born guitarist, most known for being a key part of Elton John’s band, for the most part, since 1971. There was a break in the late ’70s where he joined Alice Cooper’s band for a few albums, and has worked with a number of other acts over the years. Deeper Than My Roots is just Johnstone’s 2nd solo album (tho’ this is labelled as a ‘band’ album) since 1973’s Smiling Face, which featured fellow members of Elton’s band. His new album is made with his offspring, who all contribute to the playing, vocals, and even the awesome artwork! The artwork alone got my attention, wish there was a vinyl version of this! It goes with the music within, which has a definite ‘early ’70s vibe with great vocals (most of which supplied by Johnstone’s youngest son), harmonies, acoustic guitars, keyboards, nothing really hard rockin’, largely ballads, but plenty of cool guitar work and a few classic solos, atmosphere, and great songwriting, all wrapped up in a sweet production. Favorite tracks include the first video-single “Melting Snow”, opening cut “Go Easy On My Heart”, “Boxer In The Corner”, and the instrumental “Walt Dizney”. Deeper Than My Roots also includes 2 ‘bonus’ tracks, one being a cover of The Beatles’ “Here, There, And Everywhere”, and the other being Davey’s 2020 single “All The Time In The World”.
*See the press release below:
Elton John Guitar Legend Davey Johnstone To Release First Single ‘Melting Snow” From Forthcoming Solo Album!
Davey Johnstone has been Elton John’s guitarist for 50 years. He has also played with Alice Cooper, John Lennon, Stevie Nicks, Lenny Kravitz and many, many more! In his role as Music Director he will resume the hugely successful Farewell Yellow Brick Road tour with Elton and the band in January 2022.
Davey is releasing the first single “Melting Snow” from his forthcoming solo album “Deeper Than My Roots”!
Watch the video for “Melting Snow”:
During the COVID-19 recess, Davey has recorded an album utilizing the incredible talents of his children, plus a few close friends. The album has a wide range and crosses genres.
Elliot, the youngest Johnstone, is lead vocalist on the record, with Davey supplying one lead vocal himself. Charlie Johnstone recorded many of the basic tracks at their home in California. Charlie also supplied keyboard and background vocal parts. Jesse Johnstone played drums remotely from his home in L.A. Jesse also joined his father and eldest sibling Tam Johnstone, on writing, recording and producing the album’s two instrumentals, “Black Scotland” and “Walt Dizney”. The beautiful artwork for the sleeve was conceived and designed by Juliet Johnstone.
Denny Seiwell, the legendary drummer from Paul McCartney and Wings helped out on three tracks, and Nigel Olsson supplied drums on “Melting Snow”.
Much of the recording was done by Major Wynn at Marlon Hoffman’s Kenrose Studio in California.
Davey Johnstone’s forthcoming full-length album titled “Deeper Than My Roots” will be available on Spirit of Unicorn Records in January 2022.
Many years back I had written to John Verity (ex Argent, Phoenix, Charlie). I really dug that first Phoenix album, and had picked up one of his solo albums, his albums with Argent, and Charlie. But I still had a lot to get, so many of my questions were a bit of ‘fishing’ as I wasn’t familiar with a number of projects. We also didn’t have youtube back then or Discogs to research on…. Anyway, I tried to get a good account of John’s career, and he replied with lots of information and stories. With the recent news of a new release – the ‘lost’ Phoenix album, I decided to re-post this (w/ a few edits), and links and tracks put in.
John Verity has been in the rock business since the late ’60s, but his name came to prominence in 1975 when he replaced Russ Ballard in ARGENT. After 2 albums with Argent, Verity formed the band PHOENIX – who released 2 albums, before releasing a few solo albums, recording an album with US aor band CHARLIE, and getting into production work. John Verity still records and gigs to this day, and is currently readying a new album as well as re-releasing some things from his own catalogue. For more on the man check out>http://www.johnverity.com
What can you tell me about your early days — bands? – people of notoriety you played with? earliest recordings? breaks? etc…
I Started in the 60’s with groups in my home town, Bradford, Yorkshire. Played R&B, Pop & Blues. Got my first real break when I was asked to play guitar for 60’s R&B/ Pop star ‘Dave Berry’ – great experience as we gigged solidly & toured heavily until the band was asked (without DB) to go to the Bahamas for a stint at the ‘Jokers Wild’ club in Freeport, Grand Bahama, in 1968. We stayed for almost a year – I did my first singing then ( I was never allowed to sing before, but we did so many sets, 7 nights a week that our main vocalist needed a break!). In ’69 a promoter from Miami spotted us playing at Jokers Wild and invited us to Florida to do some serious gigs. The band didn’t last long, but I stayed behind & formed the first JV Band with US musicians, gigged with Hendrix, Janis Joplin, Mountain, Canned Heat, PG&E, and others before moving back to UK. Got my first record deal with ABC / Dunhill on my return to UK in 1970/71.
What do you remember of this album? who produced it? any ‘name’ people involved? how did it do? read ‘was recorded late ’72 for Probe/ ABC Dunhill’.
Sorry.. No names on the album. Produced by Steve Rowlands who produced the Herd, Family Dogg, and other pop bands in the UK around that time.
Who was in the first Verity Band? any stories from Hendrix , Mountain, or Canned Heat? what kind of music were you doing back then?
The US JV Band was a three piece – Teddy on drums & Mark on bass. No surnames I’m embarrassed to say – its a long time ago! Nothing earthshaking to report on the other bands I’m afraid. Hendrix was kinda unhappy because people were shouting for the old stuff – he was into the Band of Gypsies thing — line-up was Billy Cox & Buddy Miles. The gig was in Miami – I believe it could have his last in the US.
