My fellow Uriah Heep friend & fan Mike Shannon has written a novel ‘A Ribbon Of Sand’. As a Heep fan Mike manages to make a few Heep references in the book, as he tells me – “The book takes place in 1982, Abominog gets several mentions and pops up in pivotal segments. The album cover is also the focal point of a pivotal scene.” The main character is even shares the same name with longtime Heep engineer, and producer of a few Heep albums –“The main character’s name is Ashley Howe () who’s a metal and classic rock fan, and there are several Heep song/album references, along with a bounty of classic rock and NWOBHM bands like Tygers of Pan Tang, Iron Maiden, Cirith Ungol, Venom, Motorhead, Sabbath, Purple, Witchfinder General, Thin Lizzy and so on. This music is the main character’s coping mechanism as he tries to navigate his precarious position in the backward community he lives in.”
*For more on A Ribbon Of Sand check out Mike’s bio below, and the back cover. Easily available on Amazon (hard cover, paperback, Kindle)
Ribbon of Sand is Mike Shannon’s first novel. He spent several years of his youth in the South Carolina Low Country; the culture and natural wonders are woven into his soul. His fascination with folklore and the supernatural stretches back to those boyhood days—and he’s had paranormal experiences signposting his life’s journey.
Before turning his attention to fiction writing, Mike had poetry published in various literary journals in America and the U.K. He has also had articles in several publications, including a major piece in the English music magazine Shindig. Finding music as essential as air, he listens to everything from Black Sabbath to Bartók. Mike has a Bachelors degree in anthropology from Loyola University, Chicago, and presently lives in Westmont, Illinois with his wife Julie and cats Scrimm and Magers.
Irish singer & bass player Merv Spence more recently released Phenomena Recovered. A solo project that saw him revisiting many of the Phenomena tracks from the 80s & 90s. Phenomena was project in that was conceived by producer Tom Galley and his brother, guitarist – Mel (Trapeze, Whitesnake). In this interview, Merv details his involvement in Phenomena, his new release, as well as talks about his time with Trapeze and Wishbone Ash, other recordings, and what else he’s been up to in recent years, *For more on Phenomena Recovered see my previous post on it’s release, and check out the links below.
How did you originally get involved with the Phenomena project? (You were first involved as Exec Producer on the Inner vision album, correct?)
I knew Tom Galley (the creator of Phenomena) from when I was in the band Trapeze. While recording songs for a new Trapeze album (circa1982) unbeknown to me we also started recording some pre-production song ideas on what would become the birth of the debut Phenomena album. The Trapeze album was never completed as Mel Galley was offered Whitesnake and I then went on to join Wishbone Ash. It was many years later (circa 1990) while working on an album in Switzerland; I got a call from Tom who had just completed recording Phenomena III. He basically told me that BMG rejected the album and asked if I could help place the album with a new record company in Europe. To cut a long story short no major label wanted to get involved due to legal issues between Tom and BMG, so he asked if I would be interested in acquiring Phenomena and offered to sell the entire Phenomena concept and copyright to me, which I accepted. To secure a commercial release, I first had to clear a backlog of debts built up on the production of Phenomena III. This included unpaid studio fees, musicians, engineers etc. as well as negotiating and reaching an acceptable agreement with BMG to release the Master Tapes. It was a nightmare to sort out but I managed to resolve things. I managed to secure a successful release in Sweden with Phenomena III (Inner Vision) reaching no12 in the album charts. After that other territories approached me to license the project.
This new release includes the tracks (remastered!?) that you originally recorded in 1995 for the Initiate album. How did that album come about? Why the recordings of Phenomena tracks then, as well as under the name of O’Ryan?
Around 1994, a copy of my first solo album O’Ryan “Something Strong” fell into the hands of AVA Aura Ltd., a new Japanese music & media company who had set up offices in London. They had major investment for acquiring new media and music projects in the UK and when the MD heard my debut album, he contacted my solicitor to set up a meeting. They wanted to work with me on a new album and offered me a deal I could not refuse. I already had my own studio and I was given full creative control. MD of AVA Aura Hisa Seki selected all the songs he wanted me to re-record for the Initiate album and even though it was kind of a weird concept? I accepted the challenge. I installed an old 24track 2-inch Soundcraft analogue recorder in the studio with a Mackie 48 cannel desk and the entire album was produced using this format. My main objective was to try and arrange and produce the songs with a different interpretation to the originals, which was no easy feat. Engineer/Producer Simon Hanhart, Co-producer Jason Fillingham, and myself mixed the album at PUK Studios in Denmark. The name O’Ryan was an Irish pseudonym I choose to use rather than my birth name but with the Phenomena Recovered reissue I choose to put it out under Merv Spence.
