This past year was a busy year for APRIL WINE, having toured the UK with Uriah Heep and Tyketto, then Canada with BTO and the Headpins, and then over to Europe to (again) join Uriah Heep and Heavy Pettin’. And 2026 looks like they’ll be on another bigger tour, supporting Triumph! Check out the press release, tour dates, and links below!
(From left to right. Roy Nichol, Richard Lanthier, Brian Greenway, Marc Parent Photo Credit: Taylor Jones)
Fans of classic Canadian rock n’ roll must be overjoyed with not only the announcement of Triumph’s first North American tour in decades, but that they will have another one of the Great White North’s top rock bands supporting these spring dates: April Wine. Running from April 22nd through June 6th, the tour will hit all the spots that both Triumph and April Wine amassed legions of fans over the years; Toronto, Edmonton, Calgary, St. Louis, San Antonio, New York, etc.
Comprised of members Brian Greenway (guitar), Richard Lanthier (bass), Roy Nichol (drums), and Marc Parent (lead vocals, guitar), this will not be the first time April Wine and Triumph have shared the stage before. Longtime fans may recall a show at the Municipal Auditorium in San Antonio, Texas on February 18, 1977, which served as Triumph’s major American debut and a significant breakthrough for the band. Also, in San Antonio during March 1978, as part of a run of five shows in Texas for promoter JAM Productions. One fan recalled the lineup for this show as April Wine, Crack the Sky, and headliner Triumph. Both bands have a strong history with the state, as San Antonio radio station KISS-FM was an early supporter of Canadian hard rock acts, helping both bands gain a significant U.S. following.
April Wine has been a staple in the rock music scene for over five decades. Known for their powerful ballads and rock anthems, the band has seen several lineup changes but has always stayed true to their roots. April Wine has weathered the storms of the music industry with remarkable resilience and the band continues to captivate audiences with their electrifying performances. Fans are eagerly awaiting the next show, ready to experience the magic that April Wine delivers.
The journey began in 1969, marking the start of a legendary career in rock music. With hits like “Just Between You and Me”, “Sign of the Gypsy Queen”, “Roller”, “I Like To Rock”, “Say Hello”, “Oowatanite”, “Enough Is Enough”, “Rock N Roll Is A Vicious Game” and many more, April Wine has left an indelible mark on the music industry.
Significant milestones include their induction into the Canadian Music Industry Hall of Fame in 2009, the Canadian Music Hall of Fame in 2010 and Canada’s Walk of Fame in 2023. These accolades are a reflection of their hard work, talent, and the significant role they have played in shaping the rock genre. April Wine’s ability to consistently deliver powerful performances and connect with audiences has earned them a place among the greats in rock history.
Today, the band continues to tour, keeping the spirit of rock alive for their dedicated fanbase. And in 2026, they will bring their melodic and anthemic brand of rock once more to North America!
TOUR DATES:
CANADA
April 22 – Sault Ste. Marie, ON | GFL Memorial Gardens April 24 – Toronto, ON | Scotiabank Arena April 25 – Hamilton, ON | TD Coliseum April 28 – Halifax, NS | Scotiabank Centre April 29 – Moncton, NB | Avenir Centre May 1 – Laval, QC | Place Bell (Montreal) May 2 – Ottawa, ON | Canadian Tire Centre May 5 – Winnipeg, MB | Canada Life Centre May 7 – Edmonton, AB | Rogers Place May 8 – Calgary, AB | Scotiabank Saddledome
UNITED STATES
May 13 – Rosemont, IL | Rosemont Theatre (Chicago) May 14 – Milwaukee, WI | Miller High Life Theatre May 16 – Kansas City, MO | Starlight Theatre May 17 – St. Louis, MO | Hollywood Casino Amphitheater May 20 – Irving, TX | The Pavilion at Toyota Music Factory (Dallas) May 21 – San Antonio, TX | Frost Bank Center May 22 – Houston, TX | Smart Financial Center at Sugar Land May 24 – Tampa, FL | MIDFLORIDA Credit Union Amphitheater May 26 – Atlanta, GA | Synovus Bank Amphitheater at Chastain Park May 28 – Camden, NJ | Freedom Mortgage Pavilion (Philadelphia) May 30 – Sterling Heights, MI | Michigan Lottery Amphitheatre at Freedom Hill (Detroit) June 3 – Darien Center, NY | Darien Lake Amphitheater June 5 – Wantagh, NY | Northwell at Jones Beach Theater (New York) June 6 – Boston, MA | Leader Bank Pavilion
It’ll be 2026 soon, and what bands will fans of Canadian rock fan be looking to go see? RUSH….THE GUESS WHO…..APRIL WINE….TRIUMPH! Announced a couple of days ago, TRIUMPH has reunited, added a few players, and added APRIL WINE as the opening act for a 50th Anniversary tour of North America. The band last reunited in 2008, for 2 shows, and before that last toured with Rik Emmett, Mike Levine, and Gil Moore in 1988. Triumph, with Phil X in place of Emmett, was resurrected in ’92 for one more album and tour. Phil X is also involved again for this tour.
For this tour Triumph is adding a few players to help out. To clear things up, the band posted a few days ago – “We want to clear up something that popped up during today’s tour announcement: this is NOT a tribute band tour. This is a Triumph tour. We’re putting in the work to bring our show and our songs back to you, the fans. And to help us deliver a truly world-class show, we’ll be joined on-stage by a few friends – Todd Kerns and Brent Fitz from Slash’s band, and Phil X on loan from the mighty Bon Jovi. Big things ahead. We can’t wait to share it with you. See you on the road!“– Gil, Rik & Mike
(Brent Fitz and Todd Kerns are also part of Canadian band Toque).
This is the first 10 I’ve selected of classic album covers that feature a photo of the band on the cover. Not all album covers featuring the band on the front cover are interesting or memorable, but I think these 10 are a good start. If you have any suggestions for the next 10 (or further), let me know in the comments. (Actual photos, not drawings or separate photos put together).
