Licence To Rock is the name of the new album from British musicians Chris Rainbow and Paul Newton. Chris has been around for years, recording albums and performing; Paul Newton should be known to classic rock fans as the original bass player in Uriah Heep. Paul played on the first 3 albums, as well as contributed writing to a handful of songs on the first 2. Paul was also in The Gods and Spice – both pre-Heep bands, and it’s more than likely that without him – Uriah Heep would not have happened. In recent years Paul has returned to the Heep circle via Heep fan conventions and Heep Legends shows. But Licence To Rock sees Paul Newton return to recording – along with singer/guitarist and songwriter Chris Rainbow. The album is a fine mix of rockers, pop, blues, and a bit of country, as well as including a couple of Heep covers from Paul’s early days. [see review elsewhere on this site]. Here Paul & Chris give the details on the album and the making of. *thanks to Paul Newton for being a champ in responding so quickly [and well typed]! Enjoy the read!

Check out the album [and Chris’ other recordings!]  at www.chrisrainbow.co.uk and www.arenasoundandvision.co.uk 

How did this project come about, and how did it evolve into a full album?

I met Chris at one of his solo shows about three years ago and during the evening we talked music and found that we had a lot of common ground regarding bands, songs etc. I saw him again a few months later and he asked me if I would be interested in playing bass on a few of his originals. This commonly happens with musicians I meet, but, to be honest, I am always a bit wary as usually these guys have songs that are just awful things that they think are wonderful but are really just a waste of time. However, I agreed to have a listen and a few weeks later Chris came to my home with his guitar & a few demos which were surprisingly good so I agreed to play on a couple and in due course we had a day at Arena-sound studios and knocked out three songs which we were both pleased with. It became evident to me that Chris was a REALLY talented musician & songwriter. At that time there was no real plan to make a full length cd as Chris was just going to add these songs to the stuff he sells at his own gigs. Over the next few months we did a few gigs together and Chris regularly sent more songs to me and so the project just rolled along from there….he would send me demos and I wrote the bass lines & then added them to Chris’s recordings……simple !!. We originally made a CD of just four songs but as time passed we formulated a plan for a full length CD…which is what we now have.

Paul – What can you tell us about Chris Rainbow – what you knew of him before you got together and recording together? Chris – can you give me some insight into your own musical influences and style?

Chris lives in the coastal town of Clevedon which is just south of the city of Bristol…about one hour from my home in Ledbury. He has been a professional entertainer & musician all his life and has an interesting profile, having previously worked in a circus and with bands as well as his solo work. He lived and worked in California for some years where was married to an American lady for a while. His musical influences come from his general love of rock music and especially from his time in the States where he got into all the great southern USA bands. 

Chris- Southern Rock and west coast American music is probably what l’m most familiar with from a songwriting and playing perspective. As regards to my musical taste, l am a fan of everything from Rockabilly jazz right through to Hard Rock and Metal.

Paul – How did the idea of re-recording the 2 Heep tracks come about? Your suggestion? What was the feeling revisiting those tracks 45 years later? Chris – Were you familiar with Paul or Heep and either of the Heep tracks before this project?

The idea to do the Heep covers came from Chris. He has a vast collection of rock albums from way back…all sorts of stuff he has accumulated over the years, including much of the Heep catalogue, and he was keen to include a couple of Heep songs as well as his original material. I was not so keen to begin with as I am not someone who lives in the past and the interest for me was to record new material, not rehash old stuff that could not really be improved on. Chris thought that the Heep covers would provide a link from the past to the new stuff and provide a bit of extra interest and so that is how we ended up doing the two songs that appear on the CD. The decision to do a cover of “Baby Please Don’t Go” was easy as it is a great song that we both love! Re-visiting the two Heep songs was really down to “how do we arrange them” and we decided to pretty much leave them as they were…just play them with Chris’s interpretation. To totally re-arrange them would have been pointless and with no actual gain…they are just two fairly simple songs and should be played that way. The original Chris Rainbow songs are a selection of his material…some already written and recorded & the rest written during the recording schedule. Ex-Heep drummer Keith Baker was due to play on some tracks but had to pull out due to personal problems so we used my mate Gary Harper on some tracks.

Chris- l was, prior to meeting Paul very familiar with Uriah Heep’s music. l grew up listening to all the Byron era aside from the first three LPs featuring Paul. Particular favorites of mine were Wonderworld, Sweet Freedom and Return To Fantasy. Also Firefly featuring John Lawton on vocals was a favorite – The Hanging Tree in particular.

Memories of doing the two Heep tracks are Paul doing the bass parts; the years just rolled away and he locked into the groove as if we were back in 1970 pure magic.

The album really is a good listen throughout and has a wide range of songs from hard rock to pop, to blues, and even country. …Do you have any personal favorites – either as songs or your performance?

As regards my personal favorites on the album I have to say that I am pleased with all the tracks…we only put down stuff that we really liked. “Watching My Last Chance” & “This Lonely Road” are probably top for me. As for my playing….well..I can only play as I play but I always try to find bass lines that work for a particular song and not overcomplicate things so I am quite pleased with what I have contributed here. Of course, as often happens listening back to stuff after the event you always tend to think that maybe something could be improved or played differently.. but you could go on forever….

Chris- Regarding the songs on the new CD the only song l had before meeting Paul was ‘All’s Not Lost ‘, which was originally intended as an acoustic number. The other songs were all written especially for this project.

The song ‘Watching My Last Chance Fade Away’, l always saw it as a west coast country rock type of thing the lyrics dealing with a relationship breakup and the person feeling that it is not the last chance gone with that person but possibly his/her last chance with love together. The other songs are generally about the benefits of keeping going despite the obvious difficulties that life can throw at you. ‘Satans Claw’ was inspired by the film ‘City Of The Dead’, starring Christopher Lee and the other Black Lion, Hammer and Amicus films. The short instrumental piece The Mage was part of a trilogy of short instrumentals dealing with Aleister Crowley. l thought it made a suitable prelude for Satan’s Claw.

My own personal favorites on the CD are ‘This Lonely Road’, Baby Please Don’t Go and Let The Dice Keep Rolling for no real reason other than they remind me of the fun we had doing this CD.

This CD was recorded on a very tight budget and is a very low key release in the big scheme of things. It would have been nice perhaps to have added another guitar player to do a bit of shredding, as my style is more riffs and rhythm… on the other hand some of the charm would have been lost, l think. The biggest thing for me on a personal level was when Paul rang me to say how pleased he was with the finished album.

Paul – you’ve really been embraced by the Heep faithful over the past decade via facebook and the Heep Legends shows. How fun has it been after being out of the spotlight for so many years, since you’d left the band in ’71?

Being “embraced” by Heep fans over the last few years has been a great & unexpected honour for me. Having only been a part of the band at the very beginning and then moving on to many other things during my life meant that I rarely gaveHeep a thought until 1999-2000 when John Lawton asked me to do Heepvention2000 in London….I had to dig out the old songs and re-learn them! Subsequent HeepVentions & related events over the years have been enjoyable and great fun and the continuing interest & support of the Mick Box Uriah Heep & related things have totally amazed me (and continue to do so). Sadly it is unlikely that there will be any more “Legends” shows or reunions but we have enjoyed what we have been able to do in recent years….good memories to have.

Paul – Overall, how was the recording experience compared to 45 years ago? How long had it been since you’d been in a recording studio last?

The recording process was spread over about 18 months…we were both busy with other work and so slotted in studio time when we were both available. There was no particular time scale discussed as we were doing this for ourselves and it was only ever going to be a very low-key project….but we have had a lot of fun during that time, which was our main intention. We will never be rich & famous….!!