How did you come to join Argent ?
My first album ‘John Verity Band’ was released on Probe/ABC Dunhill late ’74 and I went on the road touring as support to Argent. Russ Ballard decided to leave on that tour, and recommended me as his replacement.
You played on just ‘Circus’ and ‘Counterpoint’ albums? anything else? [live or unreleased?]
There are unreleased tracks, also we ‘reformed’ to do some sessions in ’77 – the line-up was Rod, Russell, Bob Henrit, Jim Rodford & Me. The tracks were never released & and the ‘reformation’ never happened. I ended up spending quite a lot of time in the studio with Russell working on his songwriting projects during that period – ’78 to ’81. Russell was also involved in the final ‘Phoenix’ recordings in 1980. The lineup was me Bob & Ray, plus Dave Wintour on bass and Russell on piano. We recorded two songs that Russell had written – ‘Juliet’ & ‘I Surrender’. The record company Charisma didn’t like ‘I Surrender’ – said it wasn’t a commercial song! & released ‘Juliet’ as a single instead with no success. B side was ‘I’m In Love’ from “In Full View”. Russell used our version of ‘I Surrender’ as a demo, and ‘Rainbow’ picked up on it. The rest is history…
Were you familiar with Argent prior to joining them? what band did you [and John G.] come from?
I wasn’t really familiar with the band prior to the support tour – but the sheer quality of their musicianship just blew me away.. I think I’ve covered my background prior the Argent. John G was much younger with little band experience – he was a truly natural, gifted musician though, but never liked the touring aspect – well, he hated it really!
Did you feel any pressure/criticism having to fill in Russ Ballard’s spot, baring in mind he wrote a lot of the earlier classics? [did you write songs in these days? ]
I did feel pressure – I just wanted to be good, and make my mark. I did write songs (I had written the John Verity Band album), but there was no chance of writing songs for Argent with someone with pedigree of Rod around!
What was the plan or direction / aim of the new line-up when you joined?
The band was getting into Fusion/ Jazz Rock which I didn’t really like, and anyway they were such a great rock band. I think we lost our way really… musically.
Was Rod the musical ‘director that lead the band away from more rock stuff?
Kind of. The rest of the band seemed happy enough at the time, to go along with this ‘new’ direction. I suspect Robert was a little unhappy at the change but probably I was the only one who felt really uncomfortable with it. I was quite shocked when the new songs were first presented to me, but I didn’t have the confidence to speak out at the time…
How do you feel the 2 Argent LPs you were on compared to previous Argent LP? Were there any successful singles? Why did the band split?
I didn’t feel that the later albums were as successful musically as the earlier albums, though they had their moments. There were singles, but no success. The band split because (a) we weren’t making any money! (b) Rod & John G were sick of touring. (c) Rod wanted to move in a different direction musically (I was agitating to move back to Rock & Roll) (d) I wanted to form a straight ahead power trio with Bob & Jim – ‘Phoenix’.
How much of the drums did Phil Collins play on Counterpoints?
About half. Some tracks are half Bob & half Phil!.
Were you happy with this radical shift away from the anthemic early 70s heavy rock in the Free vein towards spacey jazz-rock, and if so, were you instrumental in this switch?
No, hated it!
How did The John Verity Band [1974] come about, who were the members, where from (which bands)?
All the members of the JV Band were from local bands in my home town (Bradford). We met when I returned from US early ’70’s. The earliest sessions for the album in ’72 were done with session musicians, but I wasn’t happy & formed a ‘normal’ band line-up with Geoff Lyth (guitar & keyboards). We had various bass players & drummers, and the line-up finally settled at Jerry Smith (bass), & Ron Kelly (drums) in time for the album sessions which began at Advision studios in London late ’73. Album produced by Steve Rowlands.
Any singles released? much success, tours, breaks…? How did that one album do on the market?
Lots of gigs – toured with Argent, the line-up changed. New line-up included Biff Byford (Saxon) on bass, and guitarist Paul Quinn (Saxon). I produced the first Saxon album a couple of years later.
What happened afterwards – why did it break up? [anything recorded after the 1974 album that didn’t get released?]
We were rehearsing for a new album when the Argent gig was firmed up. Biff, Paul & the guys gigged as the John Verity Band without me! before forming ‘SonOfABitch’ which became Saxon.
You formed Phoenix with Jim Rodford and Rob Henrit [from Argent days]. How did this band begin? Was it intentional to make it a heavier sounding band than Argent?
Yup. [See above] – during the final Argent US tour, I had the feeling that we should be moving into a more straight ahead direction. I knew that there was a niche for us & Bob & Jim agreed. We signed to CBS though, and it took too long to get product out, by which time the UK music scene was being swamped by New Wave/ Punk. We were Dinosaurs in the UK by then.
You all contributed to the first Phoenix album, which was a classic LP IMO. What happened with the first album — much success, etc… ?
We did well in some areas. Lots of great response to gigs – we toured UK/ Europe & Scandinavia with Aerosmith, but I decided to get into Production.
Who else did you produce of note?
Saxon, Tank, Motorhead, Searchers, Marseille, BlackSlate, Brian Connelly (Sweet) – plus lots of bands’ ‘first albums’.
Can you explain the change prior to the 2nd Phoenix LP in which Jim left and was replaced by Ray Minhinnett – who played guitar, while you doubled on bass [guitars, vox…], and also added Ronnie Lee Cunningham on keys?? [where did Ray and Ronnie come from?]
Ray was/ is a buddy of mine. He was with Frankie Millers Full House. Fantastic guitar player, and we wrote songs together. Jim was offered the gig with the Kinks & went with our blessing, but we decided not to replace him – I played the bass parts & then added my guitars later. The other guys were brought in as session players by our American producer. Great musicians but I didn’t feel the album worked – no ‘Band’ vibe.