Alice Cooper – Love It To Death (1971)
One of 2 early AC album covers that featured the band on the front cover, and really, what inspired me to start this list. Released in March of 1971, and featuring the band’s breakout hit “I’m 18”. This came in a black & white gatefold sleeve, with the band on the front, photographed by Roger Paul Prigent, who also shot cover photos for Nancy Wilson (jazz singer) and Barbara Streisand. A classic shot, with the band around their lead singer, in cape, with a black backdrop lit up with a spotlight. The cover shot originally saw Alice sticking his thumb out of above his cape, which some took as an obscene gesture, thus subsequent reprints air-brushed out the thumb or cropped it out.
The debut album from Southern rock’s greatest band. This album featured classics – “Free Bird”, “Tuesday’s Gone”, “Simple Man”… The cover photo taken on Main Street, in Jonesboro, Georgia, after a day of photography (other shots used for publicity). A casual shot of the band on the sidewalk, against a local business, was taken by the photography team of Emerson-Loew (Sam Emerson, Anthony Loew).
The Who –Who’s Next (1971)
My favorite Who album, and arguably their best, with “Baba O’Riley”, “Won’t Get Fooled Again”, “Bargain”, “Behind Blue Eyes”… This classic cover shot taken of the band, by Ethan Russell, who’s cover photo credits include The Beatles, Spooky Tooth, and Burton Cummings, among others. I’ve added a link to the story, as told by Russell below. https://www.loudersound.com/features/album-artwork-the-who-whos-next
Beatles – Abbey Road (1969)
The Beatles iconic cover, a photo of the band on the cross-walk, in front of Abbey Road Studios. Taken by Scottish photographer Iain Macmillan, who only took a half dozen of the band, in a short period of time, as it was a busy roadway. Macmillian also took cover shots for John Lennon, Yoko Ono, Kenny Rogers & The First Edition. The Abbey Road photo was also recreated by the band New York City, Soulful Road, 1974 (also by Macmillian), as well as Booker T & The MGs, McLemore Avenue (the band’s 1970 album that covers the songs on Abbey Road). The crosswalk is a popular place apparently for tourists to be photographed at as well. *I’ve added a link to an in-depth feature on the album cover, as well as a link to the outtakes.
Fin Costello photographed URIAH HEEP a number of times over the years, notably for the Live January 1973 insides, which in turn inspired the KISS Alive packaging. The Sweet Freedom cover, by the legendary Peter Corriston marked a new beginning for the band, having switched to a new record label, as well as getting away from the fantasy themes of their previous 2 albums. Costello took this cover shot at the Chateau in France, (where the album was recorded). Note Lee Kerslake’s left arm hidden behind Ken Hensley, as he had an injury, and Mick was actually holding it up,
Golden Earring – Contraband (1976)
Contraband was the Dutch rockers 12th studio album, as it preceded the classic double Live album. It was the band’s lowing charting album in their homeland since the 1969, but still making the top 10 there. Included the hit “Bombay”, as well as classics “Fightin’ Windmills” and “Mad Love’s Comin'”. The cover photo of the band’s 5 piece line-up, which included guitarist Eelco Gelling, was taken by the legendary Dutch photographer, Ronnie Hertz (RIP, 2024). Hertz had photographed the band for their 1969 album On The Double, as well as photographing the model for the classic Moontan cover. Not totally sure what’s happening here, with bandmembers all decked out in different costumes, making for an odd ‘band’ photo. Released in Canada and the US as Mad Love with a totally different cover.
New York Dolls – New York Dolls (1973)
The debut album from the NEW YORK DOLLS. These guys pre-dated the likes of KISS and TWISTED SISTER with the trashy outfits and make-up, as is here on the cover, taken by Toshi Matsuo. Must’ve been a shocker for that era. This album would feature the band’s 2 best known songs – “Looking For A Kiss” and “Personality Crisis”.
April Wine – First Glance (1978)
Canada’s APRIL WINE had already had a number of hits here before their US (Capitol) breakthrough album First Glance, which included the hit “Roller”. And while the Canadian (Aquarius) version of the LP featured artwork done by the label’s in-house artist (Bob Lemm), who had done most of the band’s previous covers, the US version featured the classic debut shot of the new 3-guitar line-up, having recently added Brian Greenway. The same cover photo would be used by Aquarius for the band’s Greatest Hits album, as well as later CD compilations.
Max Webster – High Class In Borrowed Shoes
One of Canada’s most underrated great bands of the 70s. This is MAX WEBSTER’s 2nd of a 6 album run in that decade. High Class In Borrowed Shoes would feature the hit “Diamonds Diamonds”. The cover was a design by Bob King and Hugh Syme (who also worked on a few Max Webster labelmate Rush covers), with photography by David Street. It’s the cover photo, with each bandmember dressed so oddly and different to one another, that makes a huge impression here.
Been some time since I finished a top 10 Canadian list, though I’ve got a few years started….1978 was a good year! If there’s any glaring omissions (in your opinion), please leave it in the comments!
APRIL WINE – First Glance
The first April Wine album to feature guitarist Brian Greenway and the start of the band’s most commercially successful era. Featured the breakthrough US radio hit “Roller”, as well as “Coming Right Down On Top of Me”, “Rock n Roll Is A Vicious Game”, and dark heavy cut “Silver Dollar”. Arguably the band’s best album.
RUSH – Hemispheres
The band’s 6th studio album, released in October of that year, featured the classic “The Trees”, as well as epic “La Villa Strangiato”.. The last to feature such lengthy conceptual tracks.
SAGA – Saga
The debut from Toronto’s SAGA (or, Oakville), a band with rock, pop and more so prog influences. It is the first half dozen albums that make up the band’s classic period for me, with Saga featuring such songs as “How Long” & “Humble Stance” (both featured on the live ‘In Transit‘ album a few years later), as well as favorites “Will it Be You”, “Perfectionist” and ‘Tired World”. Classic album and album cover!