I have spent a fair amount of time in studios since the Heep days…(did a few tracks recently for US band “Twisted Tapestry”)….. not so much the last few years but after leaving Heep I regularly did session work as well as gigging until synthesisers & computers took a lot of work away. Nowadays studio work is vastly quicker & easier due to modern technology & far more cost effective for guys like us.

What can you tell me about working with Twisted Tapestry? And of all the session work you did way back – is there anything of notoriety?

I got invited to play on the Twisted Tapestry album by their drummer, Merrick Crittenden who I have known for some years through Heepventions. They were playing with us in Belgium 2015 which is when the offer came up. They are a sort of eclectic band featuring a harp…bit different to what I am used to. As for sessions I did…I just put the bass down and got paid..! I sometimes hear things that sound familiar but cannot really name anything in particular so not much help really.[ed: I should have known this!]

Do you guys have regular gigs lined up? And is there any plans to record again in the future?

Chris & I will, no doubt continue the project with new material as and when we both have time…..we will see. “Licence To Rock” has been an enjoyable project for both of us and something we simply wanted to do for ourselves at this time in our lives. If a few others enjoy it with us then that is a bonus. I will continue with my own band “The Business”… another low-key but enjoyable gig & occasional gigs with Chris. In the UK nowadays it is tough getting gigs due to the lack of interest in live music…people just sit at home watching crap reality TV shows…!

Chris- Looking ahead, l have started writing with the possibility of doing some more recordings with Paul – new track ‘Face at the Window’ being nearly finished. 

 KJJ, 01/17

One of Canada’s longest running and most successful hard rock bands originally hailed from the Maritimes, and then relocated to Montreal for the start a very busy and brilliant 14 year run.

If you lived in Canada throughout the 70s and 80s, you likely heard plenty of April Wine songs on the radio. The band had a huge string of hits right from their debut album in 1971 with “Fast Train”. Their second album saw 2 more hits, including a cover of “You Could’ve Been A Lady”, which made the US charts. But the band never played south of the border and would continue to be a Canadian only phenomenon for a number of years with a few line up changes, more hit singles, and massive tours across Canada. That changed in 1978 though with the addition of guitarist Brian Greenway to beef up the line up of founding member and main singer and writer Myles Goodwyn, guitarist Gary Moffet, bass player Steve Lang, and legendary Canadian drummer Jerry Mercer. The band’s album “First Glance” would include their breakthrough US hit “Roller”, and for the next several years and albums it was large arena and stadium tours and huge selling albums throughout North America, as well as a UK tour.

When the band split in 1984 following the “Animal Grace” album and farewell tour, it was a shock and a shame to fans, and very little reason [or dirt] was given. Band members went on to various projects – Moffet went in to music production, and playing on other albums, Mercer joined the Buzz Band, Lang got out of music, Greenway released an underrated solo album [with a large cast of guests], and Goodwyn would release 1 more contractual April Wine album [with session players and Greenway], and a solo album. He’d also relocated to the Bahamas. Goodwyn reformed the band [with a slightly different line up in the early 90s and the band has been performing since then, with a few further changes and a few albums during that period. Over the past year or so the band has scaled back tour dates, and both Goodwyn and Greenway have started up new projects.

And that all brings us to this – Myles Goodwyn “Just Between You And Me”: A Memoir. I don’t think Myles has ever been a huge fan of doing interviews or airing band issues in the press. In his memoir though Goodwyn opens up about a lot of his own issues – band and personal, as well as conflicts and changes in the band over the years that were never discussed in the press. Give him credit for discussing his divorces, his issues with past band members, his alcohol abuse, and numerous other topics. He sets the record straight [from his perspective] about former AW members Jim Clench [RIP], Gary Moffet, David, Jim and Richie Henman, Jerry Mercer and Carl Dixon [Carl has slightly different tale in his own book..]. To his credit he also takes responsibility for his own troubles within the band. The book also includes quotes from other band members [via new quote or from old press], which helps to add to the details, so it’s not all just Myles’ point of view on some touchy subjects. Despite everything though Goodwyn was/is the driving force of April Wine’s success and contributed greatly to Canadian music. Very few bands or musicians have had such success and longetivity.

Just Between You And Me may not be an end-all history of one of Canada’s greatest bands, but is close. A good run through of April Wine’s history and a fascinating read in to the man’s early years and upbringing. Highly recommended for any fan. I read through most of this in a day, having been a huge fan and familiar with the band’s history I was eager to read on and fill in things I didn’t know. Now I’m going back and reading more thoroughly [380 pages!]. Plenty of old pics of Myles early life, family, and private band pics. Check it out via Amazon or at any book store.

*I was going to add on a list of favorite April Wine songs, but frankly that would take too long and change too much before I could finish it. I view the band’s output up until 1977 differently to the band that struck it big from 1978-84. So, I will give you a short list of my favorite LPs – highly recommended.

Electric Jewels (1973) – this album saw a mix of songs contributed by Myles Goodwyn and bass player Jim Clench. The 2 also shared vocals on a number of songs. It also includes the Richie and David Henman, as they left during the making of the album and replaced by Gary Moffet and Jerry Mercer. Richie Henman told me years ago that on the title track the original band fades out during a change up in the song and the new AW kicks in. besides that epic track, this album also boasts the hits Weeping Widow, Lady Run Lady Hide, and a number of classics like Come On Along, Cat’s Claw, and The Band Has Just Begun

Stand Back (1974) – with Myles Goodwyn now the main writer and singer [Clench contributed just 3 tracks here], the band has a more direct hard rock sound, and a fine production. Again, lots of hits and classics, most notably Oowatanite [by Clench], 2 ballads Cum Hear The Band and Tonite Is A Wonderful Time, as well as a number of guitar rockers in Victim Of Your Love, Don’t Push Me Around, and Highway Hard Run [originally to be titled Highway Hard On!]

The Whole World’s Goin’ Crazy (1975) – Jim Clench had left, thus leaving Goodwyn as the band’s only writer and singer And producer. A great album though, includes rockers Gimmie Love, So Bad (featuring Frank Marino),as well as the ballads Wings of Love and Like A Lover Like A Song.

First Glance (1978)- the first to feature 3^rd guitarist Brian Greenway, who contributed the track Right Down To It [and sang it]. Included the band’s big US breakthrough hit Roller, as well as hits Rock n Roll Is A Vicious Game and Coming Right Down On Top Of Me. More so though it featured a new found energy and more hard rock with tracks like Get Ready For Love, Hot On The Wheels Of Love, and the darker Silver Dollar. First and my favorite of the new era.

Harder …Faster (1979) – a great follow up and more success with hits Say Hello and I Like To Rock. Also included my favorite Brian Greenway tune Before The Dawn. Greenway sang that, as well as the band’s 3 guitar masterpiece cover of King Crimson’s 21^st Century Schizoid Man.

Nature Of The Beast (1981) – the band peaked with this album, so many classics and hits, so much radio air play … Sign Of The Gypsy Queen, Just Between You And Me, Wanna Rock, All Over Town, Big City Girls, Future Tense….fantastic production from Myles Goodwyn and Mike Stone.

The follow up albums, albeit had their moments were definitely not as hot.

Attitude (1993) – the band’s comeback album. back to being a huge rock album, lots of radio play and hits, a few videos, Jim Clench was back in the band, and [guitarist] Steve Segal added a lot to the more hard rockin approach. Givin It Takin It, That’s Love, Here’s Looking At You Kid, Strange Kind of Love – all first rate ‘Wine rockers, plus hit ballads in If You Believe In Me and Voice In My Heart. Fantastic disc beginning to end. Sadly the band struggled to follow it up well, and then fewer albums would happen down the road.

