Tag Archives: Blues rock

RORY GALLAGHER – Deuce 50th Anniversary box set




Formats: 4CD / 2CD / 3LP / 1LP Colour (D2C) / Digital HD & SD
Release Date: September 30, 2022
Label: UMC

To celebrate the 50th anniversary of Rory Gallagher’s  “Deuce” sophomore solo album from 1971, a deluxe CD boxset will be released by UMC on Friday September 30th.  The album is available to pre-order from https://RoryGallagher.lnk.to/Deuce_50

The extensive celebratory release digs deep into the Rory Gallagher Archives and will include a new mix of the original album, twenty-eight previously unreleased alternate takes, a six-song 1972 BBC Radio ‘In Concert’, and seven Radio Bremen radio session tracks. The package will contain a 64-page hardback book with a foreword by Johnny Marr of The Smiths, unseen images by the late Mick Rock, essays, and memorabilia from the album recording. The 2CD and 3LP will be cut down versions from the deluxe box and there will be a special D2C 1LP of the “BBC In Concert – Live at The Paris Theatre, 13 January 1972.”

“There was one day when I was playing along with the Deuce album which was a complete turning point for me as a guitar player.”

– Johnny Marr

Photo Credit: © Mick Rock

Released in November 1971, just six months after his eponymous solo debut, Rory Gallagher’s second album, Deuce, was the summation of all that he’d promised in the wake of Taste’s collapse. Rory wanted to capture the feeling of a live performance, so he would look to record immediately after live concerts while keeping production to a minimum.

He chose Tangerine Studios, a small reggae studio, in Dalston in East London, due it’s history with legendary producer Joe Meek. With Gerry McAvoy on bass guitar and Wilgar Campbell on drums, the album was engineered by Robin Sylvester and produced by Rory. Deucefeatures many Rory highlights, from the blistering Crest Of A Wave to the Celtic-infused I’m Not Awake Yet.

When asked “How does it feel to be the best guitarist in the world,” Jimi replied: “I don’t know, why don’t you go and ask Rory Gallagher.”

– Jimi Hendrix

“There are a million guys who sound like Stevie Ray Vaughan, but I never heard anybody who could really pull off sounding like Rory Gallagher.”

– Slash

” As soon as I heard Cradle Rock, I was hooked. I thought, ‘This is what I want to be when I grow up.”

– Joe Bonamassa

“I really liked Rory, he was fine guitarist and singer and lovely man”

– Jimmy Page

“He was just a magician, he’s one of the very few people of that time who could make his guitar do anything it seemed. It just seemed to be magic. I remember looking at that battered Stratocaster and thinking how does that come out of there?”

– Brian May

“The man who changed my musical life was Rory Gallagher, I picked up a guitar because of him.”

– Johnny Marr

“A beautiful man and an amazing guitar player. He was a very sensitive man and a great musician.”

– The Edge

“An amazing player, very spirited … he had a particular sound using that Stratocaster and he really got it because of the brute force in the way that he played, he just had such a passion about it.”

– Joe Satriani



CD 1

Used to Be – 50th Anniversary Edition
I’m Not Awake Yet – 50th Anniversary Edition
Don’t Know Where I’m Going – 50th Anniversary Edition
Maybe I Will – 50th Anniversary Edition
Whole Lot of People – 50th Anniversary Edition
In Your Town – 50th Anniversary Edition
Should’ve Learnt My Lesson – 50th Anniversary Edition
There’s a Light – 50th Anniversary Edition
Out of My Mind – 50th Anniversary Edition
Crest of a Wave – 50th Anniversary Edition