FM – Black Noise
Originally released in early 1978 by the CBC, in limited edition vinyl. Black Noise would go on to become a progressive rock classic. It was rereleased later the same year via Passport (Canada), and eventually on CD in 1994 – where the original trio of Cameron Hawkins, Martin Deller and Nash the Slash undertook a mini-tour in Ontario to promote it’s release. I saw 2 of these shows, got the CD & poster signed. A must-hear album featuring the hot “Phasors On Stun” (Star Trek Reference), “One O’clock Tomorrow”, “Journey”, and the title track. Amazing stuff!
STREETHEART – Meanwhile Back In Paris
The Regina, Saskatchewan band’s debut album, released in May (or June?) . Fronted by legendary Kenny Shields (RIP), and originally featuring guitarist Paul Dean & drummer Matt Frenette, along with bass player Ken ‘Spider’ Sinnaeve, and Daryl Gutheil on keys. This features the classic “Action”, as well as favorites “Move on Over”, “Pressure” and “Look At Me”. Dean left before the 2nd album and was soon joined by Frenette to form Loverboy. Sinnaeve, who’s played with numerous Canadian acts would also later join Loverboy. Meanwhile Back In Paris would go platinum in Canada. Paul Dean would record a new version of “Action” for his first solo album in 1989.
GODDO – Who Cares?
Released very early in the year, this Toronto trio’s 2nd album was a fine follow up to their excellent debut. Featured classics like “Tough Times”, “Sweet Thing”, “Oh Carole (Kiss My Whip)” and closing epic “Too Much Carousing”. The 1994 reissue of this added a half hour of outtakes.
TEAZE- On The Loose
Windsor, Ontario’s TEAZE’ 2nd album, and full of party rockers, anthems, and a few ballads. Includes opener “Gonna Have A Good Time Tonight”, plus rockers like “Ready To Move”, “On The Loose”, and ‘Never Again’, as well as ballads “Stay Here” and (country influenced) “Sweet Misery”.
TROOPER – Thick As Thieves
Released in June. Thick As Thieves was the last Trooper album produced by Randy Bachman. Best known for featuring their trademark hit “Raise A Little Hell”. Kind of a middle of the road rock album, with the only other real rocker being favorite “Gambler”. It also featured 2 further singles, both sung by keyboard player Frank Ludwig – “The Moment That It Takes” and the excellent “Round, Round We Go”.
PRISM – See Forever Eyes
The 2nd album from Vancouver’s PRISM. This one released in June saw a few line up changes, and featured 4 singles, notably “Flyin” and “Take Me Away”, both from new guitarist Alan Harlow. One of the band’s best!
MOXY – Under The Lights
The 4th and final Moxy studio album. This one featuring the vocals of Mike Rynowski (aka Reno). A decent album, tho’ different from the previous ones. Reno, of course, went on to huge success with Loverboy, and Under The Lights would be reissued as Thinking About You (with just Reno on the cover). Earl Johnson has more recently put together a new version of Moxy…I wonder if they perform anything from this album(?)
*Other albums from ’78 that I either didn’t make my top 10, and in a few cases I don’t have – WALTER ROSSI – 6 Strings, 9 Lives, ZON – Astral Projector, BOB SEGARINI – Gotta Have Pop, BTO – Street Action (1 of 2 featuring the late Jim Clench instead of Randy B), CHILLIWACK – Lights From The Valley, THE GUESS WHO – Guess Who’s Back (post Burton Cummings, hmm), RANDY BACHMAN – Survivor, BILLY WORKMAN – Billy Workman (this is one I am looking for, if anyone has it….), EDEN – Eden (interesting prog album, does anyone have this?), AERIAL – In The Middle Of The Night (interesting sounding band from Saskatchewan, w/ Hugh Syme cover design) , FOSTERCHILD – Troubled Child
Went and saw APRIL WINE as part of the BTO ‘Back In Overdrive‘ tour. I will say I was not there, so much to see BTO, so I won’t comment on them. I did include a few photos I took (apologies for quality, but hopefully you get the idea). The HEADPINS were also on the bill; the Headpins were the first band I ever saw when they opened for Loverboy in 1983, at the CNE in Toronto. This version of the Headpins doesn’t include Darby Mills, and sadly, founder/guitarist Brian McLeod passed away years ago, which leaves original members Ab Bryant and Bernie Aubin. They sounded good to me, as they played a short set of favorites like “Feel It (Feel My Body)”, “Line Of Fire” (outstanding!), “People” and closer “Turn It Loud” (plus a few others). Singer Kat Lawrences did a solid job on the classics, would be interesting to see if this version of the band records anything new. (Headpins pics)
Now… I really was interested in seeing APRIL WINE, who I first saw in 1984. I saw them again in ’92, oddly enough also in St Catharines, at a place then called ‘Route 66‘, about 2 blocks away from the arena, and no longer there. From those days only guitarist Brian Greenway remains. Bassist Richard Lanthier and drummer Roy Nichol have both been there for years, and upon retiring, band leader Myles Goodwyn (RIP) picked his replacement in Marc Parent. I last saw April Wine in 2018, a good show, but a bit tired at that point. While Goodwyn had a fairly distinctive voice, easily recognizable to fans, and hard-core fans may take issue with a new guy stepping in, Parent brought a lot of energy to the show, sounded great, and got the crowd going. Judging from crowd reaction, fans were enthused and happy to hear those classics again. And for anyone who likes April Wine it is mainly about the songs; the band has a huge catalogue, and a long list of hits in Canada, starting in 1971, and anyone that grew up listening to the radio here has heard all the hits (and more). They only played 45+ minutes, but it was packed with the hits that Canadians are familiar with most — “Oohwatanite” (w/ Brian Greenway singing) “You Could’ve Been A Lady”, “Bad Side Of The Moon”, “I Like To Rock”, “Say Hello”, “Sign Of The Gypsy Queen”, “Just Between You and Me” (with Parent making a brief speech about Myles Goodwyn, then bringing out Myles’ guitar to play), “Enough Is Enough”, “Before The Dawn”, and the inevitable closer “Roller”. For the time allotted, I don’t think the band could’ve chosen a better set-list! BTW, dug the Trailer Park Boys intro for the band, and the Littlest Hobo theme song playing as the band left the stage…..