Here’s hoping there’s more to come – new music, archival releases, nice re-issues, etc…

KJJ, Oct ’16

I like doing these lists, as long as there’s a different theme to it, I guess. Being a fan of Uriah Heep and Ken Hensley’s solo works, there was a time when no one thought we’d ever see or hear anything new from the guy, after his mid ‘80s ‘retirement’ . This was the guy who wrote Easy Livin, Stealin, Look At Yourself, Free Me, etc.. and then seemed to disappear. And then came the From Time To Time CD release in ’93, and talk of possibly recording again. In 1999 Ken released his first album of new material since 1981’s Free Spirit. This list is compiled from his albums since his comeback, and although I didn’t include much in the way of ballads, there’s been plenty of good ones And that could be a whole other list. Ken’s been pretty consistent for the past 16 years, and seems to have picked up creatively better than he left off in 1981. I started this list with close to 20 songs and dwindled it down to 10… and a few of those choices could change next week! This was a bit of fun, so feel free to drop me some feedback on this article and Ken Hensley’s records over the past 15+ years!

*For Ken’s solo / post-Heep discography, check out:

http://ken-hensley.com/works/albums.html

*For more on Ken, check out interviews and reviews I’ve done with him in the past….

http://www.travellersintime.com/UniversalWheels/HensleyBOTH.html http://www.travellersintime.com/UniversalWheels/HeepRelatedReviews.html http://www.travellersintime.com/UniversalWheels/reviewssept11.html http://www.travellersintime.com/UniversalWheels/Fall12Reviews.html

http://www.travellersintime.com/UniversalWheels/Hensley08Interview.html http://www.travellersintime.com/UniversalWheels/Hensley2014.html

*For a few interviews with Ken’s band-mates [and former] : https://outsiderrock.wordpress.com/2015/03/24/wonderworld-break-the-chains-interview/ http://www.travellersintime.com/UniversalWheels/Hauksson.html
 

The Last Dance

Arguably the strongest and most epic thing Ken wrote since Heep’s glory years. It’s got a great story, that sits alongside the likes of “The Wizard” and “Wiseman”, with acoustic guitar and build up, and a dramatic instrumental section, and finale; solid playing and a cool production. There’s been a few versions issued, but I’ll take the original from the album of the same name – with Ken’s vocals. Can’t help but imagine how this song would’ve fared if it had been recorded during Heep’s glory days!

Okay [This house is down]

2007’s concept Blood On The Highway release remains my favorite album since Ken’s comeback, and I enjoy every track here. This track is THE rock hit here, and is full of energy, memorable; and I dare claim the best big rocker Ken produced since the early ‘70s. It also helps that Jorn Lande sang this, as well as a number of others here.

The Return [live 2005]

This was a ballad, a song about Ken’s beliefs on his Glimpse of Glory album in ’99. A good song originally, but I am going out of the lines and picking this 2005 live version from a long out of print DVD. Why I chose this is just for the pure ‘70s rock n roll feel of it – extended solos, jams, very energetic, without drastically altering the song, and clocking in over 11 minutes! Would be cool if someone mastered this and gave this show a CD release! Until then….

Overture: La Tristeza Secreta De Uncorazon Gitano /Prelude: A Minor Life / Out of My Control

So I strung these 3 together because that is how I hear them , like one long epic. But they all lead nicely into the next, and “Out Of My Control” is one great rocker. A stand out on this album [Running Blind, 2001], a stellar performance and vocal from Ken. This album included a number of songs that had a previous life on other projects, as well as some less than stellar production and mixes.

 
This Is Just The Beginning

From Blood On The Highway – this song, which kicks this album into gear, is a cool rock track, with plenty of sounds of the classic Heep – it’s catchy, Ken’s distinctive guitar sound, the harmonies ….Jorn Lande….

Ready To Die

From Trouble, Ken’s heaviest rock album, and closest to ‘metal’. This song was a killer opener. Great hook and intro, going off like a siren. His band [Live Fire] delivers it heavy, and it suits them well. Love the combo of the Hammond organ with Ken Ingwersen’s guitar sound. [the Live Fire guys would become Wonderworld, and now have 2 records out]. The only album to feature Roberto Tiranti on vocals. Would love to hear another album like this!

The [high] Cost of Loving

From Glimpse Of Glory, a very different track. Based mainly on keyboards, pretty atmospheric, written about someone from his past. Could’ve used another verse, but what the heck, a great vocal and production.

Set Me Free [From Yesterday]

The lead off track to 2011’s Faster album. love the initial build up of guitar parts and Eirikur Hauksson’s vocal coming in before the band kicks in. Definitely a ‘70s feel and reminiscent of early Heep here.

 
Romance

Ken’s reworking of a song from an old Russian opera. Somewhat of a ballad, but pretty dramatic, very different, and a great vocal and production. From the Elements: Anthology [2005].

Letting Go

This is one track I always enjoy, from The Last Dance. A pretty straight forward rocker, catchy, and the lyrics say a lot.

New Collection:
https://www.cherryred.co.uk/product/ken-hensley-tales-of-live-fire-other-mysteries-5cd-boxset/

KJJ

Rare Albums By GUNHILL feat. John Lawton “Nightheat / One Over The Eight” Now Re-Released and OUT NOW! London, UK – GUNHILL is a band from the 90’s which featured JOHN LAWTON, the former lead singer of URIAH HEEP. This twofer collects together the cassette / fan club ONLY release ONE OVER THE EIGHT and the long since out of print and VIRTUALLY IMPOSSIBLE to find second album NIGHTHEAT!

Both discs feature bonus tracks with the intention of making this set the COMPREHENSIVE collection of all the Gunhill studio recordings!

This re-release has been prepared with the full input of JOHN LAWTON personally and has had a 2016 re-master.

“These two CDs are part of my musical history when I played together with some fine musicians, some quite young and some a bit more experienced. It was an opportunity to cover some tracks that I look back on as really great songs and a few original tracks that have stood the test of time.” – John Lawton Amazon 2 CD set: http://geni.us/bRI2uzB One Over The Eight on iTunes: http://geni.us/Q00UXvr Nightheat on iTunes: http://geni.us/PYNQ

This release is available on JLB Media via Cherry Red Records Ltd.

http://www.cherryred.co.uk/product/nightheat-one-over-the-eight/

* Back in the early ‘90s, John Lawton returned to the attention of Uriah Heep fans via the UH Appreciation Society. The official fan club at the time put out a fantastic quarterly magazine, and had taken to making contact with Lawton for interviews and to promote his new projects. In 1994 he put together a blues-rock covers band named Gunhill. In early ’95, the band issued a 10 song cassette, featuring 7 covers and 3 new tracks of their own. The cassette, I recall was intended for use as a way to promote the band for further gigs, thus it wasn’t a huge production, and although the sound quality wasn’t great – it was good to hear John performing all those classics. It was also sold [autographed in fold] through the UHAS. There were even Gunhill t-shirts available at the time – and I still have mine!

GUNHILL was formed in 1994 by singer John Lawton, and consisted in the beginning of guitarist Riki Robyns, keyboardist Mike Raxworthy, drummer Lloyd Coates, and bassist Neil Kavanagh. In early ’94 the band released a 10 track cassette of some of the covers they performed regularly, as well as including a few originals. The cassette, “One Over The Eight” was recorded, produced, and mixed by Neil in his own “Old Barn Recording Studios”, and sold through the Uriah Heep Appreciation Society, and at the band’s gigs. Since then, GUNHILL has gone through a number of guitarists and drummers, lost the keyboard player, and got a new one on occasion.