In Full View also featured a few outside penned tracks — “I Don’t Mind” [Walden] – where did this come from? as well it included Russ Ballard’s “Just Another Day” – why did you do this song?
I’m always open to good outside material and we felt ‘I Don’t Mind’ was a strong song (sent to us by the Publisher). I had engineered & played/ sung on Russell’s demo of ‘Just Another Day’ and asked him if we could do it for Phoenix.
What happened on the 2nd LP that would explain the change from the debut? Was there outside interference, recording company, etc.. ?? How well did this LP do?
The record company was responsible for the change of direction which I felt was a disaster. It didn’t do well.
Any examples or stories pertaining to this?
Not really – the business was in real upheaval at that time, and the UK scene was particularly screwed up, so Charisma decided we should go to America to record. I was thinking New York – they were thinking LA. We went to LA. WRONG!
I presume Phoenix split after the 2nd LP!? what were the highlights of this band for you? what happened in the end?
The highlight was the early period when we first came off the road with Argent. We were all match fit and playing well. Bob, Jim & I have great respect for each other as musicians & people. I loved that band, but it should never have been allowed to change direction musically, or be interfered with by outside producers & record company personnel!. Bob & Jim are good friends to this day and often form the current JV Band line-up for gigs & recording. I love them both like brothers.
What did you do in the years following Phoenix and the first “Verity” LP? any other bands, recordings, ..?
Mostly production & writing/ session playing. Russ Ballard, Ringo Starr, Colin Blunstone, Bowowow, Tank, Motorhead, Saxon etc.
You auditioned for Uriah Heep. were you disappointed this didn’t pan out ? What do you recall of the auditions? Have you had any other contact or association with an Heep guys?
Not too disappointed as it was only intended that I fill in until the band found someone permanent – which they did with Pete Goalby. All good players – Mick’s an excellent guitar player. Pete G’s a fantastic singer & good friend today.
What’s Pete up to these days? Ever worked with him?
Never worked with Pete – just jammed at a gig one time, but we’re buddies – been through a lot of the same music biz bullshit. He’s well, but having a break from it for a while.
Interrupted Journey was a very classy ’80s HR album, and still stands up pretty good today. You produced and engineered the album, as well as guitar & vocals, and had a long list of guest players,..Was it really a solo album? and who exactly was in the band? Who toured with you, etc.?
Yes, it was a solo album initially, which I began recording in ‘down time’ at Livingston Studios in between production projects. As recording progressed I began to ask my friends to sing & play on it. The touring band had Steve Rodford (son of Jim!) on drums, and my old mate Terry Uttley (Smokie) on bass, who became my partner in crime for some time until Smokie re-formed.
What can you tell me about how the guest-list became on this album > Rutherford, Argent, Ballard, Terry Uttley… ?
Mike Rutherford contacted me because he’d heard that I was doing a solo album. He wanted to produce or participate in some way. I went to Genesis’ studio where we recorded 3 songs with just me, Bob Henrit, & Mike playing. I added all the extra stuff at my own studio. Dave Wintour was doing lots of bass sessions around that time, including Russ Ballard & Leo Sayer.
Why did you re-do “Just Another Day” – the Ballard song that you had recorded with Phoenix? and what can you tell me about some of the other outside penned tracks, such as the Mike Rutherford song, “Love Is Blind”, “Stay With me Baby”, “Chippin Away At The Stone”… ?
I re-recorded ‘Just Another Day’ because I felt that we had screwed it up on the Phoenix album. The other songs were just great pieces that I wanted to do my own version of. Mike wrote some stuff especially for me which was nice. ‘Stay With Me’ is my favorite song (I’m re-doing it on my new album!)
What were your favorite tracks on that album? Any singles? much success, etc.. ?
I don’t have a favorite track. It’s my best work to date, with the exception of the first ‘Phoenix’ album.
What can you tell me about your association with CHARLIE? Did you only play on the 1 album? What happened with this gig?
I was brought in to ‘rough up’ Charlie’s sound in a production sense, and Terry was going to get involved in the production of a new Phoenix album. In the event, I ended up singing & playing on the Charlie album, and I brought in Bob Henrit on drums. The Phoenix album was abandoned. I thought the Charlie album was good, but I didn’t enjoy the ‘painting by numbers’ approach so I left to start ‘Interrupted Journey’.
What can you tell me about the 3rd Verity album Rock Solid? [who played on it? how well did this LP do?]
Rock Solid was done in my own studio. I did a lot of the work myself, with my usual guests dropping by. Unfortunately the label went broke soon after release, but I hope to get it re-released soon.
What have you done since the last Verity album? Recordings? Bands? [what can you tell me about such albums as Hold Your Head Up, etc…?]
Hold Your Head is a compilation of various JV Band stuff. The title track is an un-released track which I originally recorded for Interrupted Journey. I’ve continued to gig & record/ do production & try to help young musicians develop their careers. I’m currently working on a new album & preparing older material for re-release.
What are you involved in outside of music? hobbies, interests… ?
Music Music Music – boring old rock fart!
Can you give me a few of your favorite guitar players, influences, singers, songwriters, ? What do you listen to these days?
My influences are wide – Hendrix, Beck, Clapton, Aretha, BB King, Beatles, Dylan. I listen to whatever takes me.