Most impressive was the turn-out for this show, a nearly full arena. Hopefully promoters or whoever will take note and put together more such tours featuring a number of Canadian acts.
*April Wine returns to Europe, in October, to open for Uriah Heep (on their farewell tour)
When APRIL WINE split in 1984, following the Animal Grace album, and the One More For The Road tour across Canada, band members went off to do new things. First, there was the contractual obligation album Walking Through Fire in ’85, which was essentially a Myles Goodwyn solo project, which only featured Brian Greenway from the band’s last line-up. Soon after both Goodwyn and Greenway went off on solo ventures.
Brian Greenway’s solo album (released as GREENWAY) titled Serious Business came out in early 1988, produced by Marty Simon and Paul Northfield, and featured a number of guest players, including a few main players from Walking Through Fire (Daniel Barbe, Marty Simon). The single “In The Danger Zone” was the standout cut here, featuring Alex Lifeson performing a guitar solo, and was accompanied by a video – which wasn’t released until 6 months later!
For Serious Business, Greenway wrote (or co-wrote) every track; co-writers included Marty Simon (Mylon LeFevre, The Sharks) and Tracy Howe (Men Without Hats). There’s also a very 80s production/sound to this, with lots of keyboards played by Also Nova (this thing reminds me of Aldo’s Twitch album at times). Other favorite tracks here are “It’s Alright” and the upbeat “Right Track”, both of which would have made fine singles (if this album got more of a push). The title track is another gem here; the hardest rocker here.
Greenway went out and played live throughout Canada, In the summer of 1991 a show in Laval, Quebec was filmed and later was featured on TV in early 92 as Brian Greenway And Friends. His band, consisting of Jerry Mercer, Nanette Workman, Jeff Nystrom, Jimmy Tanaka, and Jeff Smallwood, performed songs from Serious Business, as well as a few he wrote for April Wine.
Serious Business was originally released on LP, cassette, and CD, but a remaster/reissue of it is long overdue! Could make a nice package with the original album and the live performance together (!?)
*Canadian band BEDROKK covered Greenway’s song “I Can’t Hold Back” on their 1996 album Undertow.
GREENWAY – In The Danger Zone (4:08) – Atlantic (7-89118) – Windfall Music-Roxamillion Music-Irrational Music-Sack Cymbal Music/BMI – B. Greenway-T. Howe – Producers: M. Simon-P. Northfield Former April Wine member Brian Greenway delivers a well designed and powerful cut from his Atlantic album Serious Business. Should do extremely well on AOR radio. (CashBox, 02-13-88)
A collection of favorite Canadian ‘live’ albums (ok, initially I meant to stop at 10…). I do realize there’s a lot more out there (and I have), so maybe a part 2 in the future (?). Feel free to drop omissions in the comments.
SAGA – In Transit
Released in August of 1982. My first and favorite SAGA album. I have a clear memory of buying this at the Eaton’s in the Rexdale Mall, not long after it came out. The mall was a few blocks from my grandmother’s house, so I’d go there when visiting. I bought it based on the 2 songs I’d heard on the radio – “On The Loose” and “Wind Him Up”. Loved this album – “Don’t Be Late”, “Humble Stance”, “Careful Where You Step”,… In Transit marked the end of the band’s best era (IMO). Still my favorite Canadian live album. Wish there was more from the shows tho’ to make an expanded reissue.
APRIL WINE – One For The Road
One of my first concerts was APRIL WINE at the Kingswood Music Theatre, at Canada’s Wonderland, just north of Toronto. What an amazing show! Too bad this was the band’s final tour, and more so a shame that this originally came out as a single LP. The 1985 release included 11 tracks, and really the band’s best-known songs, mainly from the 1978 onward era, though it only features 1 from the band’s final studio album Animal Grace (a shame they never played more from it). But “Anything You Want” was a killer opener, followed by classics like “I Like To Rock”, “All Over Town”, “Sign Of The Gypsy Queen”, and so on, plus a medley of ballads… But, there are a few glaring omissions with the original track listing, which was largely corrected years later with 4 songs added to CD and 2 LP reissues. All classic tunes and loads of energy capping off the band’s most successful era!
TEAZE – Live At Liege
In their day TEAZE only lasted about 5-6 years, 4 studio albums and their classic Live in Japan. But the band has reformed since 2019 to play a number of shows. This recent show (just released) captures the band, now pushing into their 70s, but you’d never know it from the energy and the lead vocals (Brian Danter). A dozen great rockers and anthems here, with favorites like “Back In Action”, “Touch The Wind”, “Heartless World” and “On The Loose” (which closes the set). If you don’t know anything about this band, this live disc is the place to start.
RUSH – Different Stages
There’s lots of RUSH live albums, but this is the one I play the most (from 1998)….and then maybe Rush In Rio (released 5 years later)…. But I like the sound of this one, and the set list, which features tracks from the band’s comeback pair of 90s albums – Counterparts and Test For Echo, as well as more from the band’s 80s (despite the glaring omission of “Subdivisions”). Love the inclusion of “Analog Kid” and “Big Money”, and newer favorites like “Driven” and “Animate”, plus the full 2112. Much prefer this to A Show Of Hands. it also came with a 3rd disc (bonus), of the band at London’s Hammersmith Odeon in 1978. Originally released on CD, but I see a 4-LP version was issued last year.