In 1997 the band – with guitarist Brian Bennett [ex of Brian Connolly’s Sweet] and drummer Chris Jones. recorded and issued their first CD release – again consisting of largely covers along with a few outstanding original songs. Lawton contributed one of his better self penned tracks with “Don’t Stop Believing”, as well as outstanding performances of such classics as “Ready For Love” [Bad Co], “Nobody Loves You The Way I Do” [Melissa Etheridge], and the Beatles’ “Eleanor Rigby” [an upgraded version from the band’s first release].

The band continued to go through changes, as Bennett [a great blues rock player] left, as did Jones. The band ended early in 2000, following the release of “Live In Germany ‘99”, this featuring keyboardist Roger Wilson, guitarist Reuben Kane and drummer Justin Shefford. The latter 2 would join Lawton as he reunited with Ken Hensley and original Heep bass man Paul Newton for the Heep fan convention in 2000, and subsequent Hensley/Lawton tour, and “The Return” release. Gunhill also performed at that eventful weekend.

*The bonus tracks from the CD reissues are taken from the Heepsteria [UH tribute] release, with “Sympathy” and “Come Back To Me” both credited to John Lawton and Gunhill, cool inclusions here, as well as “River of Dreams” [as told by Dave White below]

*The following is an interview I did with John in 1999 to promote the first CD release of One Over The Eight. I also did interviews with Jay Pearson and Dave White who played a part in that venture. Their stories are still relevant to this new release, so I’ve included here.

*Have also included parts of an interview I did many years ago with former GH guitarist Brian Bennett, who left sometime after the release of Nightheat.

JOHN LAWTON

Q: When you set out doing Gunhill, what was the intent? did you foresee it still going 5 years down the road, and more recordings?

JL: No! to be honest with you. I felt we had some mileage in the band, but not 5 years. Did Mick foresee so many years for Heep??

Q: Looking back on that release, what do you think of it as a whole? -how much of the stuff from One Over The 8 is still in GH’s live set? any of the originals?

JL: Overall, I think that it represented Gunhill at that time. It was a fun time and we were just starting out, so yes, in that respect I think it’s okay. I think the only song from OOTE still in the set is “Eleanor Rigby” and that is only by popular demand.

Q: Yourself and Neil are the only members left from the original line-up, have you had any contact with the former members – in particular Riki Robyns or Lloyd Coates who co-wrote the originals? what are they up to these days? JL: No unfortunately not, apart from Mike Raxworthy. Riki as far as I know, is still flying planes for a living and the last I heard is that Lloyd is settled down with a lady in Wales.

Q: What are some your faves from the ‘one over the 8’ tape?-you re-did Eleanor Rigby for the Nightheat CD. Is there any others from the original tape that you’d consider re-doing?

JL: I think the two questions can be answered together. Eleanor is obviously a favorite and I felt that we could do the song more justice by re- recording it again, taking our time. “Ain’t No Sunshine” became a standard song in our live set, but we did it so different live, that we could never get the same feel on tape that we got live.

Q: Was the response to the tape more than you expected?

JL: Decidedly more than we had hoped for.

Q: You’ve gotten a great deal of support from the various Heep fan clubs, how has this and your affiliation with Heep meant to Gunhill’s direction and live set?

JL: Not as much as people think with regard to the live set. We do include Heep songs but only from my time with the band. We have Sympathy, Free Me, Firefly, Come Back To Me and One More Night in there and we do play Lady In Black, but again slightly differently. We have had a lot of support from the various fan clubs around the world and met a lot of them personally. It never ceases to amaze me, how much the feeling towards Heep the fans have and hopefully a bit of that has rubbed off on Gunhill.

Q: You’ve had a number of German / Euro tours and things like that. What are some of the biggest highlights [gigs?] so far for Gunhill?

JL: There have been so many, I think the last two trips in 99′ were the most rewarding. We went on the road with two new members Reuben and Justin who really came alive after an initial nervous start. We met a lot of new fans on this last trip and that’s what makes it worthwhile.

Q: What’s your version of recording River of Dreams? how did your vocal come about, and what did you think of the song?

JL: Simple really, I was asked by some members of Heepsters on the Net if I would put a vocal on a song that Dave White had written, as a surprise Birthday present. It’s a very nice song, so how could I turn it down. I think he liked it :-))).

Q: What are you listening to these days?

JL: I am listening to a lot of Glenn Hughes at the moment don’t ask me why!! I am just re-discovering his voice again. Haven’t had much chance to listen to music recently, must rectify that.  

JAY PEARSON

Q: What’s the appeal to you [apart from Lawton’s vox] that will make fans want to check it out [for those who ain’t ever heard it]?

JP: Anyone who’s a fan of classic rock/blues rock will enjoy this album, especially fans of the Paul Rodgers/Bad Company or David Coverdale/Whitesnake-type sound. John’s style has evolved into one very similar to Paul’s, and his voice has improved greatly in the 20+ years since he left Uriah Heep.

Q: What’s your fave track[s] from this album? and/or what track do you think will most appeal to Lawton/Heep fans?

JP: Walking In The Shadow Of The Blues is my favorite, which I think is superior to the Whitesnake version! Eleanor Rigby is quite good, not as polished as the Nightheat version, but I think the raw edge helps. Angel is probably the song that sounds the most Heepish. This is more an album for fans of John Lawton than Uriah Heep or Lucifer’s Friend, as the songs are much more in a blues-rock style than a progressive/hard rock style.  

DAVE WHITE

Q: How did “River Of Dreams” end up being a ‘bonus’ track here, as it is quite different from the Gunhill sound displayed on One Over The 8!?

DW: Well, in 1998, one of the Heepsters on the Web, Graham Hulme approached John about singing the vocals on a tape of “River of Dreams that I had sent to him before. John did the vocals at Neil’s studio, and on my birthday, my wife gave me the cassette of the song. The cassette was packaged by Graham, and looked really great ! I was blown away…Richard Wagner originally wrote the song, and Michael Keuter (Easy Livin Band) sang for us on the original version. John took Michael’s version, and “re-did” it his way. The song has become very special to a lot of u…

Q: What’s your fave track[s] from this album? and/or what track do you think will most appeal to Lawton/Heep fans?

DW: My fave is “Solider Of Love”…last track before River of Dreams…has a great beginning, and good energy all the way through. Oh, and NO question…if you are a fan of John Lawton, you will LOVE this CD…

BRIAN BENNETT [ex GUNHILL]

Q: Who were your biggest influences on guitar and music?

BB: In the early days- Steve Cropper, Peter Green and Clapton.

Q: Who are your favorite guitar players?

BB: So many, incl. Dickie Betts, David Lindley, Mick Taylor.

Q: What do you recall of playing with Brian Connolly?

BB: Gigs were mainly college & university, but the members kept to themselves. I did prefer the blues/rock material I was into, rather than the glam rock- but still a good band…. My time with Sweet was short,(short and sweet). After Connolly and Scott fell out, I joined them for a short time. I was too committed to another band (Mike Stuart Span).

Q: Prior to Gun Hill, what sort of other bands did you play with?

BB: Started with Rhythm, Blues type bands, touring Europe, Scandinavia and France for 12 months.

