Many years ago I heard the title track to this album at someone’s house. I had no idea who the STRAWBS were, but that dramatic intro/riff that repeats throughout the song was unforgettable. Years later, in the 2000s I had the opportunity to see Strawbs frontman Dave Cousins in Toronto, at a small venue, doing a ‘songs and stories’ show. Met Dave after the show, got his latest CDs…. After that my buddy and I stopped at a shop or 2, still open and not far from the venue, and I picked up a bunch of Strawbs on vinyl. Though I never got into all of them right away, I’ve found myself coming back to this album every so often for multiple listens, and it gets better each time.
Besides the standout title track, there’s a lot of variation here, a lot of atmosphere, a lot of acoustics, as the band – then sort of changing from a bluegrass/folk band to a more folk-progressive band, with more rock, and the use of various keyboards, mellotrons, etc… adding to the band’s sound. There was also lots of changes in the songs, such as with the album’s epic opener “Autumn: Heroine’s Theme; Deep Summer’s Sleep (Hold On To Me) The Winter Long”. Hero And Heroine featured 10 tracks, all of which are enjoyable, and there’s a smooth flow from song to song. Standouts for me, aside from the opener and the title track, would be the single “Shine On Silver Sun”, “Midnight Sun” (as it eases in right at the end of “Hero And Heroine”), and “Round And Round”, which after a lengthy intro, kicks in to a good rock tune.
I’m not sure, but I think Hero And Heroine was one of (if not – The) biggest Strawbs albums. It came at a time after the band had gone through a few personnel changes, and despite not charting high in the US or Canada, it was certified Gold in Canada, as the band seemed to build up quite a following here. I’ve seen a couple of CD versions with a couple of bonus tracks, but a proper deluxe version of this classic album is overdue, I think.
Admittedly I am a late BADFINGER fan. I did not grow up while the band was active, but only got in to them casually years ago with a ‘Best of Badfinger‘ CD. I was so oblivious that some 20+ years ago I contacted Bob Jackson and sent him questions pertaining to his time with the David Byron Band in the early 80, (I am a huge Uriah Heep fan), and the Badfinger connection didn’t dawn on me at the time! Years later, and after the Best of CD, I started picking up Badfinger albums; I liked them, but when I picked up Wish You Were Here, and put it on – I was hooked! The previous hits were good, but this whole album I loved. In 2019 I had tickets to see Uriah Heep in Ohio for 3 nights in a row, but instead, the day before I came down with a virus and was put in the hospital for nearly a week. So, I had my wife bring in my laptop so I could write, and for a few days I researched further and wrote a retrospective on Badfinger. After that I picked up more CDs, reissues….and the 2 CD version of Head First. The songs on that 2 CD release were not the intended properly mixed album, but I enjoyed the songs! So, back to the album….
Head First was to be the follow up to the I’ll fated Wish You Were Here. A strange time for the band. Remember, back in those days many bands were expected to come up with new albums every 8 months or so, and many classic albums were recorded remarkably in short periods of time (the first Black Sabbath album for example). So, while Badfinger’s manager was stealing the band’s money from Warners, the band were thrown into a mess, with their central figure – Pete Ham, leaving. Bob Jackson (a keyboard player) was auditioned and joined. Pete Ham returned, and briefly there was a 5-man line-up. At the end of a UK tour Joey Molland left, and Badfinger was back to being a 4 piece. During this time Warners pulled Wish You Were Here from the shelves and filed lawsuit against the band (and manager) for missing money. The band’s manager (who took the money), hurried Badfinger back to the studio to record a follow up, which the band did in less than 2 weeks. But the lawsuit brought the band to a halt. In all this Pete Ham saw no way out and hung himself. The band was effectively done. Sure, there were Badfinger albums released in 1977 and 81, with a couple of originals, but it wasn’t even close without Pete Ham. Tom Evans would also kill himself. In 2000 Head First was released as a 1 and 2 CD set, featuring the songs recorded during that brief 2-week period. Since then, reissues and Pete Ham archives tapes have been released, as well as more recently a collection of Tom Evans demos.