CD 2

Used to Be – Alternate Take 1
Used to Be – Alternate Take 2
I’m Not Awake Yet – Alternate Take 1
Don’t Know Where I’m Going – Alternate Take 1
Maybe I Will – Alternate Take 1
Maybe I Will
 – Alternate Take 2
Maybe I Will – Alternate Take 3
Maybe I Will – Alternate Take 4
Maybe I Will – Alternate Take 5
Whole Lot of People – Electric Alternate Take 1
Whole Lot of People – 6 String Acoustic Alternate Take 1
Whole Lot Of People
 – Deuce Album Session / Alternative Acoustic Take / 1971 *
Whole Lot of People
 – 12 String Acoustic Alternate Take 1
In Your Town
 – Alternate Take 1
In Your Town – Alternate Take 2
In Your Town – Alternate Take 3

CD 3

In Your Town – Alternate Take 4
Should’ve Learnt My Lesson – Deuce Album Session / Alternative Acoustic Take / 1971*
Should’ve Learnt My Lesson
 – Deuce Album Session Outtake / 1971*
Should’ve Learnt My Lesson – Alternate Take 2
Should’ve Learnt My Lesson – Alternate Take 3
There’s A Light – Alternate Take 1
There’s A Light – Alternate Take 2
There’s A Light – Alternate Take 3
Out of My Mind – Alternate Take 1
Out of My Mind – Alternate Take 2
Out of My Mind – Alternate Take 3
Crest of a Wave – Alternate Take 1
Crest of a Wave – Alternate Take 2
Don’t Know Where I’m Going – Home Demo
Maybe I Will – Home Demo
Should’ve Learnt My Lesson – Home Demo

CD 4

Should’ve Learnt My Lesson – Radio Bremen 21/12/1971
Crest of a Wave – Radio Bremen 21/12/1971
I Could’ve Had Religion – Radio Bremen 21/12/1971
For The Last Time – Radio Bremen 21/12/1971
Messin’ With The Kid – Radio Bremen 21/12/1971
Don’t Know Where I’m Going – Radio Bremen 21/12/1971
Pistol Slapper Blues – Radio Bremen 21/12/1971
Used To Be – BBC In Concert – Live at The Paris Theatre, 13 January 1972
Should’ve Learnt My Lesson – BBC In Concert – Live at The Paris Theatre, 13 January 1972
Out Of My Mind – BBC In Concert – Live at The Paris Theatre, 13 January 1972
I Could’ve Had Religion – BBC In Concert – Live at The Paris Theatre, 13 January 1972
Crest Of A Wave – BBC In Concert – Live at The Paris Theatre, 13 January 1972
Messin’ With The Kid – BBC In Concert – Live at The Paris Theatre, 13 January 1972

2 CD

CD 1

Used to Be – 50th Anniversary Edition
I’m Not Awake Yet – 50th Anniversary Edition
Don’t Know Where I’m Going – 50th Anniversary Edition
Maybe I Will – 50th Anniversary Edition
Whole Lot of People – 50th Anniversary Edition
In Your Town – 50th Anniversary Edition
Should’ve Learnt My Lesson – 50th Anniversary Edition
There’s a Light
 – 50th Anniversary Edition
Out of My Mind – 50th Anniversary Edition
Crest of a Wave – 50th Anniversary Edition

CD 2

Used to Be – Alternate Take 1
I’m Not Awake Yet – Alternate Take 1
Maybe I Will – Alternate Take 1
Whole Lot of People – 12 String Acoustic Alternate Take 1
In Your Town – Alternate Take 3
Should’ve Learnt My Lesson – Alternate Take 3
There’s A Light – Alternate Take 1
Out of My Mind – Alternate Take 3
Crest of a Wave – Alternate Take 2
Should’ve Learnt My Lesson – Radio Bremen 21/12/1971
Crest of a Wave – Radio Bremen 21/12/1971
I Could’ve Had Religion – Radio Bremen 21/12/1971
For The Last Time – Radio Bremen 21/12/1971
Messin’ With The Kid – Radio Bremen 21/12/1971
Don’t Know Where I’m Going – Radio Bremen 21/12/1971
Pistol Slapper Blues – Radio Bremen 21/12/1971

3 LP


Used to Be – 50th Anniversary Edition
I’m Not Awake Yet – 50th Anniversary Edition
Don’t Know Where I’m Going – 50th Anniversary Edition
Maybe I Will – 50th Anniversary Edition
Whole Lot of People – 50th Anniversary Edition