Joined a band living in Italy for 8 months (mixture of American, Irish and British.). Met Mick Ralphs from Doc Thomas Group and Mott The Hoople, hitched a lift back to England with band from the south of England (incl. Martin Barre who later joined Jethro Tull).I then joined Psychedelic rock outfit Mike Stuart Span who later became “Leviathan”. We worked on the same bills as The Nice, Ten Years After, Cream, Fleetwood Mac, Pink Floyd, Peter Frampton and the Walker Bros in Europe. In Britain Jimi Hendrix joined us twice on stage in Londons’ clubs playing my Fender Strat I still use today. We were the first British band on the Elektra label. After this band folded, I auditioned with a bass player and a drummer in the basement of the American Embassy in London for Miles Copeland. A week later, I was asked to return to London with another guitar player but I did not want to move to the city. The band later became “Wishbone Ash”. I played a few local gigs with Nick Lowe of Brinsley Schwarz. I then joined another band working in Hamburg, Oslo and Munich called High Broom. We had a top 40 hit with “Dancing in the Moonlight”. We signed to Island Records and supported Grand Funk Railroad at the Albert Hall and supported Leon Russell and Mott the Hoople at various gigs. This band later folded to become an Electro/Acoustic trio called Montage, 2 albums recorded for Island and Decca (re-mastered cd.available this summer). The band folded and I bought a pedal steel guitar. I was approached by Noel Redding to play steel and guitar in his band, but nothing materialized. For several years anywhere and anything-a few minor hits across Europe with a band called Vendetta (TV shows in Italy, France and Germany)

Q: How did you hook up to Gun Hill?

BB: Gunhill advertised for a replacement guitar player. I had also briefly worked with Neil K! some years ago. The rest is history.

Q: Although you are not credited in the songwriting credits of “Nightheat”, are you a songwriter?

BB: No. sadly as yet, not. No time for writing since Montage days. Some change of arrangements and chords and licks created with Neil K. eg. first track, slide licks.

Q: What are some of your personal favorite moments on the CD?

BB: Pleased with slide effect and Spanish guitar on track 2, and solo on track 8.

Q: I found your solos to be one of the greatest aspects of Nightheat.

BB: Solos generally spontaneous- usually better to record in the 1st couple of takes.

Q: Do you have any ideas for the next Gunhill album?

BB: A few loose ideas and numbers have been put forward. I would like to see the band doing bigger gigs perhaps further a-field.

*for more info on Gunhill check out the following link >    http://aha.ru/~uheep/lawton/gunhill.htm & http://www.johnlawtonmusic.com/

KJJ

So in one week the world of classic rock has seen [or heard] 2 new directions, both of which I think are misleading, in bad taste and showing a grim and desperate road for bands and managers from an era that has already lost a number of aging rockers earlier in the year.

The first being a new album by Blackfoot… or in reality a band named Blackfoot, who’ve been handed the name and back catalogue to start from. The southern rock band that began in the early ‘70s after Rickey Medlocke left Lynyrd Skynyrd [as their drummer] and moved up to guitar, lead vocals, and major songwriter. The original [and only line up for most fans] included Greg T. Walker [also ex of LS, bass], Jakson Spires on drums [RIP], and Charlie Hargrett [guitar]. From 1975 to 81 the band released 5 albums, most notably Strikes in 1979 [their most successful] – which featured the classics “Train Train”, “Road Fever” and their best known song “Highway Song”.

Strikes was followed up by the underrated “Tomcattin”, which was a bit heavier, and featured such classics as “Warped” and “On The Run”, and then 1981’s Maurauder with faves “Fly Away”, “Dry County” and “Rattlesnake Rock n Roller”.

The band added Ken Hensley on keyboards for 1983’s Siogo and the follow up Vertical Smiles. The latter didn’t feature Hargrett, as he’d left before it was done. The new commercial 80s sound didn’t stick with longtime fans and following Hensley’s departure, and Bobby Barth’s joining the band band soon broke up. Medlocke would reform a new band as Rick Medlocke & Blackfoot for a contractual album, and carry on a few years with changing line ups and a few more albums, before he joined Lynyrd Skynyrd. Hargrett, Walker, and Spires reformed Blackfoot with Bobby Barth soon after [leasing the name from Medlocke, presumably], but after numerous changes, and the loss of Spires, Medlocke stepped in, took back the name and branded a new group as Blackfoot in 2012. So, that is my Blackfoot history in a nutshell…

Fast forward to current days… And this ‘new’ younger band that’s been given the name has released a new album as Blackfoot. And I will say – before ANYTHING else – regardless if Rickey manages, or contributes to the writing or production [I’m not totally sure, nor do I totally care!] because this is NOT Blackfoot! Regardless if the album is decent or has any similarities to the original band [I’ve heard the single, watched the video – it’s ok, somewhat generic], or if these guys are great players and writers – it is a band branded and being sold as something that no longer exists. It may be a great Blackfoot tribute band live – but that’s all it can be. Imagine if Paul McCartney did something similar with the Beatles name and catalogue or Jimmy Page with Zeppelin, etc… ? there’d be global fucking outrage! This may be a good band, but I won’t be duped into buying it as a Blackfoot album – to compare and sit alongside the rest of the BF collection I have. And I am a huge fan of Rickey Medlocke, and would love to hear him doing new material outside of Skynyrd! But, frankly I am cynical enough about bands still out there calling themselves Lynyrd Skynyrd, Thin Lizzy, and Foreigner! [And this is a whole other debate]. Tribute bands may be the best way to experience bands no longer able to perform, but call them what they are – and record under a different name. [Even Scott Gorham realized the backlash he’d likely get if his incarnation of Thin Lizzy used the name on a new album].

The other disturbing occurrence this week was the use of a hologram of Ronnie James Dio at Germany’s Wacken Festival. Dio’s former wife and manager, who supports the tribute Dio’s Discpiles also came up with and supported this hologram idea. Dio’s Disciples were put together less than a year after the guy passed away, and consists of players that replaced his original band – that band [Vivian Campbell, Jimmy Bain and Vinny Appice] reassembled 2 years back, called themselves Last In Line, and issued an album of new material earlier this year. Sadly, things went south when Jimmy Bain passed away suddenly on the Def Leppard cruise. And for me [and many others] – THAT original line up was the Dio band, and I’d be far more interested in seeing them [if they come around with a sub bass player], playing the classics they wrote and recorded, as well as new material.

So, back to this gimmick of a lazer / light show and vocal of Dio, which was played along to by his former bandmates for the finale [“We Rock”], and there’s talk about taking this kind of creepy circus act on the road next year!? Yeesh!

https://www.youtube.com/watch?v=cX9g78rVxwg

Sorry, but why bother – aside from former colleagues cashing in and creating a fake experience for everyone, mostly fans. If these guys are out there doing their regular act as a tribute to RJD – fair enough, but resurrecting him on stage is in poor taste, IMO. It would also wind up being predictable and uninspired with the band playing the same thing note for note – no room to change, and no between song banter from a dead guy fronting the show!  Frankly, this is something one would think Sharon Osbourne would try [she’s likely pissed someone’s beat her to it]. Imagine going to see a full show of this by your favorite band, with a hologram of their long deceased frontman? Where would it end? Imagine worse if this sort of thing got put on to a recording with band playing along to the same vocal performance from years before? and geez – who would be on the t-shirt?? and what dying rock star would say “sure, make me into a hologram when i’m gone to keep the band going and employed!” [?]

The golden era of rock is long gone – there won’t be any more Led Zeppelins, Beatles, Thin Lizzys, or the classic line ups of Uriah Heep, Queen, Rainbow, etc… but you can get out there and try to enjoy those still performing, while we can. Forget the gimmicks and the tricky branding and packaging of once great rock acts. I saw a band called Thin Lizzy 5 years ago, and being a huge fan, and having never seen the real deal – I thoroughly enjoyed it, but I understood that it was a tribute to the band – there’s no Phil Lynott, just the same as there’s no Ronnie VanZant – so the latter day Lynyrd Skynyrd doesn’t fool me either, but I can enjoy it for the fact that it’s the closest thing to the real thing we’ll ever see nowadays, and that can’t be replaced by a new group using the name or a hologram!