A few months ago came the surprise news that an official version of Head First was to be released (on vinyl and CD). And well, although I’ve had access to listen to this online (to review) I really prefer a physical copy of an album to get into, and this was one I’ve been very excited to receive since it’s announcement, as I’m sure many longtime Badfinger fans have been as well. So, first off is the packaging…Head First comes in a glorious gatefold cover featuring the shot of the lion roaring on the front and the apartment pic on the back, with the track listing. The inner gatefold includes bandmember photos along with track by track performance credits on one side, and more photos of bandmembers along with pics of various correspondence, contracts, and letters pertaining to Head First. Inside (aside from the LP), there’s a 12-page colored booklet with lyrics, more photos, and more credits pertaining to this release. So, the packaging alone is first class, and one can enjoy this album old school – while looking through the jacket, booklet and reading the lyrics.
The album itself contains the same songs, albeit not exactly in the same order, as the 2000 CD release. But here, you get a proper mix, amazing sound. Maybe it’s me, but Head First, like Wish You Were Here, sound like they were ahead of their time in many ways, and for me, well beyond the band’s previous albums, like it’s hard to believe this was all recorded over 50 years ago. But Head First is the final missing piece of the Badfinger puzzle. The songs here, recorded quickly are all impressive, varied, with all 4 members contributing to the writing and lead vocals. The lead off track “Lay Me Down” is upbeat, catchy, with great harmonies throughout, a fantastic production, written and sang by Pete Ham. This (to me) would’ve been an obvious hit single! (And lo and behold this one was issued as the first video / single from this release!). Tom Evans contributed 2 cuts to what became side 1 – the more pop driven “Hey Mr Manager” and the rocking “Rock ‘N’ Roll Contract”: both songs dealing with the band’s situation at the time – “Hey Mr Manager” taking aim at the band’s corrupt manager Stan Polley. (Then) new guy Bob Jackson contributed perhaps the heaviest and most progressive tune here with “Turn Around”, featuring his lead vocals, and a cool mix of guitar and Hammond organ (if anyone’s heard the Indian Summer album from ’71, it is a heavier album, featuring plenty of Hammond organ and Bob’s vocals, a noteworthy comparison, but “Turn Around” is one of my favorites here). The first side also includes Mike Gibbins acoustic ballad “Back Again”, another gem, highlighted by the band’s harmonies, synths, and a harmonica solo from Pete Ham.
Side 2 opens with a classic Pete Ham song, “Keep Believing”, kind of a mid-tempo, almost ballad tune, with piano and slide guitar. I’ve read Ham wrote the song as a message to departed band member Joey Molland. “Moonshine” is another on the lighter side, and one of 2 that features Evans and Jackson sharing lead vocals; the other being “Passed Fast”. Both are enjoyable and memorable tunes. the latter co-written by Evans, Gibbins, and Jackson with Evans & Jackson sharing lead vocals, while the former is co-written by Evans & Jackson, and it’s another standout on here. “Rockin’ Machine” is another Mike Gibbins number that is very different, kind of a country-ish styled singalong/pub feel to it. The album ends with a re-edited mix of Pete Ham’s short instrumental “Saville Row”, which has added synths from Bob Jackson.
Overall, just a thoroughly excellent release, in so many ways. A must for any Badfinger fan (obviously), but also highly recommended to fans of classic rock. Bob Jackson deserves a lot of credit (and thanks) for his efforts to get this album done and out properly, after so many years. Well worth it!
BLUE OYSTER CULT sets the bar for how legacy bands celebrate anniversaries, release archived material, and put on important shows.