Interview – Kevin J. 2000. / *top photo from Johnverity.com
Phoenix was a short-lived 70s trio consisting of ex Argent members John Verity, Jim Rodford, and Bob Henrit. The band’s debut was the excellent 1976 self-titled album that featured great guitar rock and vocals, featuring such stand-outs as “Easy”, “A Woman Like You” and “From The Ashes”‘. After a few years the band returned with 1979’s In Full View. This album saw Ray Minhinnett (ex Highway) added on guitar and American Ronnie Lee Cunningham (ex Law) on keyboards, while Rodford had left with Verity also playing bass. Rod Argent and Russ Ballard also made guest appearances. American producer was also brought in to work with the band in LA. But the album was softer, more mainstream, and lacked the feel of the first one. Frankly, I just never got in to this one. However, we now come to learn that a 2nd Phoenix album, with the original trio was recorded in ’77, and recently mastered and released by John. Below, John gives details and the story behind the ‘lost’ Phoenix album which can now be ordered through his website – http://www.johnverity.com
An amazing piece of news is that just a few months ago we rediscovered the ‘Lost’ Phoenix album. Back in 1977 Bob Henrit, Jim Rodford, & myself went into Trident Studios in London to record the follow up to our first album “Phoenix’. The new album was to be titled ‘Out of the Sun’.We really felt we had pushed the envelope both technically and creatively with this one, and I was proud of what I had achieved as a producer using the tools at my disposal. Sadly our record label CBS did not agree. Punk/New Wave had really taken a hold and almost overnight we were simply unfashionable…The album was put on ice, and somehow the masters were lost – until now.
By a twist of fate I got the opportunity to look again at these recordings with a view to releasing them over 40 years after they were recorded. A copy of the last set of mixes I had done resurfaced and I was able to get them restored, and then I remastered the tracks at home in my studio. We secured funding from fans and had the CD manufactured for release after all this time. I think the result is stunning. Transform yourself back to the ’70’s!!’
*Some years ago I interviewed John Verity (via email), and I be re-posting that here soon.
NEKTAR began in Hamburg, Germany in 1969 and released a number of classic progressive rock albums in the ’70s, such as A Tab In The Ocean, Remember The Future, Down To Earth, and Recycled. Through many line up changes, a break up in 82, and reformations since 2000, plus the loss of founding member (singer/guitarist) Roye Albrighton in 2016. The band now based in the US, recently released a new CD/DVD package of their 2020 album. *See the press release below for more details.
THROUGHOUT THE 1970S NEKTAR RELEASED A SERIES OF ACCLAIMED ALBUMS, SCORING CHART SUCCESS IN GERMANY (WHERE THE BRITISH BAND WAS BASED) AND LATER IN THE USA (WHERE THE BAND RELOCATED).
FOLLOWING THE PASSING OF ORIGINAL GUITARIST / VOCALIST ROYE ALBRIGHTON IN 2016, FELLOW FOUNDER MEMBERS DEREK “MO” MOORE (BASS, VOCALS), RON HOWDEN (DRUMS, VOCALS) AND MICK BROCKETT (LYRICS, VISUAL CONCEPTS) REUNITED, ALONG WITH RANDY DEMBO (BASS, 12-STRING GUITAR), RYCHE CHLANDA (GUITAR, VOCALS) AND KENDALL SCOTT (KEYBOARDS) TO RECORD
CHLANDA ORIGINALLY RECORDED WITH NEKTAR IN 1978, AND FOR ‘THE OTHER SIDE’, THE BAND UPDATED SOME OF THOSE IDEAS WHICH EVOLVED IN THE BASEMENT OF MOORE’S HOUSE IN NEW JERSEY WITH RON HOWDEN. THE 1978
UNRECORDED SONG ‘SKYPILOT’ HAS EVOLVED INTO ‘SKYWRITER’ IN 2019. ‘I’M ON FIRE’ IS THE MUSICAL ADAPTATION OF A POEM WRITTEN BY MO FOR HIS SOON-TO-BE WIFE, NICKI, DURING THAT SAME TIME PERIOD.
THE CLOSING TRACK, ‘DEVIL’S DOOR’, WAS ORIGINALLY PERFORMED LIVE IN 1974, BUT NEVER FEATURED ON A NEKTAR ALBUM. UPDATED AND RECORDED FOR THIS ALBUM, THE SONG FEATURES THE PRESENCE OF THE LATE ROYE ALBRIGHTON ON THE INTRODUCTION TO THE TRACK, WHOSE WONDERFUL GUITAR PART WAS TAKEN FROM A LIVE SOUNDBOARD RECORDING MADE IN 1974.
KENDALL SCOTT’S DISTINCTIVE AND VERSATILE KEYBOARD PRESENCE HAS ENHANCED THIS CONSIDERABLY, WHILE RANDY DEMBO, WHO ORIGINALLY JOINED NEKTAR IN 2004, BRINGS THE SOUND TOGETHER WITH 12-STRING AND BASS GUITARS, ROUNDING OUT THE INSTRUMENTAL ARRANGEMENTS. RON HOWDEN HAS BEEN A CONTINUAL DRIVING FORCE OF THE BAND, WEATHERING ALL VERSIONS OF NEKTAR SINCE ITS CONCEPTION IN 1969. WITH MICK BROCKETT NOW BACK IN THE FOLD (WITH HIS VISUAL CONCEPTS AND IDEAS AS AN ESSENTIAL PART OF THE BAND MAKING THE MUSIC AND LIGHT THEATRE A REALITY). ‘THE OTHER SIDE’ IS A STUNNING ALBUM FROM A LEGENDARY BAND
Disc One:
1. I’m On Fire 2. Skywriter 3. Love Is / The Other Side 4. The Light Beyond 5. Look Thru Me 6. Y Can’t I B More Like U. 7. Drifting 8. Devil’s Door
Disc Two: DVD
The Making Of The Other Side : A Documentary About The Making Of The Album And The Reunion Of Nektar
A rare configuration of this band, which played 3 nights for a charity [see my recent interview with Robin George]. This recording comes from the 2nd night at The Marquee. It is an impressive set of Asia favorites, mixed in with a few of Robin’s solo hits, a track from the Wetton/Manzanera album, a Beatles’ cover, solos from Don Airey (is there a band this guy hasn’t played with?) and Carl Palmer, plus 2 studio tracks! The sound quality is OK [not superb], recorded on video cam and the desk (according to Robin). But this should appeal to Asia and Wetton fans, as a rare and historical set, and I’ve heard much worse! And judging from the crowd and John’s performance and intros between songs, it must’ve been a good evening. This show has been bootlegged previously, from different sources, [curious about the absence of a few songs here (!?)] *Studio track “Wasted Time” features John and Robin, while “Johnny” is a solo track from Robin – “Johnny was written for all the friends I’ve loved and lost, but inspired by a real close friend!” A nice add for John Wetton and Asia fans.