In Your Town – 50th Anniversary Edition
Should’ve Learnt My Lesson – 50th Anniversary Edition
There’s a Light – 50th Anniversary Edition
Out of My Mind – 50th Anniversary Edition
Crest of a Wave – 50th Anniversary Edition


Used to Be – Alternate Take 1
I’m Not Awake Yet
 – Alternate Take 1
Maybe I Will – Alternate Take 1
Whole Lot of People – 12 string acoustic Alternate Take 1


In Your Town – Alternate Take 3
Should’ve Learnt My Lesson – Alternate Take 3
There’s A Light – Alternate Take 1
Out of My Mind – Alternate Take 3


Crest of a Wave – Alternate Take 2
Crest of a Wave – Radio Bremen 21/12/1971
Don’t Know Where I’m Going – Radio Bremen 21/12/1971
I Could’ve Had Religion – Radio Bremen 21/12/1971


Should’ve Learnt My Lesson – Radio Bremen 21/12/1971
For The Last Time – Radio Bremen 21/12/1971
Messin’ With The Kid – Radio Bremen 21/12/1971
Pistol Slapper Blues
 – Radio Bremen 21/12/1971



Used To Be – BBC In Concert – Live at The Paris Theatre, 13 January 1972
Should’ve Learnt My Lesson – BBC In Concert – Live at The Paris Theatre, 13 January 1972
Out Of My Mind – BBC In Concert – Live at The Paris Theatre, 13 January 1972


I Could’ve Had Religion – BBC In Concert – Live at The Paris Theatre, 13 January 1972
Crest Of A Wave – BBC In Concert – Live at The Paris Theatre, 13 January 1972
Messin’ With The Kid – BBC In Concert – Live at The Paris Theatre, 13 January 1972




CACTUS – Release The Birth Of Cactus 1970

CACTUS sprung up following the break up of the legendary VANILLA FUDGE, and drew immediate comparisons to the [fairly new] and mighty Led Zeppelin with their first album of heavy blues rock. This performance is the band’s debut, consisting of mainly tracks from the band’s debut album, plus a couple of tracks from then-future albums (“One Way…Or Another” and Sweet Sixteen”). It’s a great sounding recording, and despite being their first live show, it’s a performance from a well rehearsed band, all well in tune with the material and an energetic performance. A brand new band that was making their mark right off the get-go.

*For more info & ordering, see press release below:

Historic First Ever Live Concert From Classic Rock Legends CACTUS Finally Sees An Official Release!

Los Angeles, CA – This is where it all began for the quartet dubbed “The American Led Zeppelin” – on a 1970 bill that also featured the likes of The Jimi Hendrix Experience, Grateful Dead and Steve Miller Band. Vocalist Rusty Day, guitarist Jim McCarty, bassist Tim Bogert, and drummer Carmine Appice, collectively known as Cactus, made their auspicious debut in their very first public performance that night. Fortunately, this stunning and historic show was captured on tape and has now been unearthed from the archives and released on all formats!

The Birth Of Cactus 1970 finds the freshly minted quartet ripping through some of the key tracks from their landmark debut album including “Parchman Farm,” “Feel So Good” and “No Need To Worry” plus some smokin’ hot blues numbers. The performances are not only supremely confident, but also fluid and dynamic as each member locks into the groove and relentlessly rides it.

Drummer Carmine Appice had this to say about the concert recording, “I remember doing that first gig, hanging out with Hendrix who was a friend of Cactus. We got on stage and the energy level was off the charts! All the songs kicked major ass. We were so excited to get Cactus going and this show helped. Crowd was great and we did ROCK!!”

The Birth Of Cactus 1970 will be available on digipak CD and on PURPLE vinyl everywhere on January 21st!