Third Night Live features the band (in it’s current line-up – Donald Roeser, Eric Bloom, Richie Castellano, Danny Miranda, and Jules Radino) performing the best (arguably) BOC album – Secret Treaties – in full, along with 2 other LPs’ worth of BOC deep cuts & classics. Those first 3 BOC albums sound pretty primitively recorded, so these live recordings offer a modern contrast, with most of the same voices. Albert Bouchard (original drummer, who also wrote and sang) is a special guest here, as is former member Kasim Sulton (on a few tracks), and keyboard player Andy Ascolese (The Band Geeks). Would’ve been nice if they’d included Joe Bouchard (original bass player), and co-writer of the epic “Astronomy”, but we can’t expect everything, I guess.
I like having things in ‘sets’ (I have all 3 Nights on vinyl) and Third Night Live completes a historical set of albums. Each of these albums’ cover art, brilliantly created by Stan W Decker (who’s done a number of recent BOC covers, as well as the stunning cover for Jon Anderson & The Band Geeks) pays homage to the original covers and stick to a neat pattern – same band name lettering, artwork in frame, dark covers, so they visibly look perfect together. LPs are in a simple straight sleeve, no gatefolds, and no inserts.
The extra material, beyond the album being played in full, offers up a few gems, and a few repeats night to night (the ‘must play’ hits, and a couple from the band’s last new recording – The Symbol Remains. But there plenty of welcomed inclusions for big BOC fans, with Third Night Live including favorites – “Black Blade” (from Cultosaurus Erectus), “Shooting Shark” (from Revolution By Night), “I Love The Night” (Spectres), and “Joan Crawford” (Fire Of Unknown Origin). It also includes “The Alchemist”, from The Symbol Remains, actually performed the previous night, but held over to be included here. A couple of other Symbol Remains cuts might’ve been cool, with 2 more of the same here that featured on the First Night, but oh well. This whole set is damn near perfect, from the added song choices, performances, recordings, and packaging, making these 3 releases ‘must haves’ for BOC fans.
Not sure what else (if any) the band might be doing as far as album anniversary shows go, but to me Spectres – in full would be the next obvious one (their 5th studio album, with so many classics!), and maybe Fire Of Unknown Origin (their highest charting album in the US & Canada).
Formed by guitarist/singer/songwriter Alan Ross, this band released 2 albums in the mid ’70s. Alan Ross was best known for playing on a few John Entwistle albums and had recorded with the band RO RO – which also included bass player Warwick Rose. ROSS also included keyboard player Bob Jackson (ex-Indian Summer), bassist Steve Emery (ex-Legs), and percussion player Reuben White and drummer Tony Fernandez. Released in early 1974 featured cover art by Patrick Woodroffe, who would later do covers for Judas Priest, The Strawbs, Budgie and others.
Ross featured 10 cuts, all written by Alan Ross, but the lead off track (and single) “Alright By Me” was a co-write with Emery & Jackson. For the most part Ross is a good set of rock with influences of R&B and funk, with Ross’ guitar playing being the main draw, along with the band’s vocal harmonies. Ross wrote plenty of different and excellent tunes, despite not having any hits here, Ross is a more obscure 70s album worth checking out. Highlights include “You’re Looking Down A Road”, “Wherever You Go” and “Help Me Understand”, which features some cool interplay between guitar and organ, a good jam. There’s also a few acoustic tracks and ballads, notably “Caroline” (this would’ve made a fine single, but was used as the B-side), “Blackbird” (which had previously been recorded & released with ‘Ro Ro’), and “Leave it All Behind You”, which ends the record.
Ross released a 2nd album later the same year, The Pit And The Pendulum, and undertook 3 US tours, their biggest as openers to Eric Clapton. Bob Jackson left the band during the band’s last US tour, which (I think) effectively ended the band. He would join Badfinger soon after. Neither Ross album is easily available on CD, and would be an interesting package for some label to consider, especially with some of the excellent live material online (Don Kirschner’s Rock Concert, 1975, see below). Alan Ross would go on to record as a solo artist, and with the band ‘STARS’ (which also included the late Ric Parnell, on drums). Sadly Alan passed away in 2019. But both Ross albums are well worth hearing, especially the first one (IMO), and the live performance shows they were even better as a live band. Check them out. I’ve also added a few articles and links below to find more on this band, and Alan Ross.