How was the reaction to Initiate? It was only released in a few territories!?
I think it was received very well but like any album everyone has an opinion, some people will love it and some will not. When I finish an album I tend to let it go and I really will not listen to it again for a long time. I had no control over the release or the distribution in other territories but I did travel to Japan several times for promotion. Also one of the songs (Emer May) was used on a TV advert in Japan for a sports car which helped. The people at AVA Aura were great to work with and very enthusiastic but had no real experience of the Music Industry and doing music business in the UK and Japan is so different. They took up the option to record another album with me that I started recording in 1996. Unfortunately due to ill heath with the MD, the relationship with AVA regrettably terminated.
How did this new release (to remaster, reissue, and record) the Phenomena songs come about?
Explore Rights Management Ltd. approached me and put the suggestion of remarketing and reissuing the Phenomena tracks on “Initiate”. They also asked if I would be prepared to record a couple of additional bonus songs. The song “Slave” that is also an additional track has a strong connection to the visionary/artist William Blake and inspired me to use one of his paintings for the front cover. “Slave” was originally written and used on a film called “The Gnostics” (circa 1987) which I updated it for a new Phenomena album. The lyrics are a combination of a William Blake poem and additional lyrics I added to enhance the song commercially.
There are 2 brand new recordings on this release – what inspired those, and can you tell me details about recording them (who else is involved, etc..)?
I wanted to keep the continuity of the Phenomena theme so I picked “Rock My Soul” & “Dance With The Devil” to record as the additional bonus tracks. I originally was going to record the songs acoustically but I kind of got carried away creatively with the arrangements in the studio. Like most musicians or producers I have a small writing setup at home and the majority of the material was recorded and produced there. I did record acoustic guitars and some live vocals on “Rock My Soul” in Donegal on the West coast of Ireland, which are the main template of that song. You never know how things will transpire which is part of the magic.
Going back to the beginning, can you tell us a bit about your beginning in music – influences, earliest bands…?
Being born and brought up on the East Coast of Ireland I had and still have a really strong connection with traditional Irish and country music. Artists like Neil Young, America, Horslips, Eagles heavily influenced me, as well as a great Irish songwriter called Jonathan Kelly. I first heard Led Zeppelin II at my grandparents, a copy that my uncle had bought before immigrating to Canada. From listening to that I got into more progressive acts such as Pink Floyd, Yes, Deep Purple and Rush. I got my first guitar at aged 13 (a 6 string Eko Ranger acoustic) and the first song I ever wrote was entitled “Money Man”. I left Ireland for UK mainland when I was sixteen to train as an engineer but it also gave me the opportunity to get closer to the UK Music Industry. I qualified after four years and by this time I was already playing bass and singing lead vox in local bands in and around The Midlands (The birthplace of heavy metal). I was in a three-piece band called Big Daisy & later Jury with musicians Degg Newman (Drums) Roger Fox (1st Guitarist) Tim Rowe (2nd Guitar) and we recorded our first single at Woodbine Street Studios in Leamington with Producer Johnny Rivers. We continued to record a lot of material, which eventually was released on the Big Daisy debut album on both 12” vinyl and CD on German label HR Records (circa 2014)
How did you get involved with Trapeze? Can you give details on that period – who else was in the band still, how long and (roughly) how many gigs this was?
Some people recommended me to Mel Galley and he just turned up at some of the Big Daisy gigs. Trapeze (circa 1982) was made up of Mel Galley (Guitars & Vocals) Richard Bailey (Keyboards) Steve Bray (Drums) Kex Gorin (Drums) and myself (Bass & Vocals). We went into rehearsals at the Managers nightclub/music venue in Wolverhampton and performed a few warm-up shows round the Midlands before embarking on a UK tour supporting Edgar Winter in 1982. It was a very short period of this line-up before Mel left to join Whitesnake.
Trapeze ended when Mel joined Whitesnake(!?) But had the band recorded an album while you were there? And what became of these recordings?