Order the CD/Vinyl: https://cleorecs.com/store/?s=birth+of+cactus&post_type=product

Stream/download the digital version: https://orcd.co/cactus_the_birth_of_cactus_1970

Track List:
1. One Way…Or Another
2. Sweet Sixteen
3. No Need To Worry
4. Medley: Let Me Swim / Big Mama Boogie / Oleo
5. Feel So Good
6. Parchman Farm

Press inquiries:
Glass Onyon PR

http://www.cactusrocks.net/ https://www.facebook.com/groups/483511695023380

www.CleopatraRecords.com https://www.facebook.com/PurplePyramidRecords/
Purple Pyramid Store @https://cleorecs.com/store/product-category/record-label/purple-pyramid/

John Verity – Celebrates 50 Years with Passion

John Verity marked 50 years as a performer & recording artist with 2020’s album – Passion. The British guitarist/singer/songwriter was a part of Argent and then Phoenix in the ’70s,, and since 2001 has been releasing his own albums pretty regularly. Passion features Verity delivering 8 new blues rock, and blues ballads tunes. The first 2 tracks jump out right away – “Higher”, a great driving rock tune, followed by “Wise Up” with a cool guitar riff opener and a heavy drum sound (this one being in that Zeppelin / Bad Company class), love the organ throughout this one (courtesy of Jamie Pipe of The Mentulls), lyrically dealing with frustrations of worldly issues. “Sand In My Pocket” is a mid tempo blues number, a nice groove, fantastic playing and vocals. Next up is a bluesy ballad dealing with global environmental issues, delivered in this rather laid back and sad feeling tune “Broken Heart”. John pays tribute to Ginger Baker in the heavy blues cut “Red Devil”, while doing the same to Chuck Berry on “Bad Boy”. “Passion” ends with another heavy blues number titled “Big Stick”. Also included is the slowed paced, reflective guitar piece “The Open Road”; love the playing and the feel on this.

What I like a lot about this album is, aside from the fantastic playing, singing, and songs, is that Passion is kept to a solid production, without any excesses of added instrumentation, guests, and pieces that detract from the flow of it all, simply letting John (and company) deliver an appropriately titled album. Now to start working my way backwards through John’s more recent solo releases….

Line-up: JV – guitars & vocals / Bob Skeat & Roger Inniss – bass / Liam James Gray – drums / Jamie Pipe – keyboards.

Passion was issued on CD and Limited vinyl, and can be ordered at John’s site > http://www.johnverity.com

KJ, 01/’22


Photo – Christie Goodwin


Critically acclaimed British guitarist and singer songwriter, Joanne Shaw Taylor, universally hailed as the UK’s premiere blues rock guitarist, is announcing the release of her sixth studio full-length record The Blues Album on Friday September 17, 2021. Today she also shares a new single, Let Me Down Easy along with a companion music video.

The album will be released via Joe Bonamassa’s independent blues label KTBA Records. It was produced and recorded by Joe Bonamassa and Josh Smith at Ocean Way Studios in Nashville, Tennessee.

The hotly tipped 11-track album features Joanne’s personalized covers of eleven rare blues classics originally recorded by Albert KingPeter GreenLittle RichardMagic SamAretha FranklinLittle Milton, and many more.

The Blues Album, the follow up to 2019’s critically acclaimed album Reckless Heart, features Josh Smith (guitar), Reese Wynans (keyboards), Greg Morrow (drums), Steve Mackey (bass), Steve Patrick (trumpet), Mark Douthit (sax), Barry Green (trombone). Joe Bonamassa plays guitar and sings on the track Don’t Go Away Mad.
Mike Farris also joins as a special guest on I Don’t Know What You’ve Got.

“I’d known from the beginning of my recording career that one day I wanted to record an album of blues covers, I just wasn’t sure when the right time to do that would be,” says Joanne. “I’ve always found it far easier to write my own material than come up with creative ways to make other artists’ material my own.”

When the pandemic put the brakes on from musicians from touring during 2020 and most of 2021, Joanne thought it was the right time to head into the studio to record The Blues Album.