ROSS ROSS RSO SUPER 2394 127 ‘Funky’ is how composer/singer/guitarist Alan Ross describes his music and funky it is, due in no small measure to the percussion work of Tony Fernandez and Reuben White. Instrumentally this debut album has a blues -jazz influenced drive which is particularly noticeable on the up -tempo tracks such as Help Me Understand, I Need Your Love and Wherever You Go. However, the tracks do seem samey and although the guitar and keyboards complement each other the solos sound repetitive and frankly uninspired – seems I’ve heard it all before. As a lyricist Ross doesn’t seem to have a lot to say and the vocal delivery sounds thin and stereotyped. The lyrics tend to be superfluous, except perhaps as a basic framework for the backing by which they’re mostly obscured. The most striking feature of this album is the sleeve design which contains enough erotic symbolism to justify reproduction in Men House or Pent Only (or whatever it’s called). Either you love it or you hate it – unlike the disc which really doesn’t register either way. D.R (Beat Instrumental, 06-74)
URIAH HEEP kick off their Magician’s Farewell’ Tour in the UK in February. Supporting Heep will be Canada’s APRIL WINE and US band TYKETTO. (*Added updated dates for Europe below).
As a fan of both Uriah Heep and April Wine, I see this as an exciting bill, and Hope that April Wine is on the tour when Heep comes to Canada and the US. Both bands, in very different incarnations each time shared the stage in the early 70s when April Wine opened for Uriah Heep in Ontario, in 1972 and then years later when it was the other way around for a few US shows.
I belong to a few groups online of band, and actually (but not unbelievably) see fans of one or the other who has little to know knowledge of the other band, so I wanted to give a wee bit of background, as well as the current line ups, and 5 recommended (starting point) albums from each….
Both bands formed in 69, but really got going in 1970. UH’s debut album came out in 1970, while AW’s came out in 71. While UH took a few albums before they had a hit single, AW had one (“Fast Train”) off their debut album and would continue to have hit singles off every subsequent album here in Canada, while UH didn’t rack up the hit singles, but became an international concert draw with a number of big selling albums from 72-75. AW pretty much stayed in Canada, with limited releases outside the country, before they had a big radio hit in the US in 78 (“Roller”) and went on to huge international success from then til about 82. While AW’s most successful period ended with the 3 guitar line up breaking up in 84, UH’s comeback lineup split in 85, with a new line up soon coming about. AW returned with a new line up in 92, and have carried on since, releasing 4 studio albums up until 2006, and continuing to tour, now as a 4-piece, with a few line-up changes along the way, most notably with singer/guitarist Marc Parent taking over for founder Myles Goodwyn in 2023 before Goodwyn passed away last year.
April Wine consists of Brian Greenway (since 1978’s First Glance album, when the band took off as a 3 guitar act). Richard Lanthier (bass, since 2011), Roy ‘Nip’ Nichols (drums, since 2012) and Marc Parent (lead vocals, guitar, hand picked by Myles Goodwyn).
When Uriah Heep added Phil Lanzon (keyboards, songwriter) in mid 1986, and Canadian singer Bernie Shaw (end of 86) the band found some long-term stability, and from 1988 ’til last year Heep has released 9 studio albums and numerous live albums. The band lead by founder Mick Box (guitar), Lanzon, Shaw, Russell Gilbrook (drums, since 2007) and Dave Rimmer (bass, since 2013).
For my fellow fans of each band I’ve selected 5 recommended studio albums + 1 live album – should you want to check out either band you’re not familiar with.
APRIL WINE
Stand Back
The band’s 1975 album that was full of hits, and arguably their most popular amongst longtime fans. “Oohwatanite”, “I Wouldn’t Want To Lose Your Love”, “Victim Of Love”, “Come Hear The Band”….There was 5 hit singles off this album, and every song is memorable.