I have a live cassette recording of 2 shows in 1982 (Oxford & London) from the Edgar Winter tour, which was taken off the out front mixing console. Some of the new songs were included in the live set. I also have a cassette copy of several recordings from the unfinished studio sessions before Mel Galley joined Whitesnake.
You also joined Wishbone Ash for the Raw To The Bone album. How did the WA gig come about?
I got a call from a musician friend who told me bass player Trevor Bolder had left Wishbone Ash and that the band was after a replacement bass player. I put a call into their manager John Sherry and an hour later I was asked if I could come to London the next day as the band were in rehearsals. I turned up and did about three/four songs and went home. I got a call from Andy Powell about 11.pm that night and the following week I was off on a 6-week tour of America. I then went on to take front of stage as bass player/lead singer and I was actually in the band for about a year before we started recording Raw to the Bone. We recorded the album at Surrey Sound with Producer Nigel Grey and I continued to tour with the band internationally for about four years. Touring is an amazing life if you have no ties but I left after my first daughter was born.
Raw To The Bone was a more hard-rock (for the times) Ash album, and you are credited as a co-writer throughout. What are your thoughts on this album and your contributions to it? Did any tracks come directly from you?
When I joined WA I think the band were at a crossroads in they’re career needing a bit of enlightenment in finding a fresh direction and I do not think the guys would disagree with me on this. After a very successful career with MCA Records and headline tours in America the guys were slightly lost and without a record deal. When we went into the studio to start work on Raw To The Bone I did bring a lot of new song ideas but everything was democratic and it was agreed we all have an equal split, no matter who contributed the ideas. As a lead singer my vocal style would obviously give the songs a slightly heavier edge and I respect the guys for giving me the opportunity without manipulating this. But we must also appreciate that WA is predominately a highly respected guitar band who were responsible for creating that classic twin lead guitar technique and the band still continues to pack audiences in all over the globe. As a musician, songwriter and producer I do not create music or compositions to please fans, I just do what I do as a creator and if the fans like it great if not tough. Again I did not listen to the album for a long time but, when I have done guest appearances with the band, the fans demand certain songs off that album. I am very proud of it.
Any other ‘name’ band offers over the years?
Yes, I have worked on a number of albums in Europe and have been in rehearsals with various named musicians for new and existing projects but I would rather not say who they were. Some times the chemistry is just not right or I was not really interested. One project that was fantastic came about when I started writing songs with a partner in Germany. The songs were so good and we both signed an amazing deal with Warner Brothers International. We recorded the album in Germany and mixed it in Nashville with Producer John Guess. We delivered what I believed was a great album but some at Warner’s thought different. To this day I am not sure why Warner’s had an issue but through the grapevine I was told someone felt my lyrics were too political for the label? In the end they paid us off and I demanded that they also sign the Master tapes over to us. This album ended up being my debut solo album O’Ryan “Something Strong”. When rock music went through that “Dinosaur” period (circa 2000) of not being cool I got more involved in Artist Development, Artist Management and promoting major outdoor Events.
What else are you currently up to — any recordings, live gigs?
I relocated back to my native Ireland in 2016 and as well as continuing to write and produce music, I embarked on a DL Masters Degree in Music Composition at Bath Spa University qualifying in 2019, I am also in the first stages of a PHD. Pre Covid I was in discussions with musicians and Management in Sweden to record a new album with the objective of touring in 2020 but covid unfortunately terminated that idea. The pandemic was a really difficult time especially for the creative industries with an unknown resolve but I tried to keep busy working on songs and developing projects. I currently have two albums that I am updating for reissue with additional tracks and new artwork. The first is my debut solo album “Something Strong” (circa 1987) and the other with the working title (Insurrection) has never been released, I have also written about 20 new songs for an acoustic album that I hope to start working on in December 2023. There are various other ideas in the pipeline and since the release of Phenomena Recovered; several labels in the UK, Europe & Japan have approached to get involved. My plan at the moment is to just get the product right and after that I will make a decision about releasing and possibly doing some acoustic live shows. I have no rules when it comes to the creative process and started creative writing and script writing during lockdown. I have a film script in development entitled “The Maidens” that I hope to produce as a film short but the logistics are a bit difficult as the story is based around two abandoned lighthouses off the East coast of Ireland.