Well, I don’t much about Alan Simon or this series of Celtic rock opera Excalibur releases. This being my first take on the project which previously released 4 studio and 2 live albums featuring different musicians on each one, though there are a few holdovers. I do know that Cherry Red recently released the first 4 Excalibur studio albums plus a couple of live shows in a 6 CD box – https://www.cherryred.co.uk/product/excalibur-the-20th-anniversary-box-set-6cd-2dvd-boxset/
As a fan of many of the artists involved this is an outstanding concept release that features singers such as Bernie Shaw, Roberto Tiranti and Michael Sadler singing in styles they may do with their respective bands. And with that said, that contributes to the appeal here as these singers deliver performances like they have never before. Amazing performances, as well as from the various musicians such as Steve Hackett, Martin Barre and John Helliwell, among others. The last track is a wonderful surprise, as it features the late great John Wetton singing a ballad, “The Vision”.
An amazing production from Alan Simon, who has written and assembled a stellar cast here. As a Heep fan it is really something to hear Bernie [who delivers quite a theatrical intro] and Roberto [Ken Hensley’s Live Fire] sing in such a different project.
*For more info check out these links, as well as the press release below….
John Wetton (Asia / King Crimson) Steve Hackett (Genesis) John Helliwell, Jesse Siebenberg (Supertramp) Bernie Shaw (Uriah Heep) Martin Barre (Jethro Tull) Jeremy Spencer (Fleetwood Mac) Michael Sadler (Saga) Roberto Tiranti (Labyrinth) Jerry Goodman (Mahavishnu Orchestra) Shira Golan & Miriam Toukan (The Peace Tent Project)
Move, Cry, Act, Clash! is the fifth part of French musician and producer Alan Simon’s legendary Celtic rock opera series Excalibur.
Featuring Alan Simon, John Wetton, Steve Hackett, Bernie Shaw, Jerry Goodman, Martin Barre, Jeremy Spencer, Michael Sadler, Roberto Tiranti, John Helliwell, Jesse Siebenberg, Shira Golan and Miriam Toukan.
Move, Cry, Act, Clash! concludes its 12 tracks with “The Vision” featuring the legendary John Wetton (King Crimson/Asia) in a beautiful tribute to the friendship and respect between these two musical giants.
Alan Simon is a Breton songwriter and director. Author of modern operas, his works are performed in various national theaters (Russia, Germany, France …). More than 300,000 spectators came to applaud Excalibur or Tristan & Yseult. Alan has obtained several gold and platinum records and his creations have received several awards. In the USA, Alan won the Grammy for best producer in 2008 and for best song, “Circle of Life,” performed by Jon Anderson of Yes. His album Big Bang (2018) is the soundtrack of the City of Space in Toulouse (an educational park about the conquest of space). After the film O Gengis in 2005 (with Omar Sharif and Jean Reno), he has just finished Monsieur Constant, his second film for the cinema, which is in production during 2021. Today Alan wants to go on tour around the world with his extraordinary musical round table where many legends of folk and rock meet.
“‘Excalibur’ brought me a lot of happiness because by creating this musical round table, I had the great chance to collaborate with incredible rock and folk legends, pillars of mythical groups: Yes, Supertramp, Fleetwood Mac, King Crimson, The Moody Blues, Alan Parson, Asia, Barclay James Harvest, Genesis, Fairport Convention, Runrig, Jethro Tull, Saga, Uriah Heep… Since its creation 20 years ago ‘Excalibur’ has represented 5 studio and 3 live albums including 120 original tracks. Offering a new album is not trivial. You have to give everything. So I made this opus V by investing myself 100% with an ‘old-fashioned’ production. No home studio but the joy of living in a large studio (Drums code studios in Italy) with great soloists and a fantastic symphony. Then I contacted magical interpreters that I like. What a joy to hear the guitars of the legendary pillars of Genesis and Jethro Tull: Steve Hackett and Martin Barre or the voices of Supertramp from Saga and Uriah Heep: Jesse Siebenberg, Michael Sadler and Bernie Shaw without forgetting this incredible talented singer Roberto Tiranti. We spent 6 months in a mixing studio with an average of 100 tracks per title. I hope that this more rock album than the previous ones will sign a real return on stage of this universal legend, ‘ever green’ say the English. Thank you to all those who supported ‘Excalibur.’ After 300 000 spectators in 4 tours, I hope that this musical round table finally finds its audience under the aegis of sharing. These 12 new songs underline the urgency to get moving for our planet. More than ever our destiny is in our hands. And everything is good to take. The concept of Excalibur and its musical knights must contribute to this new start. Artists can (and must) get involved more than ever.” – Alan Simon
Track Listing:
1 Move, Cry, Act, Clash 2 The Prisoner 3 The Last Bird 4 Messaline 5 I Said Shout 6 Heaven 7 The Lady of the Lake 8 When Your Feelings Grow 9 Wake Up (Before the Last War) 10 Hey 11 A Brand New Day 12 The Vision
British guitarist / songwriter Robin George may be better known to many for his vast list of big name collaborations, but his output as a solo artist is often overlooked, and over the global pandemic he’s been busy adding to his solo discography with a number of new albums, remastered and reworked recordings, and a few surprises. One of his latest is Wilderness, (which I’ve written about previously), and here Robin answers my questions (and tosses in some press feedback) about all his new releases as well as his influences, and what we can look forward to hearing in the near future. *For more info and ordering of Robin’s new releases go to http://www.robingeorge.co.uk
The last time we spoke was around the time of the Byron Band release. You’ve been very busy since then, and in particular since the release of History in 2014. Since then there’s been plenty of releases. Can you start with the History release and your working relationship with Angel Air Records?