KJJ

Well, it’s been a while. Life happens, you get stalled, but new music [and old] always gets one going again [even briefly]. I’ve said before I am not a fan of writing reviews, but some releases are either exciting, historical, or fun to comment on, so…

I’ve found as I’ve gotten older and as life changes I’ve been going back to discover or even re-discover classic rock from the late ‘60s and 70s I’d either missed or passed by throughout the years. Maybe I’m just getting older, but over the last several months I’ve picked up most of the Beatles catalogue, a few Steve Miller Band LPs, some early Chicago, Bad Company, … incidentally I’ve picked up plenty of metal too [Helloween, Jorn Lande..]. There is so much amazing and unique music in that period from the mid 60s to mid 70s – there is no other era like it! It’s interesting to go through Beatles albums and appreciate the productions, and the band’s changes. And who makes big band rock, like those early Chicago albums? Or those simply cool Steve Miller Band albums from the mid ‘70s? Nobody!

Anyway, over time I’ve been cleaning out my collections [anyone collect cassettes or VHS tapes, btw?], and filling in many gaps of great music from the past. Incidentally, am pretty much back to buying almost all vinyl, for a few reasons. One being the jacked up prices of used albums! Just because something’s old – doesn’t mean it’s worth $20 and up! I see very few Beatles used LPs under that price, and even then they’re beaten to crap – so why not just start fresh and buy the re-issued vinyl, roughly in the same price range!? And really, some bands were either just not that great or their albums over saturated the used LP market so much, that who the hell would pay much for them!? Albums that were worth $3 ten years ago – haven’t become so much better or too hard to find with age. Seeing run o’ the mill 80s LPs like Poison, Warrant, a few Dokken for over $10! Really!?? Were Motley Crue albums worth anything prior to their farewell tour announcement? Don’t think so! Not that they were bad albums [well…] but hugely collectable!? And as much as I enjoy my Styx and Foreigner LPs, why would anyone pay $12 for “Foreigner 4” or Styx “Paradise Theatre”? These albums could be [and still can be in some places] found in any dollar bin for years! Having said all that, I’m all for buying new vinyl and re-issues. I’ve just had to be more selective in what I spend on. I like my new re-issued 2LP set of “Band On The Run” – but will I buy the entire McCartney catalogue at that price? Hell no!

Well, that’s it… I’ve said enough….

Here’s a few new releases from the past few months…..

Joe Lynn Turner – Street of Dreams, Boston 1985

After all the press Joe has stirred the last year or so with his plans for a Rainbow reunion, and then his comments when Ritchie Blackmore announces Rainbow without him, and Deep Purple’s Hall of Fame mess – a new release is a great plan! Especially since it’s titled after a Rainbow song! Hmm… Seriously tho, this was recorded live by Joe’s solo band after Rainbow broke up [w/ Blackmore reuniting with Purple], and Joe’s debut solo album “Rescue You”. That was a fairly decent AOR album, not too far from the direction Rainbow had gone in during the JLT era. Rescue You featured original Foreigner keyboard player Alan Greenwood, who also co-wrote most of the songs. “Street of Dreams – Boston 1985” includes the same band Joe used on his album, and the set is comprised of most of the tracks from Rescue You, plus a few others, including Rainbow hits “Stone Cold” and the title song. It’s a really good recording, and I much prefer the energy to this live set of Rescue You songs to the studio ones. Probably could’ve used another Rainbow track or 2 in the set, but well give credit to Joe for moving forward with his new stuff at the time. Joe’s recorded so much stuff over the years, either in a band, solo, with someone else – it’s hard to keep up! But this is a welcome addition for fans of JLT [and those that liked the Rainbow-wanna-be-Foreigner period]. A cool revisit to the ‘80s.

www.joelynnturner.com

Rainbow – Boston (Live), ’81

Geez, I don’t know where to start….i like Joe Lynn Turner on his era of Rainbow songs, but when it comes to him doing the Dio stuff [“Man on the Silver Mountain” is fairly average all ‘round]or the obligatory “Smoke On The Water” – I’ll pass! This comes from an era where Blackmore pushing what was once a mighty powerful band into a mainstream ‘80s pop-rock American sounding band – like a pile of others. Turner, as good all round as he is, fit that Americanized direction. Anyway, this is actually a great sounding recording from that era, post Graham Bonnet. The band itself sounds killer on “Catch The Rainbow”, classic epic Rainbow…. But this period just seems to be a bridge from 2 very different bands…. If ya know what I mean….

Lords of Black 2

Very heavy power metal from Spain, perhaps notable for featuring singer Ronnie Romero – who is the new singer in Blackmore’s Rainbow! Lords of Black features ex Saratoga members Tony Hernando and Andy C, and their 2^nd album is co-produced and mixed by Roland Grapow [ex Helloween, Masterplan]. Not far off from the Helloween approach, minus the harmonies and slight commercial / anthem approach, and Romero has a huge voice that will definitely suit Rainbow. ‘II’ blazes off early with “Merciless”, along with “Only One Life Away”, and “Cry No More” is damn cool. Also features slightly more melodic rockers in “New World’s Comin” [w/ piano], “Insane” and 9 minute epic piece “Ghost of You”, nice acoustic intro and dramatic build up. Interestingly, ‘bonus’ CD includes a number of covers, including Rainbow’s “Lady of the Lake” to really check out how Romero will sound in that role.

http://www.frontiers.it

Wonderworld – 2

Classic rock power trio consisting of Ken Ingwersen [g], Roberto Tiranti [b/v], and Tom Fossheim [d]. All 3 were part of Ken Hensley’s [Uriah Heep] Live Fire band [tho Tiranti left after just one album].

Wonderworld’s debut album was a great surprise, full of heavy rock, kinda funky in a Glenn Hughes vein, with enough pop elements to give it a wide appeal and a pretty different sound and style of their own. ‘II’ follows that up nicely with the same sort of solid set of guitar rock that flows so well from track to track. Lead off track “Forever Is A Lie” is a standout rocker, as is “Elements” that features a classic riff opening, and “Return To Life”. Wonderworld changes things up more on this album with a few more slower moody ballads and epic pieces like “Echo Of My Thoughts” – with the addition of the Hammond organ (would be cool to hear more of that on here), “It’s Not Over Yet”, and “Memories”.

Interesting cover art! Looking forward to more from these guys; they are actually something new and different to anything else out there I’ve heard!

[now, just waiting for my vinyl copies to arrive!]

www.wonderworld.no

Joe Bouchard – The Power of Music

The latest full album [4^th] from the original Blue Oyster Cult bass player! This has a theme of music running through it – nods to the history and different styles. “Walk With The Devil” features a heavier intro and cool hook; this would’ve been a classic BOC number. “36 Strings” settles back in to Joe’s upbeat acoustic [Americana] feel, while “Dusty Old Piano” is a ballad lead with the instrument; it builds up nicely, and I can also easily see this as a classic BOC cut. Lots of cool stuff here – the upbeat “Is He The Wolfman” [love the Hammond intro], the lone John Elwood Cook tune “Photographic Evidence”, and the haunting, mainly keyboard instrumental “Touring Age”. Ends neatly with an updated and rocky version of BOC’s “Career of Evil” [a nod also to the book of the same name – inspired by the song title!].