This weekend CONEY HATCH will be celebrating 40 years And the release of a new live album. Postcard From Germany will be released (and available at the show) in a 2CD set, coupled with the band’s classic 1982 debut album (remastered with bonus tracks!). In a recent exchange Carl Dixon answers questions on the band’s new release, as well as their first album, and (potential) future plans. Enjoy the read, and check out the links below. Tickets for this Saturday’s show At the El Mocambo in Toronto are available here –https://www.ticketweb.ca/event/postcard-from-germany-album-release-under-the-neon-palms-at-tickets/13483218
Q: ‘Postcard From Germany‘ has been out for a while via Cleopatra, what was the reasoning for this new release (rerelease?)?
Carl: We wanted to make a Canadian territory release similar to our early days with Anthem Records, and it’s a great opportunity to pair the most recent with our remastered debut.
So….the 40th Anniversary of the first Coney Hatch album was celebrated at the end of last year, will this celebration on the 11th be different as far as the set-list goes?
Yes, we’ll feature material from 5 different albums, including the song Andy sings on Postcard, Heaven’s on the Other Side which we did not perform last time!
Will there be some new merch special for this occasion? (a debut album shirt Perhaps)
There is a plan in motion to do just that. The Double -CD package will be available at the show also.
Might we get (even down the road) a full performance of the Outa Hand album?
Ah, clever lad, you’ve anticipated our next marketing ploy
Live From Germany turned out to be an excellent live recording; has it inspired (for lack of a better word) you guys to (want to) record any future shows? (Any chance you recorded last December’s El Mo show?)
Ummm, we haven’t thought about going to the well for more live albums, now having two, but you never know what the future holds
Being your first time playing Germany, and knowing how big of rock fans/ supporters Germans are, what was your biggest memory and lasting impression of playing that HEAT Fest in 2018?
It was most memorable to feel the audience excitement and hear them singing along. We love playing Germany and all Europe.
Both of the new tracks came out very good, and gave us 2 memorable Coney tunes. Were you happy with the way they turned out, the feedback, and has this planted the seed for possible new Coney Hatch in the near future?
Very happy, yes. It’s About a Girl and Heaven’s On the Other Side have pointed the way to getting more music recorded together as a band with great new guy (ha, 10 years) Sean Kelly.
All photos courtesy of Donald Gadziola
Regarding the first album…. Looking back on writing, recording – the whole experience. What is the biggest memory for you from it? And what was the biggest thing you learned from it? (being your first album)
The biggest thing we learned from recording the first Coney Hatch album was that it’s so important to pay attention to details on every level; the lyrics, the performance, the musical parts that each musician plays, the gear you select, the setting, the scheduling, , staying healthy, even what you do at meal times!
Do you recall how you felt about the album when it was done and released and if you (guys) felt you had something really special or something you thought might be a big success at the time? (How did you perceive it at the time)
Kim Mitchell (producer) was very confident that it would be a success when it was done, so we took our cue from him. We felt that we had achieved our goals and even surpassed them. There was no feeling that we’d missed out or been pushed around by the label or producer.
There were a few tracks left off of ‘Coney Hatch’ , which are included as bonus tracks n this new release. And I know ‘Where I Draw The Line’ was bumped in favor of ‘Hey Operator’, but what do you recall of writing and/or recording that one (lyrical ideas), as well as ‘Dreamland’, and even ‘Sin After Sin’?
Where I Draw the Line started as a musical jam during one of the many rehearsal/writing sessions we did on the road in the early days. I wrote a lyric for it based on my experience of leaving Montreal after being in a band there for a couple of years. Dreamland came out of my blues-rock riffing, probably influenced by Bad Company and Humble Pie, and the lyrics were based on a mix of actual dreams and some dramatic waking experiences. Sin After Sin came from Andy’s love of Judas Priest and similar heavy rock, written about a girl who’d, umm, let him down shall we say.
Any recollections on the photo taken that ended up on the back of the debut album? (where taken, etc..)
Ha, that photo! We had a couple of photo shoots to get an album cover image, and the label guys felt we showed no “attitude” in the shots we were getting. Tom Berry (Anthem VP) decided to bring a case of beer to the next attempt, and the results were considerably loosened up this time. What they chose from that day was a picture of four semi-pickled young musicians each about four beers in…
Any Coney plans for 2024 – as far as any reissues, archived releases (thinking Cleveland 1982), major festivals, ….?