HISTORY MUSICIANS DAVE HOLLAND, PINO PALLADINO, PHIL LYNOTT, MEL COLLINS, MARK STANWAY, MO BIRCH, TERRY ROWLEY, DANIEL BOONE, PETE WRIGHT, ROBIN GEORGE.
Words From the much-missed Malcolm Dome:
As you’ll hear on the ‘History’ album, Robin George clearly deserves such accolades and plaudits, because the quality and individuality of the music here is simply remarkable. More so, as the tracks here, remastered as one would expect, have been left as they were at the time and represent a fulfilling exercise in the combination of power, song writing and intelligence. What this album underlines is how creative he was even in his formative years.
There are clearly some hidden gems . For instance, you’ll get to hear the original version of ‘Heartline’ a single through Bronze Records in April 1985. If you want to appreciate every nuance and aspect of what makes this a truly great pop rock song, then this is the prime representation.
History is not a nostalgia trip. It’s a lesson in music for everyone.
Angel Air was an unusual deal, a partnership really, 50%50, which was unheard of, but as all musos know there is no real music industry anymore, the internet has put paid to that!
I wanted my music to be heard somehow so I signed to them. They released 7 of my albums, and my loyal friends and followers seemed to like them!
I have to say as a label the packaging/Artwork was very good indeed, and the valid re-releases, of course. They were honest which is rare these days; they always settle their debts. So, it did work in a strange but true way… Angel Air kept my name out there to the faithfuls amongst you. Thanks chaps!
Dangerous Music 2 came out. That is a collection of songs that you’d originally hoped to be the sequel to your debut album in 1984!? Can you tell me a bit about this album – where the tracks come from and who’s all on it?
Dangerous Music 2 was going to be the follow up to DM, produced with Gus Dudgeon at the fab Manor Studio, owned by R Branson, who popped in occasionally while driving his kid around to get him to sleep? Then recording continued at Maison Rouge Studio in London for backing vocals etc.
I remember I was adding guitar to my track ‘Streetwise’ when Quo burst in performing their famed guitar dance. Later I went into the pool room for a chat to find Rick & Francis gently lifting Bonnie of The Pointer Sisters, who was with me, off the pool table and placing her on a sofa… without waking her. Gentlemen indeed!
Dave Holland started the sessions as the drummer, but his commitment to Judas Priest meant he had to bail out.
Charlie has played on my last 7 albums, he is the best melodic rock drummer I ‘ve had the honor and pleasure of knowing and working with… he brings my songs to life, no less!
The superb Pino Paladino was playing bass, no way to be his talent could be wasted, so I prog’d a drum machine as a stop gap. Then Gus called in Elton’s drummer the fantastic Charlie Morgan, and the rest is history.
Adrian Lee played keys and was a big influence on the sound of the trax. Chris Thompson Daniel Boone and 3 girls sang backing vocals: Bonnie Pointer, the singer from a major power ad back then and a great session singer… I joined in with the girls of course! The master recording of them was lost somehow which is why I don’t remember all their names. Sorry, girls. So, I never heard them again, but they are always fab in my memory!!
Rogue Angels was issued in 2018, and if I’m correct – your first solo album of new material in 10 years[?] Now, this album was just you and Charlie Morgan[?]
I think Steven Reid’s words say it all! Better than I could! :
Angel Air Music [Release date 18.05.18] George, Robin: Rogue Angels
Recent times have seen Robin George both reappraise his incredible back catalogue and release an impressive stream of new albums. Rogue Angels is his latest set of fresh recordings and for a man long known for high profile collaborations (Robert Plant, Phil Lynott, Glenn Hughes etc), there’s a certain irony that this almost purely solo effort is undoubtedly one of his best. Having worked together regularly throughout their careers, drummer Charlie Morgan is once again the man behind Robin’s beat, the kind of telepathic bond that only time can build hugely benefiting a set of songs that positively burst with vim and vigour. With Robin handling everything else, the cohesive and ‘band’ nature of Rogue Angels really has to be experienced to be fully appreciated; the fire that burns bright from the very second “Wild Eyed Beauty Queen” comes into being completely knocking you sideways with the pure energy it possesses.