GODDO – Lighve: Best Seat In The House
Those first few GODDO albums were packed full of punchy, energetic rock tracks, and this 2 LP set was a bold move after just 3 albums, but it is a ‘must hear’, featuring all the band’s favorites (which, most of remained in the set forever). With what became their standard opening of “Anacana Panacana” (intro tape) and “So Walk On” and highlighted with best known favorites like “Sweet Thing”, “O Carole (Kiss My Whip)”, “Under My Hat”, and a 7+ minute performance of “Let That Lizard loose”. Years later the band repeated with 2nd Best Seat In The House, as well as an archived live release and a 35th Anniversary live set. I saw Goddo years ago in St Catharines, it was actually the first sit-down interview I ever did. Greg Godovitz recently put together a new version of the band to play shows to celebrate the band’s 50th Anniversary.
MOXY – Live In Toronto
Released in 2014 as Live In Toronto and also included as part of the band’s 40th Anniversary 2CD/DVD 40 Years And Still Riding High) release a year later (which I have). One of those ‘better late than never’ things, and with a new line up led by guitarist Earl Johnson and featuring lead vocals from Nick Walsh (Slik Toxic). 11 tracks (including the drum solo), taken from the band’s first 3 classic albums. Walsh was a great fit for the band as they went through favorites like “Out Of The Darkness”, “Nothing Comes Easy”, “Moon Rider”, “Sail On Sail Away”, and “Ridin’ High”. Johnson has a new version of the band currently playing shows, I believe.
LOVERBOY – Live In ’82
I was a fan, mainly of those first 3 LOVERBOY albums (and then someone brought In Mutt Lange (sigh). But Live In’82, (released last summer on CD & vinyl!) captures the band at their peak, playing songs from the first 2 albums (arguably their best). So you get high energy performances of their biggest hits like “Turn Me Loose”, “The Kid Is Hot Tonight”, and “Working For The Weekend”, as well as favorites from Get Lucky – “Jump”, “Lucky Ones” and “Take Me To The Top”.
FM- Retroactive: FM Archives Volume 1
Released in 1995, and I don’t ‘get’ the stupid title (as there was no further volumes), this was taken from the band’s 1994 short reunion tour to promote the CD release of their classic Black Noise album. I saw 2 of the 5 shows in small venues. The shows were awesome and captured well here. Don’t recall how many songs they played, but this includes 10 songs, notably their hit “Phasors On Stun”, and Black Noise favorite “Journey”, as well as best known songs like “This Lonely World” and “City Of Fear”, and their versions of “Shapes Of Things” and “Baba O’Riley”. A CD release only (included a retroactive CD-ROM track, don’t think I ever watched it), but would be nice if their was more from this little tour or the FM archives to hear some more.
CONEY HATCH – Live At The El Mocambo
The first of 2 live albums from CONEY HATCH, back-to-back. This one was recorded & video’d during CoVid, with a limited number of guests allowed in to see the show at Toronto’s legendary El Mocambo. A great mix, representing the band’s 4 studio albums, and long overdue. Not too long after came Postcard From Germany, which had been recorded in 2018. Hoping there’ll be more, as there’s a few good shows from the 80s (Cleveland 1982).
STREETHEART – Live After Dark
This 2 LP set was recorded following 6 albums from Winnipeg’s STREETHEART. Although I don’t think Streetheart’s albums were heavy, but more pop produced, Live After Dark showed the band rocked harder live. This features the band’s hits like “Action”, “What Kind Of Love Is This”, “Hollywood”, plus their excellent covers of “Tin Soldier”, and 12 & a half minute closing classic take of “Under My Thumb”! The band’s original line up would reunite and record 2014’s One Night One Take, but I’ve yet to hear that one. but Live After Dark is a pretty essential Canadian album.
THE GUESS WHO – Live At The Paramount
Another essential Canadian release, and better than simply picking up a ‘best of’ IMO. Live At the Paramount, from 1972, captured THE GUESS WHO in their prime; they had a ton of hits and some pretty cool album cuts, so this isn’t just a play through of the usual numbers. Only 7 tracks though on the original single LP (why!?), but there is favorites “Running Back To Saskatoon”, “Pain Train”, and the 16+ minute performance of “American Woman”! The CD version would thankfully add 6 more tracks and fix the running order.
Canadian Live Albums I’d Still Like to see…
A Foot In Coldwater – anything, be it from the early 70s or from one of the band’s reunion gigs over the years.
Santers – there is video of the band from Toronto, around 1982 or 83(?) Would be cool to master it for release.
Headpins – Saw the Headpins open for Loverboy in ’83, surely their must be a good live recording from that period(!?)
Harlequin – something from the band’s early 80s heyday, before they brought the guy from The Fixx in to produce!
Moxy – OK, something from the late 70s w/ Buzz Shearman.
Back in 2014 APRIL WINE founder Myles Goodwyn expressed his desire to retire from playing live with the band, but it would be over 8 years, in December of 2022 that Marc Parent was announced, having been chosen by Myles, to take over the band’s lead vocal and guitar duties (alongside Brian Greenway). Parent debuted with the band last April. Sadly Myles Goodwyn passed away December 3 of 2023. But choosing Parent was so that the songs (mostly written by Goodwyn) would carry on to be enjoyed by fans. April Wine has had a busy year playing live, and 2025 looks to busier and very interesting, with festival shows, as well as a UK tour as openers for Uriah Heep, followed by a Canadian tour opening for Randy Bachman’s BTO. In this interview Marc discussed his past, previous bands, influences, how he came to join April Wine, how things are working in the band, highlights, and a few surprises.
*Check out the links at the bottom of the page for more info, tour dates, etc…
Can you tell me a bit about your earlier stuff, your musical influences and some of the stuff you grew up on listening to?
I’m a total classic rock guy. first album I ever got; I traded a buddy of mine for a Playboy magazine. It was the first Boston album. He wanted the Playboy and I wanted his Boston album. So, we swapped.
So, I’m pretty much a classic rock guy; grew up listening to that and a lot of progressive rock and I got into, after Kiss, Styx and Boston, I got into Genesis and Gentle Giant and Yes.