Wow, Kreskin, again with the anticipating! Yes, we are looking at Cleveland’82 as one option and some other products to release through Anthem, the record label name we are happily reunited with (even if it’s none of the same people). Some rumblings also of a new album if there is deemed to be sufficient interest from the public. Two European dates on the calendar for next October: Firefest in Manchester and Bully on Rock in France. hoping for more to come in over there!
‘Metal’ Mike has written his own story on the 80s Metal bands he grew up with and interviewed. Independently published, at 214 pages, and available on Amazon for a mere $15! Check it out. Also, check out the press info below and links at the bottom.
80’s Glam Metalcast podcaster, “Metal” Mike, takes the reader on a journey through Hair Metal’s highs and lows, from 1986 to 1991. “A Hair Metal Journey” is loaded with stories about Metal’s glory days from past and current members of bands like KISS, RATT, Winger, Dokken, Britny Fox and more! You get a peak behind the scenes of Hair Metal’s classic albums and tours. All along the way, the author looks at back at his own 80’s adolescent journey, going to EPIC concerts, and keeping up with all the head banging fandom that came along with this legendary genre!
The rockers tell similar stories that help paint the picture of what it took for them to get to the top and stay there. It seemed liked the party would stay wild forever until it all came to a clashing halt in 1991. Many reflect on the challenges they faced as Hair Metal got bloated and Grunge emerged. “It’s a breath of fresh air to see someone like Mike release a book that is based on true research and experience.This guy knows his stuff when it comes to Glam Metal. He is a true fan of the genre and proves without a doubt, that his knowledge is deep and genuine. He knows how to ask the right questions and give credit where it is due to the bands who created this genre of Rock music. Great job Mike!!!!” – Steve Blaze (Lillian Axe)
“80’s Glam Metalcast podcaster Metal Mike knows what people want to hear about when he does interviews. That’s what makes his interviews interesting and fun to read.” – Olivier (Editor-In-Chief, Sleaze Roxx)
“Mike the 80’s Metal Man will take you back 40 years. Back when the music had balls, the hair had spray, and bands knew how to party their arses off and entertain a crowd for a cheap price. Bring me back Mike!” – Doc “Killdrums” Wacholz(Savatage/Reverence)
“From one Hair Metal fanatic to another, Mike’s knowledge, passion, and commitment to Rock n Roll’s most exciting, flamboyant, and decadent era is completely unparalleled” – Rob Wylde (Midnite City/Ex Tigertailz)
“Hair Metal Mike knows his shit! He knows how to take you on a trip to way back when. He’s always tasteful in how he gets the artists and readers involved.” – Chris Laney (Pretty Maids)
“I love Metal Mike’s insights into the history, songwriting, and musicianship of my favorite bands. I’ve always been a fan of this music… but I’ve never learned so much as I have from Mike. That’s what makes this book so fantastic. It’s not only packed with more insight, knowledge, and appreciation than could ever fit in a single podcast episode, it’s chock full of Mike’s personal stories and experiences. This is a book not just for the Metalcast audience, but for anyone who loved this music when it first came out… and still loves it today.” – Chad Gervich (Co-Executive Producer, “I Wanna Rock: The 80s Metal Dream)”
Keeper of the Seven Keys: Part I is the second studio album by German power metal band Helloween, released in 1987. It marks the first appearance of vocalist Michael Kiske, and is considered the album that created the genre of European-style power metal. Now as part of the 40th anniversary celebrations for Noise, this classic album gets a limited edition reissue on splatter vinyl with album cover poster.
Loudwire named the album at third in their list “Top 25 Power Metal Albums of All Time” and commented the album is “a tireless LP and perhaps the first genuine power metal album.” ThoughtCo also named the album in their list “Essential Power Metal Albums.”
Tracklisting:
Side A Initiation I’m Alive A Little Time Twilight Of The Gods A Tale That Wasn’t Right
CELEBRATE 40 YEARS WITH LIVE SHOW IN TORONTO ON SATURDAY, NOVEMBER 11TH
Coney Hatch, one of Canada’s iconic rock bands will release a live album titled Postcard From Germany via Anthem Records on Friday, November 10th. In celebration of this release, Coney Hatch will perform their final live performance of 2023 at the famed El Mocambo in Toronto on Saturday, November 11th.
“We’ve been halfway around the world this summer with shows at Sweden Rock and Hamburg, Germany,” says singer/bassist Andy Curran. “So returning to the El Mocambo is a special homecoming for us. We love playing in Toronto, it’s where we began this ride, and it’s a perfect time to celebrate 40 years together.”