That Robin is arguably best known for bothering the charts in the 80s, and his ability to write songs that show other artists at their best, it’s often forgotten that he’s a heck of a guitarist, and with his foot thoroughly stamped on the distortion pedal, the irresistible little guitar runs that add colour and intrigue to “Dangerous Daisy” and the album’s title track (which, if I’m not mistaken, cleverly nods towards George’s biggest hit, “Heartline”) instantly snag the ear and won’t let go. A second look over the shoulder arrives in the shape of “Go Down Fighting 2018”, Robin’s debut single given a meaty reworking here and thriving in this updated form. Throughout, Robin refers lyrically to his long held ethos of LovePower & Peace, the theme of love conquering all and having the power to bring about peace, if we’d only let it, revisited numerous times across these songs and lending them an uplifting quality in the process. Something which comes across again and again in the crafted layers that are used to accentuate the insistent vocals. However, when you feel the obvious love and joy that the likes of “Dancing Shoes Again”, “Rush” and “Surreal Dream” have all been created with, then the same ethos also comes across in the hook laden music and, dare I say it, some of the best guitar solos Robin has ever pulled from his fretboard.
Over a vast and varied career Robin George has created a hugely eclectic body of work, but with the hard rocking, blues edged energy of Rogue Angels it really feels like this singer, guitarist and songwriter is making music that completely satisfies his creative need. Surely it’s no coincidence that it also comes across as one of the most impressive albums he’s put his name to.
With Rogue Angels and Wilderness [and going forward] what’s changed in your approach to writing and recording over the years? Listening to these albums, there’s lots of great guitar, groove, rock, a bit of funk, blues…
Even some soul with Ruby Turner! I was writing solo songs from around 14 for bands I formed, then later started co-writing with guys and gals I was producing. David Byron, Phil Lynott, John Wetton, Robert Plant, Ruby Turner, Marshall Law, Vix Fuzzbox, Pete Haycock, Pete Goalby and many more. I really enjoyed all those collaborations, but now, I write solo again, suits me these days.
Re-recording, I followed technology at it’s best, then went back to real talented musicians… far more satisfying and much more fun and inspiration.
Can you talk a bit about some of your early influences as a guitar player and what’s sort of influenced your sound and style to where you are today?
Peter Green, Johnny Winter, all old blues players, Clapton with the Beatles, Gary Moore, Neil Schon, Joe Walsh et al were all great for me. Since my early days I don’t listen to much music, if I wanna hear some I make it 😉 What comes out is how I play today, using my Marshall combo amp & BC Rich, and Washburn, Suzuki and Yamaha acoustic guitars.
On Wilderness there seems to be a lot of poetry and storytelling. Can you tell me a bit about what inspires your lyrics – where ideas come from ?
Thanks for noticing, I am being named a ‘Rock Poet’ which is gratifying indeed!
I really care about my lyrics and the messages I share with my friends.
Inspiration arrives out of the blue then I have a vast bunch of words which I slice away at until they resemble a song, Then I improve on what I have until it is a song… then I record it.
My inspiration is mostly from real life, I can hear a phrase or line in conversation that sparks an idea which lights a fire in me.
I don’t know how I do it, but I’m truly grateful for the gift of creativity.
You have a fairly unique vocal sound / style, and the only way I can describe it is sort of like Marc Bolan, fairly quieter , but not really soft. Can you tell me a bit about your vocal approach or influences?
I never wanted to be a singer, I was a guitar player who sang a bit, but over the years I found only I could sing most of what I wrote, the way I heard it, so here I am, a song writing guitar player who sings a bit.
I have no real influences. The singers I admired were in a different league from me which I could never aspire to. Again, how I sound is what comes out.
I do think Marc was a great pop star though. I was asked to be Bolan 2 if I’d write more poppy songs, but not for me! He was a one off.
During the pandemic you’ve recorded 4 new albums, starting with Wilderness – can you give me a few lines on each of these releases – what each is about, in which order they were done, when did you come up with the ideas, and who else played on them?
Robin has used Rockdown to nurture and finish some fantastic music, all of which is now available from Damage Control Music in Robin’s Online Store @ www.robingeorge.co.uk, and includes contributions from no less than Phil Lynott, John Wetton, Robert Plant, Sean Harris, Ruby Turner, David Byron, Glenn Hughes, Vix Fuzzbox, Pete Goalby & Pete Haycock to name just a few, Artist credits are also on site.
Robin says,
‘I’ve just remastered the Charity album LovePower and Peace that escaped about ten years ago; It’s now called RockinG LovePower with many new tracks, including a Rock Bangra Flamenco track with the major Bollywood star vocalist Mangel Singh! All Re-mastered & 2021 mixes.
I’m calling it a ‘sharing’ album because… My idea is that we retail at our cost price (£5), then y’all who buy choose to support the causes closest to your hearts.
This is freedom of helping. I hope it works, If you can’t donate now, enjoy the music from these awesome musicians ‘till you can my friends. Then do please donate… every penny counts!’
Robin George should certainly be garnering applause as the musician who made the most of lockdown (by some long, album issuing way).
Hot on the heels of earlier 2021 releases Wilderness and Heartlines come the dovetailing pairing of Feed the Wolf and Surreal Six String; the former is the latest full length studio album from Robin George while the latter is his first fully instrumental offering (much as Heartlines was his first all acoustic release).
That his distinct and individualistic Dangerous Music sound and style is still alive and well is evident from tracks such as opener ‘Momma Sister Daughter’ (Bolan vocality meets guitaredged Robin George rock and roll), the muscly and, again, Bolan-esque (an oft-cited and valid comparison) title track and ‘Savage Song,’ a gritty, fast-paced number on which Mr George isn’t exactly hanging about.
‘Savage Song’ also highlights a major Robin George trait, that of reinventing & rerecording some of his older songs to suit his current state of musical mind (some may recall ‘Savage Song’ as a highlight of Damage Control, a supergroup of sorts featuring George, raspythroated Quireboys front man Spike, Chris Slade and the late Pete Way).