And I was also studying to be a jazz guitar player, so I was interested in Pat Metheny, Larry Carlton, Lee Rittenour and Wes Montgomery and all those guitar gods.
In your early days what was the scene up there? Did you play in a lot of cover bands or beforehand, in the 80s and 90s?
No, actually, the first band I ever played in was like an original band out of high school. We were called ‘Sigma’. And, the first gig I ever did I was 17 years old and we were doing originals. We had an electric violinist, we had a girl on bass, we had a sax player, we did original tunes. At that point I had a music teacher, his name was Regean Gauvreau and he was very influential because he had a big band and he would work; every weekend he would book his big band at the Chateau Laurier Hotel, in Ottawa or at the Congress Center or he would do these corporate events, and he would hire me as the guitar player in this big band. So, I had to be able to read music and I had to wear a suit, and he really taught me a lot about the business of being a professional musician. This would be, like, early 80s.
So, then I was studying to be more like a jazz guitar player, and I ended up – my neighbor was going out with a bass player in a band called ‘Eight Seconds’ in Ottawa. And she would listen to me practice, in my bedroom and she said ‘You gotta come see my boyfriend’s band’. So I went to see Eight Seconds play and I said to myself ‘I could do better than that guitar player’. You know, just as a typical 20-year-old, watching the guy play with my arms crossed in front of the stage kind of deal. And, it’s very weird, at the same time I was working in a music store in Aylmer, Quebec, my hometown; and this guy walked in and gave me some business cards and said ‘I just opened up a local recording studio and if you know any musicians who want to do demos, I would appreciate it if you would hand them my card’. And I said ‘well, I’m a guitar player and I’ve never really recorded in the studio’; he said ‘well, come on over and you can play guitar on a couple of my songs’. I did that and at the same time, Eight Seconds were recording demos at his studio. And they, at the same time, decided they wanted to trade up, or change guitar players. So, this gentleman, Manfred Leidecker, said ‘well, listen to this kid I just recorded him’. And they gave me an audition and I got the gig with Eight Seconds. The band that my neighbor took me to go see, maybe a month before. Next thing I knew I was in that band, and I was 23 years old. And the first gig I ever did with them was opening up for ‘Luba’ at the Ottawa Congress Center. And they scored a number one hit in Canada with “Kiss You When It’s Dangerous”. We opened up for David Bowie and Wang Chung and Paul Young and we did a North American tour. The next thing I knew I was living the dream. From ’85 to ’87, it was unbelievable!
And how many albums did you guys do? Just a couple or…?
I was on Ottawa Rima, which is a self-produced first album. Then that generated the interest of Rupert Hine and Polygram Records. So, then we did Almacantar, which had the “Kiss You When It’s Dangerous” hit on it. And, and then they did a great album. I got the boot in ’87 and they decided to go without a guitar player. It was very support oriented, in those years. And they did another album, which is in my opinion, was their best album, which is called Big Houses. And they produced that one at Le Studio, in Morin Heights. I was not on that one, Bill Beaudoin played the guitar on that one. That was in 1990.
Were you a writer?
Yeah, I wrote some stuff on Almacantar. Not complete songs, but melodies and, certain choruses and stuff like that. I was just getting my feet wet, as the singer, guitar player, writer. That was basically my first attempt was with Eight Seconds.
Was there any other recording bands or did you, like, locally throughout the years before April Wine came along?
After Eight Seconds, I moved to Montreal in ’87 and did a bachelor’s degree in music at Concordia University, And realized that the scene in Montreal, there was a strong blues scene. A lot of clubs had bands that played blues. Three sets, four sets a night, four – 45-minute sets. So, I put together a band that still exists to this day. It’s called Wang Dang Doodle. I put that band together in 1989. And just learned the craft of playing live and singing and fronting a band, in the clubs in Quebec and Ontario. And I still play with that band once a month, just because it’s fun.
And playing the Quebec blues circuit, I met Richard Lanthier, who was playing bass in that same circuit. And I hired Richard a few times to play in my band. And he hired me to play with Carl Tremblay’s band. We basically knew each other. When Myles Goodwyn’s health issues got a little worse about eight years ago, Richard recommended me. And I auditioned for Myles on the phone. He liked what he heard and offered me the gig. And I, you know, I just had my first child, and I had a pretty good day job. Unfortunately, I had to refuse. So, I actually said no to April Wine eight years ago. And I couldn’t believe it. I was telling all my friends; I can’t believe I just said no to April Wine.
And they kept going. Myles hung in there for another eight years. Luckily for me, they didn’t find a replacement for Myles. And then Myles’ issue post-COVID, became worse. And then he said, ‘how about that Marc guy that we auditioned eight years ago?’ At that point my girls were more grown up. And I had returned to being a full-time musician. So, the timing was just right. I didn’t say no the second time around.
That’s interesting, because I remember that post going up years ago that he wanted to step back. And people flooded the April Wine groups with names and stuff and suggestions. And then there was nothing said for years.
I think a couple of guys, Myles was very, very picky in what he wanted. And I think he put a couple of guys through the ringer there, they auditioned for him, and I think it was pretty tough. I was just in the right place at the right time. Like, lucky for me, he didn’t find his guy. You know, and he liked, and he liked me. So, my voice naturally sounds like his. I don’t try to imitate Myles when I sing. I just respect the melody of the song as close as I can to the record. And I just put my own energy into it, my own vocal style. And I respect Myles’ vocal style. I try to be as close to the original as possible. But I don’t imitate. I’m not an impersonator. I don’t do that.
And he had a pretty recognizable, distinctive voice.
Absolutely! All the great singers do.
Do you remember what you were required to learn to audition with?