Quite a journey and mix of tunes that flow well, especially if you ‘get’ the theme. Well played.

www.joebouchard.com

So, going through old interviews and exchanges with people I had over the years that I discovered on old discs [and floppy discs!], I came across these replies I received from legendary Canadian drummer Bob [Herb] Ego, who had played in numerous bands, most notably Witness [pre Streetheart], Painter, Hammersmith, and Streetheart! Bob never replied with the questions I’d originally sent – so I don’t have ‘em! And in reading this, I see there was a 2^nd part, which I never got from him. But a good bit of Canadian rock history and info from the man.

*Check out Bob’s discography at >

The Official Website of Bob Ego

PAINTER  / WITNESS 

When I played in, “Painter,” it was after I had left Witness (which would have been from 1971-1974). Granfalloon would be 1976–check out the live recording on my Granfalloon link on my web site– That was a fun band! Bob Duetscher (Guitar player) played in quite a few bands in western Canada and has his own web site.

Painter was originally the, “49th parallel” — who had a hit record called, “Labor,” great song. I’m not sure who wrote it but I will never forget it. Danny Lowe, also the main guy in 49th Parallel, started Painter with a drummer named Barry (can’t remember last name — sorry) I met him once — nice guy.

After I left Witness (this can be confusing ‘cause there was more than one Witness – this is why my discography is so important to understanding how things happened) anyway, after I left Witness, I moved to Calgary and joined Painter. Danny Lowe, Doran Beattie, Wayne Morice (who I just heard from a few days ago), and me — This was Painter! Barry Allen came on board after we were signed to Elektra. Painter got signed to Elektra after we decided to go with Bob Zimmerman as our manager. Before Painter, Zimmerman managed the Chamber Bros. He knew a lot of people in the music biz and was able to make people stop and listen to our demos.

Goin’ Home To Rock N Roll – YouTube

The first single, “West Coast Woman,” was written in the basement in, I would say, less than 15 min. One thing about Painter–there was a magical chemistry. We never spent much time writing. We just sat down and played music. Whatever came out was on the most part pretty damn good to the point where we kept it and recorded it! 

Hammersmith – Hello, It’s For You – YouTube

We were based out of Seattle at the time when West Coast Woman was released as our first single. The radio response was very good. I believe it hit #1 in Atlanta, Seattle, and Las Vegas – in general. it did very well throughout the States. I know the record company folks were pleased. The second single from the Painter album was, “Song for Sunshine,” it didn’t do much but that one was the record Co. idea to release. We had other suggestions that didn’t happen. I had a lot of input in the arrangements with Painter, however, I was not credited in this way for any royalties. I was (on paper) just the drummer. We were a lot heavier live than on record – with extended solos, intros, etc. And at the time our influences varied from Elton John, to Led Zep, to Jimi Hendrix. I was very influenced by both Mitch Mitchell and Joe Morello. I don’t think we were aiming for anything other than just creating Painter music (we never analyzed anything we just played!). I like all the songs from the Painter album. When we played Atlanta Georgia at a club called, “Richard’s,” (with Charlie Daniel’s band and Soft Machine) Frank Zappa was supposed to sit in with Charlie but when he heard us earlier in the week he told his manager that he wanted to play with us instead. Come Saturday night, Zimmerman comes in the dressing room and tells us he has been talking to Frank Zappa’s manager and that he asked if Frank could sit in with us – we said, “I guess it would be OK.” Laughing and answering, “Get out of here” etc . . .. we didn’t believe it was true until Zappa showed up and wrote a song live on the spot called, “That’s Why I Knew That it Was Love.” We went out and performed it live on the air. People were blown away because of the fact he was there and so were we. There’s a lot more but to move on to your other questions . . . we toured with Steely Dan, Paul Butterfield Blues band, Canned Heat, Five man Electrical Band, Red Bone, Black Oak Arkansas and many more. Painter did not open for April Wine. I did, however, when I was with Streetheart. Jerry Mercer (drummer from April Wine and I shared a practice room during the tour– great guy and great drummer). There are lots of unreleased painter songs however you must see my discography. 

HAMMERSMITH 

Hammersmith – Late Night Lovin’ Man – YouTube

Three of the guys did move on from Painter to form Hammersmith. I had left the band to get off the road for a while. I wanted to teach, perform, and continue to record for Tommy Bands studio in Edmonton with Les Bateman for Witness incorporated. “Jezebel,” “Harlem Lady,” great songs and great band. Anyways, I think Painter changed the name to Hammersmith, to get out of legal bindings with Zimmerman. I’m not sure who they had on drums before they were ready to record Hammersmith – however it wasn’t working out so they asked me to perform on the album – I did all of the drumming on the album but was not credited for it–due to the fact that they were trying to market a band (and their faces) not “studio guys.” We are still very good friends and keep in touch from time to time.

Updates: 

A lot has happened since those days.

Danny Lowe went on to invent Q sound and made his mark big time.

Wayne and Doran are in the movie biz making the hit X-files–and others.

I’m still doing studio work, seminars; drum clinics, and occasionally filling in for old friends. I’m also working at a music store where I’ve met some guys with very impressive backgrounds – the main thing, however, is that they’re really good people. I will try to get to more of your questions about Streetheart soon. I’m doing a clinic/performance concert here that is taking all my time for preparation. I’ll get back to you in a couple weeks or so. Thank you for the interest in these great Canadian bands! 

What Kind Of Love Is This – Streetheart – YouTube 

http://www.drumlessonslasvegas.com/about-bob-ego.html

http://www.zoominfo.com/p/Bob-Ego/73611335

https://www.youtube.com/watch?v=oeeAW9BPkuI

https://www.youtube.com/watch?v=rbEFsc5QbFU

KJJ, 03/’16 

Got a number of new things, some of it is stuff I had or could’ve had mid last year, but am glad I’ve got it and given it a listen. Aside from my newer favorites – like the Magnum’s latest or Swedish band Black Trip’s second album [both of these I dug so much, I immediately ordered the vinyl!], I’ve picked up a few other things not mentioned here like a fantastic 2LP set of The Jimi Hendrix Experience at the Atlanta Pop Festival, 1970 [“Freedom”] – great performance, sound, and packaging. Also recently picked up Moxy’s “40 Years And Still Riding”, which is one disc of re-recorded Moxy classics and one live disc from the band’s 2013 show in Toronto – with founding guitarist Earl Johnson and former Slik Toxic singer Nick Walsh. A great up to date sound, with Walsh adding a bit more ‘metal’ to the Moxy classics, originally sang by Buzz Shearman [RIP]. From last year, I’m still big on Iron Maiden’s latest massive set [3 LPs!] – “Book Of Souls”, enjoying every side of it; as well as the latest from David Gilmour “Rattle That Lock”, such different and  classy stuff.   Anyway, here’s some ramblings of some new and newer stuff I’ve been listening to.

Anvil – Anvil Is Anvil [SPV]

I haven’t heard a lot from this Canadian metal trio, that’s been going for a few decades. But, an interesting title and a curiosity to sit through this album, and glad I have! Sounds like a fun, fast paced, guitar rock album, that’ll sound great in the car! The title Anvil Is Anvil is based on the band recognizing what they are best known for and not going out of the lines. Anvil consists of guitarist/vocalist Steve “Lips” Kudlow, drummer Robb Reiner, and new bass player Chris Robertson. Anvil Is Anvil only serves up old school metal, lots of riffs, thundering drums, without any added frills [no keys or excessive intros or passages], lyrically taking on everything from the metal anthem types like “Run Like Hell” and “Up, Down and Sideways”, as well as more serious topics as “Gun Control” and [religion’s influence] on “Die For A Lie”. Faves include the fast paced “Runaway Train” and “It’s Your Move”, both have a Motorhead vibe going on [the latter referencing Ace of Spades]. Some cool Canuck metal for ya!