Recorded on December 12, 2018 at HEAT Festival in Ludwigsburg, Postcard from Germany is a live recording of Coney Hatch’s 1st-ever live show in Germany. Comprised of a double CD, in addition to Postcard from Germany, 2 new songs will be included, as well as a remastered version of Coney Hatch’s classic self-titled debut – which will include 3 ‘bonus’ tracks from that period (“Dreamland”, “Where I Draw The Line”, and “Sin After Sin” (demo).
“It was our very first time in Germany and the show was electric,” recalls Curran. “It was full on combat rock!!! We flew many hours to get there and quickly settled in with German beers and Schnitzel. The final results were more raw and in your face compared to previous live recordings. We also included more songs from our ‘Friction’ record in that set list”.
Postcard from Germany features almost all of the expected Coney classics “Devil’s Deck”, “Monkey Bars” and “Stand Up” as well as two newly-recorded studio tunes ‘It’s About A Girl” and “Heaven’s on the Other Side”.
“This album has a different set list from the ‘Live at the El Mocambo’ record, plus two new studio tracks we recorded over Covid. I produced those two new songs and it marks the first time guitarist Sean Kelly has been involved with recording of new Hatch songs. Sean stepped in to the lead guitar role in 2014 and we’re proud to have him.”
In addition to Curran and Kelly, the group also includes original members lead vocalist/guitarist Carl Dixon and drummer Dave Ketchum.
Regarding the two new tracks, the band was willing to give background info about each. Curran: “‘Heaven’s On the Other Side’ was written around the time we recorded ‘Coney Hatch Four,’ and we finally got around to finishing it during the lockdown. The message is simple…keep the faith and trudge on through the bad times because the good times are always just around the corner. I also felt I was long overdue to write another song about the devil!!”
Dixon: “I had an idea driving ‘It’s About a Girl’; women are wonderful, women got the power, women gave every one of us our life. We men will do anything to get their attention. It’s Always About A Girl.”
Along with the ripping live set recording, and 2 new unreleased tracks, ‘Postcard From Germany’ album will be bundled with a remastered edition of the band’s iconic debut record CONEY HATCH, produced by Canada’s favorite vocalist/guitarist Kim Mitchell.
This special edition 2 disc CD will only be available for purchase at the band’s live show and at your favorite local record stores.
Legendary American rockers Dokken release the mesmerizing video for the new single ‘Over The Mountain’, taken from the band’s 13th studio album, Heaven Comes Down, out this week via Silver Lining Music.“‘Over The Mountain’ is a metaphoric song lyrically about people searching for better times and better days” explains Don Dokken. “It seems everybody is always looking for their Shangri-La.” “My studio in the Sangre de Cristo mountains has wrap-around windows staring at three mountains ranges and the city lights of Santa Fe below,” continues Don. “Your environment affects what you write. I’m not staring at a black soundproof wall, I’m looking out ten windows where I can see Sandia, Ortiz and Jemez mountains, looking at the sunset every day, purple, yellow and pink, and it affects you… very inspiring.” Watch the captivating video for ‘Over The Mountain’ . Video by Above The Void
RELEASE SINGLE / VIDEO ‘OVER THE MOUNTAIN’NEW ALBUM, HEAVEN COMES DOWNOUT THIS WEEK VIA SILVER LINING MUSIC
Previous videos from Heaven Comes Down – Watch/listen to ‘Gypsy’ here. and ‘Fugitive’here.