Harder… Faster
It was a tough choice between this and the previous album First Glance, but this one features the hit “Say Hello”, as well as favorite AW rocker “I Like To Rock”, “Before The Dawn” (from by Brian Greenway), and the band’s killer rendition of King Crimson’s “21st Century Schizoid Man”.
Nature Of The Beast
The band’s biggest commercial success, and height of their popularity. From 1981, with “Just Between You And Me”, “All Over Town”, and their heavy remake of (and hit) Lorence Hud’s “Sign Of The Gypsy Queen”, and heavy album cuts like “Future Tense” and “Crash And Burn”. Much of this album featured in the live set for years, and a number from it still do.
Back To The Mansion
The overlooked gem in the AW catalogue. From 2001, BTTM saw the band recording as a 4 piece again, and taking a less heavier direction. But plenty of good songs here like ‘I’ll Give You That”, the ballad “Paradise”, Brian Greenway’s excellent “Holiday”, and an interesting version of Simon & Garfunkel’s “I Am A Rock”.
Greatest Hits Live 2003
Recorded on the BTTM tour, w/ Carl Dixon added for keyboard & guitar. Sure, One For The Road from 1984s Farewell tour sounds heavier and features the classic 5-man line up, but Greatest Hits Live 2003 (what a lame title) covers more hits, and is a bit more representative of what AW sounds like in later years. Features 21 live tunes, plus 2 studio cuts.
URIAH HEEP
Look At Yourself
Heep’s 3rd album and the one that got the ball rolling, defining their heavy prog sound, and loaded with classics like the title track, “July Morning”, “Shadows of Grief” and “Love Machine”. The last to feature founding bass player Paul Newton.
Demons And Wizards
The band’s commercial breakthrough and most successful album. Features 2 of Heep’s Best known tracks, the hit “Easy Livin”, and the single “The Wizard”, along with huge fan favorites “Circle Of Hands” and “Rainbow Demon”. The first to feature the ‘classic’ line-up of Mick Box, David Byron, Ken Hensley, Lee Kerslake and Gary Thain, as well as Roger Dean artwork.
Abominog
Fast forward 10 years, and the band’s brand new line-up, and new sound for the 80s. Abominog featured a more American sound (aka Foreigner) with new singer Peter Goalby, as well as the hit “That’s The Way That It Is”. Killer album, despite a lot of covers, but everything going together so well. Favorites be “Too Scared To Run”, “Sell Your Soul”, “Chasing Shadows”, and a cover of Russ Ballard’s “On The Rebound”. Also included bob Daisley (Rainbow, Ozzy) on bass, and keyboard player John Sinclair (Heavy Metal Kids).
Sea Of Light
After more line-up changes, a few bum record deals, and less than stellar releases Heep returned to their ’70s style in a way. The 3rd to feature Canadian singer Bernie Shaw and keyboard player Phil Lanzon (by now a major writer in Heep). Tho modern sounding, SOL featured more variety, a mix of acoustics, different keyboards, more progressive tracks, and a few big riff driven rockers. This album brought a lot of old Heep fans back with tracks like “Against The Odds”, “Logical Progression”, “Words In The Distance” and “Love In Silence”.
Chaos And Colors
Heep’s latest from 2023. The band has been on a roll since 2007 when drummer Russell Gilbrook joined (bassist Dave Rimmer a few years later). This is the band’s 5th studio album of new material since then, and arguably their best. More progressive, more varied, still heavy, with favorites like “Age Of Change”, “Hurricane”, “Golden Light”, the single “Save Me Tonight”, and epic “You’ll Never Be Alone”!
*Future Echoes Of The Past : Live
So many great UH live albums (like the classic Live: January, 1973)…but I’m going with this from 2000, from the band’s tour in support of 1998s Sonic Origami. A huge mix of classic Heep and gems from the band’s 2 latest at the time. Sounds amazing.