Well, I did “Roller” and “Gypsy Queen” for him, on the phone eight years ago. And then this time around, when I got the call the second time, I took out my iPhone and an acoustic guitar, and I just did a rough demo. And I sent it to him, and I said ‘listen, this is as rough as it gets’. It’s my friggin’ phone and an acoustic guitar. Nothing else. ‘And if you like the tone of the voice and you like what you hear, then maybe we’re onto something here.’
And he was listening to it in his studio and a friend of his called him on the phone and he asks his friend ‘What do you think of this?’, and his friend says ‘Well, what? That’s just you singing and playing guitar’. And Myles said ‘Okay. That’s the guy!’ And so, whoever that guy is, I have no idea who that guy is, but that guy got me the gig.
That’s funny.
The guy thought it was Myles.
I’ve watched the live clips on YouTube and obviously nobody can sound like Myles, but you’re close enough that the sound, the songs aren’t losing anything, you know?
Yeah. It’s all about the song, right!? It’s all about the memories that we, that the songs evoke in us. So, my, my job is to serve the song and make sure that when you come see the show, you hear that song the way you remember it and you get all those nice, warm, fuzzy feelings that you had when you were 16 years old. You know what I mean!? That’s my job.
I think for Canadians; I think April Wine is a special band because guys in our age group kind of grew up with them and they had so many hits, so many radio hits. We know all those songs, so just still getting to hear them is great.
I think so too. That’s my approach. When you come and hear the show, you want to hear the song, then we are, our mantra is to play the song as close as possible to the record. That’s what we said we were going to do and that’s what we’re doing and making sure you have a really good time. Yeah. So, you come out, you hear the songs as you remember them, you have tons of energy on stage – Brian Greenway is 72 years old, he’s still kicking ass. And Richard Lanthier and Roy Nichol have been there for like 12 and 14 years. They’re a powerhouse rhythm section. We’re a really tight band. And we’ve got great songs, great hits to play. It’s fun for us too!
It’s a huge catalog. I’m curious how familiar were you with the entire catalog before all this?
Oh, not that familiar. I was familiar with the same songs you were familiar with. I grew up listening to April Wine on the radio. So, I mean, at one point I’d learned maybe 30 songs, and then Brian comes up with the list, he says ‘Okay, here’s seven more songs, these are the American hits’. And I go ‘Excuse me?’ He goes ‘Yeah, these songs were big in the States.’ I go ‘Oh my God.’
I have the entire catalog, so like I’ve followed them since the early 80s, there’s so much to it, right? You have kind of have three phases of the band, the early band until the mid 70s, and then when Brian joined, and then the post reunion stuff. So, how much of that catalog do you guys play? Do you change it up a lot, or are you, is there a set list that you gotta keep to?
When we’re headlining, we have an hour and a half Canadian set, we have an American set, which has different songs, not all different, but there’s a few more American hit songs that are in there that are not in the Canadian set.
We have an opening act set, so, you know, we’re going to England and we’re going to be playing pretty much just the hits, because we have 45 minutes. And then we’re doing the Bachman Turner Overdrive tour in April, I believe that’s a 45 or a 60-minute set, so, again, and that’s a Canadian tour, so that’ll be just the hits, because that’s what people want to hear.
And even though I say just the hits, there’s a couple of deep tracks in there as well. Just so, you know, for the connoisseurs, there are some deep tracks in there as well. But when you have 45 minutes and you have as many hits as April Wine has, you got to pick and choose. It’s a good problem to have.
Now that you’ve been in the band for a while, have you had a chance to go back through the catalog, and listen to everything and kind of put in ideas that may be things you want to try or things that aren’t in the setlist?
Oh, yeah. Absolutely. Brian came up with a bunch of songs the other day and sometimes he brings out tunes and I go ‘Man, I haven’t heard that one yet!’ It’s such a huge catalog. I’ll go back and listen to the albums, listen to a bunch of stuff and I’ll come up with a suggestion, and he might say ‘That one didn’t really stick with the public…’, and he knows; he’s been there since ’77, so he knows what was popular, and what wasn’t.
When Myles was still with you guys, you guys had gone into the studio at one point. Was there anything finished or kind of any plans to finish any of that stuff?
I had the honor of writing a song with Myles. He had this song lying around and he and I worked on it and then when he did his last show in Nova Scotia, he brought the guys in and they recorded it and I put some vocals on it, played some guitar. So, there’s a song out there. It’ll probably end up on a live album.
There’s a live recording of Myles’ last show. So that’s in the works right now. I can’t say more because I don’t know where we’re at in that process. Where the powers that be are at in the process. But I’m pretty sure that we’re going to have a bonus track on that album and it’ll be, you know, Myles’ last song.
And you’re on it!?
Yeah.
Have you done any recordings with you in the band? Taped any live shows or anything or any live video professionally that can be used for promotion or for release?
If you go on the website, there’s a video that hits you as soon as you open the website. That’s a promo video that was professionally done. They just took a clip of “Roller” and put it on there as an audio track. So that video, we’re really proud of it. It gives you an idea of the energy of the show live. But there’s no audio yet. There’s no audio that I know of anyways, no professional live recording.
I think that would be a cool idea kind of to reintroduce the band that this is what we sound like now.
Totally agree. I think that even when Myles’ last live show, you could have a package in there where there’s some live songs of us now, so you get a bit of everything. I think that’s what they’re working on. Maybe that’s why it’s not out yet.
Has there been any discussion of eventually recording some new material?
Well, that’s a tricky situation because I think Myles was the main songwriter and Kim, who is Myles’ widow, her job is to really preserve Myles’ legacy.
So, to bring out new songs, they would have to be things that Myles has had a hand in. And he’s got a bunch of snippets on his phone. So, I think one of these days we’re going to have to go through all those snippets and see if there’s good ideas in there, which I’m sure there are, that we could potentially turn into songs.
The other option is, I know when the Thin Lizzy guys wanted to record without Phil Lynott, they ended up finding a new name. Not that you guys need to find a new name, but even… alter the name a bit or ‘featuring’…. But it’d be cool to hear the band, something live and in the studio, as is.