Heaven Comes Down will be released this Friday October 27th 2023, on CD Digipak, 12” Vinyl Album in Black and color variants, digital formats and special D2C products and bundles. Pre-order now at this location
DOKKEN has a brand new album out next week. The band was one of the best that came out of the LA ‘metal’ scene in the ’80s with hits like “Breaking The Chains”, “In My Dreams”, “Just Got Lucky”, and “Alone Again”. They definitely built an impressive catalogue of albums throughout the ’80s, but over the years the ‘original’ band members would come and go, and for the past several years vocalist / songwriter and namesake Don Dokken has been keeping the Dokken name alive (rightfully so). The rest of the band consists of guitarist Jon Levin (for some 20 years now), and the longtime rhythm section of BJ Zampa and Chris McCarvill. Heaven Comes Down was produced by Don Dokken and Bill Palmer, and mixed by Kevin Shirley (Iron Maiden, Aerosmith…). Don Dokken’s health issues over the past decade plus have been documented, and the guy’s taken criticism online on occasion over his voice in later years, but really the guy is 70, still out there, and listening to Heaven Comes Down – he can still write good songs and delivers them fine by me! In going back and checking out the band’s previous few albums, I would say this is much better. The songs and production suit Don’s voice well; he sounds good throughout this, not overdoing it, but still rockin’. Heaven Comes Down is not ‘metal’ (was Dokken ever really metal?), but it rocks, and offers a good range of songs, with a few surprises. “Fugitive” was the lead off single, and it’s the first track on the album, a great opener with Jon Levin’s guitar notes, and the band coming in, easily a favorite here. I also dig the 2nd single “Gypsy”, a cool story behind it, and well – gotta love the title (thinking of all the classic bands that have used the same title & idea — Deep Purple, Uriah Heep, Black Sabbath). There is a good mix of rockers and a few ballads here, with favorites being “Saving Grace”, “Lost In You”, and the ballad “Never Give Up”. Plenty of cool intros and hooks throughout this, with Jon Levin being outstanding on this. Heaven Comes Down closes with the most interesting and perhaps best non-rock Dokken tune ever – “Santa Fe”, a memorable acoustic ballad, biographical lyrics , as Don sings about packing up and moving on. Is it a sign that this is Dokken’s last album (as Don has suggested in interviews)? Let’s hope not, as Heaven Comes Down is a great return after a decade. Check it out!
With a new album – Heaven Comes Down due out October 27, DOKKEN have released a 2nd single & video for the track “Gypsy”. It’s a very good song, which gets better each listen. Dokken’s new single has an interesting story behind it from singer/songwriter Don Dokken. Read the story when you check out the video below . The video was created by Natalia Jonderko Śmiechowicz, who’s also done recent videos for Elegant Weapons, Alcatrazz and Uriah Heep.
One-man band RISING WINGS releases their first full album on September 22 via Pride & Joy Music, titled Reach. The ‘band’ is multi-instrumentalist/songwriter Florian Bauer, who’s used a few drummers on Reach as well. A solid 10 track set of hard-rock and AOR. There are 3 videos released so far, the latest being the ballad “Remember”. Favorites include the lead off rocker “Ride On”, as well as “Whatever It Takes”, “Keep Going On”, and “Reach The Sky”. An excellent 10-track melodic hard-rock album that’ll appeal to fans of Giant, Harem Scarem, Coney Hatch, H.E.A.T., Bonfire, and Eclipse . Reach will be out on CD and Vinyl LP (in gatefold) *Check out the clips below, as well as the bio, and links.
Rising Wings was founded in 2006 by Florian “Flo” Bauer in Schrobenhausen in the Ingolstadt region, as a melodic rock one-man-band. Florian Bauer has been playing in various rock formations for years, such as the AOR band Youringa and the hard rock cover band Saviors Cry.
In 2006 the first steps were taken with the 3-track EP “Rising Wings”. The second 5-track EP “Higher” followed in 2008. Both releases received consistently positive feedback. Since then, various singles have been released.
In autumn 2023 Rising Wings will release the first full-length album “Reach” via Pride & Joy Music. The album features Florian Bauer on vocals, guitars, bass and keyboards and Franz Raßhofer (Joe Leila), Falco Münch (Reload), Markus Herzinger (2nd East) and Bobby Santiago (Bloodwork) on drums.
The album was recorded by Ray Balconis at Studio Ray Recording in Queens, New York, by Rolf Beyer and Peter Hillinger at Klangwasserstudios Halsbach, Germany and by Chris Lausmann at MS Productions Studio in Poing, Munich.
“Reach” was produced by Florian Bauer with Chris Lausmann (Bonfire, Voices Of Rock) co-producing and mixing the album at MS Production Studio. The album was mastered by Rolf Beyer (CD & digital) and Ludwig Maier (Vinyl).
) who’s a metal and classic rock fan, and there are several Heep song/album references, along with a bounty of classic rock and NWOBHM bands like Tygers of Pan Tang, Iron Maiden, Cirith Ungol, Venom, Motorhead, Sabbath, Purple, Witchfinder General, Thin Lizzy and so on. This music is the main character’s coping mechanism as he tries to navigate his precarious position in the backward community he lives in.” 
Outsider Rock 