Badfinger’s Long-Lost Album “Head First” Set For Release in 2024, Fully Mixed and Mastered and On Vinyl For the First Time
HEAD FIRST: 50th ANNIVERSARY SPECIAL EDITION
In an exhilarating announcement for music aficionados and rock historians, the iconic British band Badfinger is proud to unveil the forthcoming release of their long-lost album “Head First” scheduled for 2024 – exactly 50 years after its original recording. This historic release features Peter Ham’s final studio recordings and marks a significant milestone in the band’s legacy, bringing forth an album that has been shrouded in mystery for decades.“Head First” will be released on vinyl on December 13, 2024 on Y&T Music (CD TBA).With hits such as “Come and Get It,” “No Matter What,” “Day After Day,” and “Baby Blue,” Badfinger has long been recognized as a formidable force in the power pop and classic rock genres of the 1970s
A Historic Recording…Originally laid down in 1974 at The Beatles’ renowned Apple Recording Studio on Savile Row, London, “Head First” encapsulates a transformative era in Badfinger’s storied career. The sessions for “Head First” took place during a tumultuous period for the band, marked by personal struggles and external challenges, which ultimately led to the album being shelved. For years, only a rough mix survived, with the master tapes thought to be lost. However, the recent rediscovery of the original multi-tracks has allowed for a meticulous mixing and mastering process, breathing new life into this long-hidden masterpiece. The release promises to provide fans with an authentic glimpse into the creative spirit of Badfinger during one of their most artistically rich periods.
A Landmark Release for Fans and Collectors…The official release of “Head First” is not just an addition to Badfinger’s discography; it represents a rediscovery of a pivotal moment in rock history. The album features tracks that showcase the band’s raw energy and emotive songwriting, resonating with both long-time fans and a new generation of listeners. The newly mastered sound highlights the band’s musicianship in an unprecedented way, revitalizing their enduring legacy.Bob Jackson, the sole surviving member of the lineup, expressed his excitement: “On behalf of my bandmates – Pete, Tommy, and Mike – I am thrilled to say, ‘We did it, guys!’ This marks the culmination of a 50-year journey and it’s an honor to complete the vision we had all those years ago. The last piece of the puzzle is finally in place.”
The Songs: Lay Me Down Hey Mr Manager Turn Around Back Again Rock ‘N’ Roll Contract Keep Believing Moonshine Rockin’ Machine Passed Fast Savile Row (2024)
Badfinger’s music continues to captivate audiences around the world, and the release of “Head First” is set to be one of the most anticipated musical events of 2024.
Vol. 2 of the Lost Tapes from legendary British 70s hard / funk rock act TRAPEZE, curated, compiled by Tom.Galley, brother of guitarist Mel Galley (RIP), and packaged brilliantly by Mel’s son Marcus, with photos from Carl Dunn. Although TRAPEZE split in the early 80s (following Live In Texas), there was a reunion or 2, and judging by the amount of and quality of the songs on both releases, an abundance of leftover finished tracks from every period. There have been 2 singles released – the rocker “Fighting”, which actually came from the first PHENOMENA sessions (feat Don Airey on keys, Ted McKenna on drums), and “Homeland”, an absolute classic, which sounds like it was done in later years. The lyrics and video pay homage to where the band came from.
There is also alternate takes of a few well known Trapeze favorites, such as the title track to 1979’s Hold On album (sung by Peter Goalby), and one of the band’s best lived tracks – “Coast To Coast”. I kinda prefer this version of “Coast To Coast”, a little rougher, and less smooth compared to the original album version. Also alternate takes of “Loser”, and Trapeze funk- rock favorites”Way Back To The Bone”, and “Midnight Flyer”. Other highlights include “Must Be In Love” , from the Goalby era. This one’s a bit more late 70s Apr, with,a bit of a country feel. “Welcome To The Real World”, from the early 90s reunion, including Geoff Downes on keys, another excellent post-70s track. Also included is the last track guitarist Mel Galley ever did – “Live Fast Die Laughing”, another rocker, well fitting here. 14 tracks total, all worth checking out.