I totally agree.
We’ll have to see. Right now, there’s a lot happening right now just for us, playing live. So, it’d be nice. We’re going to be touring a lot, so it’d be nice to set something up where we could record the shows. We always want to be better musicians. We always want to get better and make the show better. So, there’s nothing like recording video and audio to listen to yourself and to watch yourself. That’s the best way to critique and get better.
It’s interesting because Myles, for years, was very dead set against people recording at shows and taking pictures. So there was a scarcity of stuff out there for a long time.
I think he was a little… I didn’t know the man as well as the other guys. I didn’t get to spend much time with him, unfortunately. But I think he was a little resistant of the new technology until he wrapped his head around it, then he really embraced it. You know!? Even just GPS. I mean, he still liked using maps until he understood it more and then he loved it. Maybe that’s why he didn’t like people taking pictures and shooting video because he was afraid, they would use it in a context that he didn’t approve of.
Do you have any favorite albums in the catalog now that you’ve gone through it all?
Harder, Faster – for sure. Live stuff is always great. There’s great energy. I love the ’81 show in London, they’re really firing on all cylinders. There’s so much out there. Now that I get to sing it, it’s like I like them all. I like them all and I hear them in a different way now.
Do you have any other plans to do anything… Recording-wise – outside of the band?
I had to keep busy during COVID. So, I did like 50 videos of other people’s material. It’s started out as just an I-Phone and a guitar and ended up being productions that would take 3-4 months. it was really fun. So, I’m always interested in recording and getting back to that. I’m always coming up with ideas and putting them on my phone. I just have to take the time to elaborate on them, writing songs. Now that I’m going to be touring a bit more, I have 2 young daughters, so me to take time off, I have to spend as much time with them as I can, so right now I’m more in to ‘papa’ mode because I know I’m going to be leaving soon. So, I’m taking care of my daughters, and spending as much as time as I can with them before I take off.
To answer your question, there’s always songs in my head, and I’m always interested in recording and putting ideas down. I can’t wait to get back to that. I was really into it during COVID when I had more time on my hands. But now, it’s really fun to concentrate on making the April Wine show as good as possible and making it the best people have ever seen. April Wine were a powerhouse in the 70s when there were 5 people in it, and a lot of people were blown away by that show, and our idea is to bring it in to today and still give it that great energy, playing those great songs.
Has there been any talk over time about adding a 3rd guitarist back?
At first, Myles’ idea was to do exactly that. And what happened was, logistically, nowadays it costs so much to be on the road, so expensive to fly to a gig, and fly equipment around, stuff like that. So, it just turned out that was easier logistically for 4 guys (instead of 5) in terms of transportation, in terms of everybody flying out of Montreal. Gary Borden, who is Sass Jordan’s guitar player, had the gig, and at the last minute we had to pull the plug on Gary, unfortunately. And it had nothing to do with him or his playing, anything like that – he’s great! It’s just that it didn’t make sense to bring in a guy from Niagara Falls compared to guys flying out of Montreal. So that’s why it’s a 4 piece, because it’s just too damn expensive to be on the road today, and bring a show to people, and keep shows at a reasonable price. So, maybe one day we’ll get back to that idea of the 5 piece like the early 80s.
That’d be cool! have you had a chance to meet any of the band alumni, like Gary Moffett, Jerry Mercer, and some of those guys?
Well not Gary Moffett, not yet – but I can’t wait! But Jerry Mercer came and kicked our ass in Montreal. He’s 84 years old. Have you seen the video of him playing with us? (Yes). And he said ‘I want to play “Roller”‘, and I thought ‘oh boy it’s going to be like geriatric Roller tempo or something. and Holy Shit (!), man, he came out and kicked our ass! Wow! i want to be like Jerry Mercer at 84, I want to have that energy. He was just amazing!
I saw them in ’84 on the farewell tour, and then a number times in the ’90s when they came back. And Jerry’s solo was always a highlight of the show. It wasn’t like any other drum solo (where you might run to the bathroom), it was pretty intense, and you stuck around and watched it.
Well, if you’re a drum solo fan, you’re going to love Roy Nichols’ solo, it’s really cool; it’s very original. It’s one of the highlights of the show. There might not be time for it when we’re the opening act, but when we’re the headliner we have a drum solo and a bass solo, and we stretch out a little more, which is fun.
Roy sings as well!?
Oh, Roy’s a great singer, a great producer. He’s got his own studio. He’s a super-talented guy!
I’ve seen clips of him online doing Journey.
Yeah, he’s got a Journey tribute band. And Richard Lanthier has a Harmonium tribute band, and a Deep Purple tribute band. I had a Steely Dan tribute band before getting this gig. As musicians we have to have a lot of projects on the go to stay busy; and that’s the nature of the beast (haha).
Do you listen to a lot of music, whether on Spotify or buy anything?
I tend to listen to a lot of blues-oriented stuff, a lot of new stuff – Spotify’s throwing stuff at me all the time. I have all kinds of different tastes – Kasey Musgraves, and I like Blackberry Smoke, and Joe Bonamassa’s band with Glenn Hughes (Black Country Communion). I like Slash’s stuff. I like all kinds of new stuff too. Kasey Musgraves is a great singer-songwriter, who I listen to all the time with my daughters. And my daughters like all kinds of new stuff, so they’re keeping me hip to newer stuff. (lol) And every so often I’ll get sick of it and say ‘OK, sit down, these are The Beatles, these are the Stones, and this is Led Zeppelin.’
Did you have a big record collection, growing up?
Yeah. I had a good vinyl collection, and then it turned into cassettes, because we would do these cassette recording blitzes because we could listen to cassettes in our cars. We would get together on Sundays and spend the whole day just recording albums on to cassettes.
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.
Three big names in Canadian rock will tour coast to coast in the spring. BTO – featuring Randy Bachman headlines the Back In Overdrive tour, along with APRIL WINE and The HEADPINS.
Outsider Rock 