“I mentioned my new project idea to Joe Bonamassa,” recalls Joanne. “He asked me for my song choices. Immediately he began sending me notes and was texting me song suggestions.” Joanne and Joe have been best friends and fans of each other’s music for many years. Joanne always wanted to work with Joe if the right project or collaboration came about.

“He was already acting as a mentor as well as an unofficial producer on The Blues Album, so I asked him if he’d fancy the job, officially,” says Joanne. “Thankfully, he accepted. The Blues Album has been everything I hoped it would be. It’s been a labor of love, overseen by an artist, producer, and friend who I trust beyond measure.”

“We wanted to make a tough vocal centric straight blues record that showcases Joanne’s amazing talent but in a slightly different light,” explains Bonamassa. “Joanne is a dear friend and a superstar. Josh and I focused on testing her limits and pushing boundaries that might not have occurred before. It’s all about making a statement and having the listener want to play the music repeatedly.”

Joanne’s covers album pays tribute to artists and bands that are not obvious choices including Little Village, Little Milton, The Fabulous Thunderbirds, James Ray, but, at the same time, she covers seminal blues icons including Albert King, Fleetwood Mac’s Peter Green and Magic Sam. Some of the songs covered are B-sides of singles.

“We try not to live in the well-worn trails of the blues,” explains Bonamassa. “Each song has to has to stand on its own while paying tribute to the original masters.”

“Joe made it known from the get-go that his main objective for this album was to push me as a singer,” recalls Joanne. “Obviously, Joe has seen me perform many times over the years and knows my voice well. I think he felt that he could my vocal performance more, and get more out of it, especially since I’d had over a year to rest my vocal cords.”

As a musician and a recording and performing artist, Joe Bonamassa has always been a fan of Joanne’s music. Ultimately, what did Bonamassa set out to achieve by co-producing this magnificent, rich, and beautifully recorded and performed album for Joanne? Joe explains, “If you focus on what people might not associate with an artist and work hard on those areas it allows her fans to discover things and sets her up in a different light. Joanne’s a great singer and always has been. The guitar unfortunately has over-shadowed it until now. A lot of us in the business have the same problem. “

“On the new album, I mostly played my own guitar, my 1966 Esquire ‘Junior’,” says Joanne. “I tried to use a few of Joes Tele’s, but they’re set up for much bigger hands than mine. I did use Joe’s vintage amps – I believe one of his 60’s Vibroverbs mixed with a fumble overdrive for pretty much all of it. We didn’t use any pedals.”

It goes without saying that the production team of Joe Bonamassa and Josh Smith are at the top of their game.  They recently produced new albums for Joanna Connor, Jimmy Hall, and Eric Gales. Joanna Connor’s album, 4801 South Indiana Avenue, met with great critical acclaim worldwide, was the second album released on Bonamassa’s independent label KTBA Records and debuted at #1 on the Billboard Blues Chart.

“Joe and Josh make a fantastic team,” insists Joanne. “Both bring something different to the table that the other maybe couldn’t. I loved working with them. I was worried about working with Joe for obvious reasons, (we are very close friends), but you never know how that will translate into a working relationship. It was cool to work with two guys not much older than me. Most of the producers I’ve worked with so far haven’t been so close to me in age, plus Joe and Josh have the added benefit of understanding what it is to tour on the same scene as me and what me touring this album will look like. All in all, it was a very relaxed fun session and hang.”

Joanne Shaw Taylor – Biography

Joanne Shaw Taylor was discovered by Dave Stewart of the Eurythmics at the age of 16 who, having watched her play, immediately invited her on the road with his supergroup D.U.P. – a career in music was born and in the proceeding years, her incredible guitar playing saw her build an army of plaudits including Jimmy Cliff, Joe Bonamassa, Stevie Wonder and Annie Lennox.