Lost Tapes – (both volumes), are highly recommended, not merely just for Trapeze completists, but for fans if classic British rock. Trapeze may not have released a ton of albums, but both these albums (on vinyl & CD via Metalville) add greatly to the band’s catalogue and legacy! Out now!
Legendary US band will be releasing their 50th Anniversary 3rd night show, from New York, recorded in 2022. This set includes a performance of the band’s 3rd album , and my favorite BOC album – Secret Treaties. There is also a video for the live performance of the classic “Career Of Evil”. *Check out the press info, tracklisting, and pre-order link below!
Riding the triumphant success of their 50th Anniversary celebration, BLUE ÖYSTER CULT is rolling into the release of ‘50th Anniversary Live – Third Night,’ the final installment of the live album celebrating the band’s 50th Anniversary.
This electrifying performance, which includes the band’s third album ‘Secret Treaties‘ performed back-to-back, is set to hit the shelves on December 13, 2024 and promises to be a spectacular follow-up to the band’s historic three-night stint at Sony Hall in NYC.
In September of 2022, BLUE ÖYSTER CULT enthralled fans with a unique trilogy of sold-out shows, each dedicated to one of their first three albums. Founding member Albert Bouchard made a special appearance on all three nights, adding a nostalgic touch to the historic milestone. For nearly three hours each night, the band delivered a spellbinding set, weaving through the entirety of their now-classic initial trilogy of albums and treating fans to a mix of favorites, deep cuts, and classic hits. The atmosphere was electric, and Frontiers Music captured the magic, releasing each night as a special individual package.
BLUE ÖYSTER CULT‘s legacy spans over five decades, captivating fans with intelligent hard rock loaded with classic songs. Hailing from Long Island, NY, the band is renowned in the hard rock and heavy metal scene
Cited as a major influence by acts like Metallica, BLUE ÖYSTER CULT boasts a timeless catalog, including iconic tracks like “(Don’t Fear) The Reaper,” “Godzilla,” and “Burnin’ for You.” The creative vision of the original core duo, Donald “Buck Dharma” Roeser and Eric Bloom, is complemented by Richie Castellano, Danny Miranda, and Jules Radino, forming a powerhouse lineup.
BLUE ÖYSTER CULT remains an force, ready to ignite thes tage once again with the upcoming release of ’50th Anniversary Live – Third Night’ on Frontiers Music Srl.
50th Anniversary Live – Third Night‘ Track List: Album 1
1. Career of Evil 2. Subhuman 3. Dominance and Submission 4. M E 262 5. Cagey Cretins 6. Harvester of Eyes 7. Flaming Telepaths 8. Astronomy Album 2
1. Stairway to the Stars 2. Golden Age of Leather 3. Tainted Blood 4. Burnin’ for You 5. Shooting Shark 6. Black Blade 7. Train True (Lenny’s Song) 8. Godzilla
Album 3
1. Buck’s Boogie 2. Tenderloin 3. Sinful Love 4. (Don’t Fear) The Reaper 5. The Alchemist 6. I Love the Night 7. Joan Crawford 8. Cities on Flame with Rock and Roll
With URIAH HEEP’s 55th Anniversary coming up, the band have decided to wind things down with the upcoming ‘The Magician’s Farewell’ tour starting next year. Watch Mick Box’s announcement below.