Other Feed The Wolf highlights include ‘Funky Rock Groove’ (which does exactly what it says on the tin), the bluesy sway of ‘Love is Blind’ (featuring some tasty guitar licks from Robin George), the edgy but melodic ‘Castles in the Sky’ (whose origins go back to the History of the Wolverhampton born musician) and the quirkier ‘Painful Kiss,’ originally from the album of the same name.
The album ends on the similarly quirky and very catchy ‘Early Daze,’ a looking-back and ‘If I knew then’ styled nod to more carefree and innocent times (a shorter acoustic version also sits on Heartlines).
Surreal Six String is a collection of primarily reworked numbers from across Robin George’s career and catalogue, instrumental-ised with the lyric-melody line played on guitar in effective and, on some of the tracks, quite expressive style.
Opener ‘Go Down Fighting’ was Robin George’s first major single release in 1983 but here is based on his later rocked up version; it therefore works well as a feisty instrumental.
It’s also nice to see a place for the atmospheric, tempo shifting instrumental ‘Charlotte Starlight,’ which goes back to the History album, and ‘Love Power & Peace’ (featuring Hammond fills from the late Ken Hensley and melodic guitar play from Robin George) from the all-star charity album of that name.
You’ll also find instrumental versions of Wolf numbers ‘Painful Kiss’ and ‘Love is Blind’ as well as re-workings of the more rock and roll styled ‘Dancing Shoes’ (from the Rogue Angels album) and a shorter take of the blues swaggering ‘Freedom,’ from last year’s BitterSweet HeartBeat album.
Other highlights include ‘Brandy Bottle Blues’ (another with a self-explanatory title), which features a couple of bars of blues blasting sax from Mel Collins, and album closer ‘Oxygen.’ Originally a love song, ‘Oxygen’ works equally well as an expressive guitar workout in instrumental clothing.
So another brace of 2021 releases from a man who clearly wasn’t twiddling thumbs during lockdown/s.
Further proof of that ever-busy schedule?
Robin George has also released a fully remastered version of the Asia 2 Marquee gig from
1986 (of which he was an integral part), a Robin George & Dangerous Music Euro Tour Live CD, a RoxStar Legends compilation and a remastered retooling of the Love Power & Peace album as Rocking LovePower.
He is now looking at reissuing some Damage Control music and achieving an official release for the album he recorded with Glenn Hughes in 1989 (previously issued under decidedly dodgy and awful audio quality circumstances).
No wonder he lives in Spain – he clearly needs, and deserves, the siestas.
Ross Muir , FabricationsHQ
Feed The Wolf & Surreal Six String, along with all other aforementioned releases, can be purchased on CD direct from the artist’s website: http://www.robingeorge.co.uk/
You also issued 4 CDs of remasters and edits…. [again] can you tell me a bit about each of these?
Early in Rockdown I realized the vaults contained some pure gold music with fantastic musicians and I thought, now’s the opportune time to get to work on them. So I did! All fascinating to work on but bittersweet at times because they were all my friends and I loved all. I know they all recorded with me because they wanted people to hear our music… and that’s the sweet part.
You also have a Live Asia release that you were on. Can you recall that show and how it came about and how well you got on with John, Geoff, Carl… Phil Manzanera was on that as well….
The gigs were for Nordoff Robbin, a charity close to John’s heart. They were a great group of guys. All well cool and in the groove. We got on great which I think shows in the Asia 2 Marquee gig video. John and I were introduced by Bryan Lane, Asia manager, and we hit it off straight away. John took me to his house and amazingly for me, had my single ‘Go Down Fighting’ on his deck… and he played it! John had rented a country house for the summer, and we spent lots of quality time writing, talking, practising, and planning for the gigs. We did 3 nights, JB’s Dudley and 2 at the Marquee London. Great nights indeed! John asked me to join Asia but previous commitments prevented me. Wrong timing or what!
Later he came to my Wolves studio and we recorded ‘Wasted Time’ which features on both
‘Roxstar Legends and RockinG LovePower’… far too good a track to waste! Plus, last time I spoke to John, he said he loved it, so it’s gotta be heard!
So, aside from promoting all these new releases, what else do you have in the works or things you’d like to do down the road?
A bit of time off I hope 😉. I’m writing new songs at the moment, so, ‘Only Time Will Tell’!
Any projects involving people you’ve collaborated in the past still in the vaults?
Yep, the Glenn Hughes album ‘ Sweet Revenge’ is being remastered for the near future. It was bootlegged at appalling quality, don’t buy it; this is the real thing my friends!
Uriah Heep and Trapeze Ex-Lead Singer Peter Goalby Announces the First Release of His Long-Lost Solo Album Easy with the Heartaches – Out Now!
Peter Goalby was the lead singer of Uriah Heep during the band’s classic Abominog era and also wrote their 1980s hit “Blood Red Roses.” He sang on the band’s albums Head First and Equator plus he’s also known for his time in Trapeze. Peter Goalby is now retired from the music industry.
After leaving the band, Peter Goalby recorded a number of solo songs, however, they were left unreleased until now. There has been constant speculation from fans on when they might hear the songs, given it was business reasons that precluded the release of the album at the time, but the way has now been cleared for the music to finally be heard.
The new artwork has been overseen and approved by Peter Goalby and its release has come about thanks to fans persistently pushing to hear these legendary lost recordings.
Peter Goalby said: “Finally, my best songs will be heard. Thirty years on. Never say never. I am so thrilled with my album release. I know I have a lot of friends out there who have wanted this day to arrive for many years. Thank you for sticking with me for all this time. I hope you love ‘Easy With The Heartaches’ as much as I do. Thank you.”
All the tracks were written by Goalby, except for three tracks co-written with Robin George. The vocal led style will appeal to Uriah Heep and Trapeze fans who have never stopped loving his voice.
Outsider Rock 