*available in CD, digi-pack, and vinyl!

https://www.facebook.com/anvilmetal

http://my.tbaytel.net/tgallo/anvil/

Magnum – Sacred Blood “Devine” Lies [SPV]

You cannot really go wrong with a Magnum album. First off – you got the outstanding Rodney Matthews artwork that makes this package stand out to begin with! These guys know what their fans want and consistently deliver it each time out. A few rockers cool guitar rockers, a few upbeat pop-rock arena favorites, those mini-epic tracks featuring classy piano and keyboards, that build up in to heavy choruses, and those simple sweet, quiet ballads. You really can’t get bored. The band’s latest “Sacred Blood, ‘Devine’ Lies” is another superb album. No big keyboard intro here as the guitar chords to the title track fade in and kick off this album with a solid rocker. The single “Crazy Old Mothers” features that tasteful piano from Mark Stanway and leaps into a great chorus, and goes back and forth – classic Magnum! “Gypsy Queen” starts out soft with light sweeping keyboards and Bob Catley’s vocals, and then the band kicks in giving this an almost heavy dance and rock chorus, and again settles back down. Just love how these guys can go from a ballad to a storming rocker – all in the same song! I’ve enjoyed every album since I got in to them with the ‘Moon King’ album 9 years ago, and this is possibly my favorite since then! Just one classic Magnum track after another – “Princess In Rags”, the ballad “Your Dreams Won’t Die”, the dramatic “A Forgotten Conversation”, epic piece in “Twelve Men Wise and Just”, “Afraid Of The Night” – love Tony Clarkin’s writing and playing, and solos. Bob Catley being one of England’s most under heard of lead singers. A damn shame these guys never play in North America, hence remain somewhat of a mystery, except for those of us fortunate enough to discover them.

*available in CD/DVD deluxe w/ 3 extra tracks, as well as vinyl!

www.magnumonline.co.uk/

https://www.facebook.com/magnumbandpage/

Last In Line – Heavy Crown [Frontiers]

Those early Dio albums with Vivian Campbell were a classic era for me, and I never really dug the albums that came later, with substitute players as much. That original ‘Dio’ line-up had a distinctive sound and the songs! Years following Ronnie James Dio’s passing here is the original line-up back, with singer Andrew Freeman. Obviously not exactly a Dio album, but close in many ways. Freeman does an admirable job, though he sounds to be pushing it at times to come off as heavy as the music. The songs are good, and a few favorites have the potential to be in the same class as some of those early Dio faves; one could easily imagine Dio taking on such standouts as “Devil in Me”, “I Am Revolution”, and the more melodic “Starmaker”. Overall I really like this album; it’s a grower too, as it just gets better each time on.

Credit to Vivian Campbell for returning to his roots and playing something real again, and for handling Jimmy Bain’s passing with dignity in dealing with the fans, class act; and here’s wishing Campbell the best with his own health. And here’s hoping these guys find a way to keep it going in honor of Ronnie and Jimmy.

https://www.facebook.com/lastinlinerocks

Axel Rudi Pell – Game Of Sins [SPV]

Another act that sort of sticks to a winning formula. German guitarist Axel Rudi Pell always plays it heavy, coming from that Ritchie Blackmore school of guitar and mystique. You get the cool scary cover art, the slow eerie intro, then the opening riff of one of many cool rockers here in “Fire”. Johny Gioeli [Hardline] suits this stuff fine. Plenty of cool chugging and thundering rockers here – “Falling Star”, “Sons In The Night”, “The King of Fools” – big riffs and solos throughout. But there’s nothing really new here, which is fine by me, ‘cause I like this. There’s the slower paced epics in “Forever Free” and the title track [classic ARP!], as well as the token ballad “Lost In Love”, which delivers a heavy chorus, and then there’s the token cover tune with “All Along The Watchtower”, which is quite a different arrangement [Axel shreds on this; killer]. All so predictable really, but really damn good heavy rock from Axel and band! One of his best!

www.axel-rudi-pell.de

https://www.facebook.com/axelrudipellofficial/?fref=ts

Black Trip  – Shadow Line [SPV]

The Swedish band consisting of former members of bands such as Necophobic, Nifelheim, Entombed, and [still] Enforcer. These guys clearly celebrate the New Wave of British Metal, and classic metal influences, much of this sounding heavily along the lines of Thin Lizzy and very early Iron Maiden, while the band also sites the likes of The Scorpions and Blue Oyster Cult as major influences. This is great stuff, 2 guitar, vocals at times reminiscent of Phil Lynott, other times of Paul D’ianno. End to end powerful early metal sounding songs! Kicks off a-blazing with the Thin Lizzy type rocker “Die With Me”, and doesn’t let up much. Killer cuts in “Danger”, “Berlin Model 32” and ‘Over The Worldly Walls”. “Clockworks” sounding like a long lost early Maiden classic, while “Subvisual Sleep”, musically, sounds like it would’ve sat comfortably on Judas Priest’s Point Of Entry album. Every song rocks here – “Sceneries”, “Coming Home”, and mini epic “The Storm”. This album really has to be heard.

www.blacktrip.se

https://www.facebook.com/Black-Trip-184303701663532/

The Treatment – Generation Us [Frontiers]

Goofy cover, really. But this album starts out promising with the AC/DC riff rock of “Let It Begin”. Like the guitars and tune, but not crazy about the vocals or the chorus. “The Devil” is a slower track, but it’s got that AC/DC guitar rock feel as well. Plenty of cool riffs and rockers here with “Cry Tough”, “Light The Light”, and fast paced “Tell Us The Truth”. Standouts for me include the near ballad “Backseat Heartbeat”, and mid-tempo “Bloodsucker”, which, again – has a bit of an AC/DC feel to it, and the vocal really suits this one. This one’s a grower, and I’ll be looking to hear more from these guys.

https://www.facebook.com/TheTreatmentOfficial/

Wasp – Golgotha [Napalm]

Well, I rediscovered Wasp when the last album came out in 2009 – Babylon. I loved the newer sound and line-up that Blackie Lawless had put together with bassist Mike Duda, guitar player Doug Blair, and drummer Mike Dupke. It lead me to go back and pick up a number of Wasp albums I’d missed in the years after 2 albums in ‘Kill F**k Die!’ and ‘Helldorado’. Blackie’s now writing about his Christian faith, but not so much in a preaching way, and more in a scary way. Musically very heavy, but with the 2 most commercial type rockers leading off with “Scream” – which bares some similarities to Babylon’s lead off track “Crazy”, and then the single “Last Runaway” stands out as well. But things get darker and heavier on Golgotha with the epic ballad “Miss You”, a song about dealing with a loss of a loved one, and from there on this album is just fantastic song after song. “Fallen Under”, “Slaves of the New World Order”, and “Eyes of My Maker”… all have slow light intros and build up in to heavy Wasp rockers – these are easily my favorites on this album. Love the production. “Hero Of The World” is another cool rocker that follows suit, but it seems to borrow intro and feel from The Neon God albums. The title track closes out here, and whether you follow Blackie’s faith or not – you have to appreciate how much passion this guy puts in to it all. One will also notice that the title track bares a striking resemblance in melody to the Queen classic “The Show Must Go On”. But, oh well. Love this album! I really loved ‘Babylon’, but IMO Golgotha is a step up, delivering 9 great tracks, without any covers to dilute things. Blackie’s come a long way from his meat tossing days; a guy long overdue his credit as a serious writer and singer.

https://www.facebook.com/W.A.S.P.Nation/?fref=ts

http://www.waspnation.com/