Friday, September 13th, 2024 is the US and Canadian release date for digital, pre save here
Friday, November 22nd, 2024 is US and Canadian release date for CD and Vinyl
“It’s great to look back and see our future unfurl — from little metal acorns mighty metal oaks do grow. One small step for metal, one giant leap for metalkind — a lifelong metal journey began with these songs. This album lit the eternal metal flame — as real and fresh as ever five decades on” — Rob Halford. In 1974 before the eternal metal flame was ever lit – Judas Priest were simply 5 young musicians in their 20’s – Rob Halford, Glenn Tipton, Ian Hill, KK Downing and John Hinch – from the Black Country an area of working-class towns in England – excited to have signed a record deal. With limited funds, the band recorded during the less expensive night shift hours. The album Rocka Rolla was born during these sessions, under the guidance of producer Roger Bain who was brought in by the label and who had previously produced Black Sabbath. Judas Priest learnt over time how to record an album – and the experience of working in a professional recording studio helped prepare them for the next album to come – one of the most definitive and foundational heavy metal albums of all time – Sad Wings of Destiny. But with Rocka Rolla the band was not there for the mixing, the mastering process or any final approvals — they didn’t have a say when it was finished or how it ultimately sounded. Although the band felt positive about how the songs sounded in the studio, they were particularly disappointed when they received a finished copy of the album in the mail to listen to for the first time….. “I took the record… and I put the needle onto the groove, and I sat back. And I just slowly started to deflate, deflate.” said Rob Halford. “I was so disappointed with the way it was sounding… All of us were – we’d all worked so hard to get to this place. And now this music that we know when we play live is roaring – the heavy metal is roaring even in those early primitive days – none of that was coming out of the speakers”. The band never had a future say in Rocka Rolla in the intervening decades — the re-releases and early-era compilations… but that was about to change…. During Judas Priest’s 50 Heavy Metal Years tour in 2022, something remarkable was happening behind the scenes. The label that originally signed Judas Priest in 1974, Gull Records and it’s owner David Howells, decided to sell the masters and publishing rights for the two albums the label owned, Rocka Rolla and Sad Wings of Destiny — and he contacted Glenn Tipton’s music publisher, Michael Closter of Reach Music Publishing. After discussing this opportunity and collaborating with Judas Priest’s manager Jayne Andrews, a compelling offer from Reach Music was made to Gull Records. Terms were accepted. An acquisition agreement was prepared, and after almost 50 years from the release of these albums, Reach Music and it’s label Exciter Records – in partnership with Judas Priest, was now the owner of Rocka Rolla and Sad Wings of Destiny. The first order of business was to retrieve the original multitrack tapes from storage (which miraculously still existed and kept in usable condition for all these decades) — and to begin the process of resurrecting Rocka Rolla from these multitrack recordings…..With the task of delving back into time and putting the tapes of Rocka Rolla back on the recording studio console, Judas Priest put their full faith in Tom Allom — known in the Judas Priest world for producing the iconic British Steel and Screaming For Vengeance albums among many others. As Tom Allom stated, “What we did with the multi-tracks is quite unusual, to completely remix an album from that era, from scratch. So, to clarify what we’re doing, we’re not adding anything musically. We’re not re-recording any of the musical parts… We’re remixing them, rebalancing them using the technology we have, the modern tools we have now, to sonically upgrade them, and make them sound more powerful.” The results of this remixed version are now available for posterity — the artist-approved version of Rocka Rolla is finally here for fans to add to their Judas Priest collection. Rob Halford: “I’m just thrilled… because it just goes to show you when you get an expert involved in a project, it’s likely that you have a second chance. And I think that Tom Allom is giving us a second chance here with the way that a lot of the elements were lost in Rocka Rolla. And it’s also nice, like a really nice feeling, especially to attach it to what will be a 50th anniversary moment. It’s just a beautiful feeling.” Glenn Tipton: “This is where it all started for us and 50 years later, we have a great re-mixed and re-mastered version of the original…and the band are still going strong!” Ian Hill:“Recorded during nighttime sessions to save costs, over a few weeks in June and July 1974, on a shoestring budget, Rocka Rolla was always going to have its flaws! But walking into my local record store and seeing it on a shelf amongst all your idol’s records was the proudest feeling in the world, and I thought, ‘Whatever happens now, nothing can change that!’ Now re-mixed by Tom Allom and re-mastered, Rocka Rolla has finally got the production it deserved!” KK Downing:“At last! This! The first Judas Priest album can be listened to and enjoyed in the way it was always intended to be!”
Outsider Rock 