Still only in her 30’s, she has become one of the most sought-after guitarists in the world of rock. She released her first album on Ruf Records entitled “White Sugar” (2009), unleashing her distinct soulful voice on the world, and demonstrating a song writing prowess way beyond her years – the world of blues rock had a new star! Over the next few years, she released critically acclaimed albums including her sophomore album “Diamonds In The Dirt” (2010), “Almost Always Never” (2012) which featured the UK radio hit “Soul Station”, plus her final album for Ruf Records – the live album “Songs From The Road” (2013).

In 2014 she released her fourth studio album “The Dirty Truth” on Axehouse Records that featured the singles “Mud, Honey” and “Wicked Soul”. In 2016, Joanne followed up with the release of her fifth album “Wild” (Produced by Kevin Shirley) which saw her perform songs “Dyin’ To Know” and “Summertime” on BBC Two Television’s popular music show “Later With Jools Holland”. Three years later, in 2019 she signed to Silvertone Records via Sony Music and released her sixth studio album, “Reckless Heart”.

Over the past two decades, Joanne has proven herself as a prolific songwriter, releasing seven acclaimed albums under her belt, each increasingly more successful with her 2019 “Reckless Heart” breaking into the UK Top 20 Album Chart and cementing herself as one of the most important exports in British blues-rock.

Her highly anticipated upcoming album is currently in the works. The new collection of songs was produced by Joe Bonamassa and Josh Smith at Oceanway Recording Studios in Nashville, Tennessee, and will be released on Bonamassa’s KTBA Records on September 17, 2021. 
Keeping the Blues Alive Records

The new independent record label is an offshoot of Keeping The Blues Alive Foundation, Joe Bonamassa’s non-profit that aims to conserve the art of music in schools and preserve the rich culture and history of the blues. Bonamassa along with his long-time manager and business partner, Roy Weisman, have expanded their business by creating the new label, Keeping the Blues Alive (KTBA) Records.

The first release on the label was Dion’s album Blues with Friends that was released to critical acclaim in June 2020. In February 2021, KTBA Records release Joanna Connor’s album 4801 South Indiana Avenue which received rave reviews worldwide.

KTBA Records’ main objective is to provide a platform for musical talent in blues and blues-rock based music and helping promote the careers of extraordinary musical talent. The label works synergistically with the non-profit’s mission of supporting musicians to continue the legacy of the blues. 10% of all profits from KTBA Records are donated to the non-profit.

KTBA Records is an important step in the co-evolution of the music and the business of making it. It represents another of Bonamassa’s continuing efforts over the last 25 years in support the artistic community. It reflects the philosophy of paying it forward just as so many did for Joe in the hope of paving the way for blues artists in the future. Visit http://www.KTBArecords.com for further information.
Photo of Joanne by Christie Goodwin
Official Website | Facebook | Twitter | Instagram | YouTube

    To access the official UK press release page and download photos, visit: www.noblepr.co.uk/press-releases/joanne-shaw-taylor/the-blues-album.htm



Ten Years After are best known for their Platinum selling album “A Space in Time” which featured the Top 40 hit “I’d Love to Change the World“, and their prodigious performance appearance at the Woodstock Festival in upstate New York, August 1969. Their rendition of “I’m Going Home” was featured in both the subsequent film and soundtrack album and catapulted them to star status.

Original members Ric Lee and Chick Churchill have continued this legacy and are now rounded out by Guitarist/Vocalist Marcus Bonfanti and Bass Icon Colin Hodgkinson. “Naturally Live” was recorded at HsD, Erfurt, Germany on 24th March 2018 and contains live recordings such as: ”Land Of The Vandals”, “Silverspoon Lady” & “Last Night Of The Bottle” taken from their phenomenally successful studio album A Sting In The Tale. These tracks are combined with old favorites such as “I’d Love To Change The World”, “Hear Me Calling”, “Good Morning Little Schoolgirl” and, of course, the Woodstock killer track “I’m Going Home”. Also included is the band’s semi-acoustic section of their current live show which features three tracks from the very early days in 1967:  “Portable People”, “Don’t Want You Woman” & “Losing The Dogs”. 

This Deluxe Edition due out August 13th also contains “I Say Yeah” which was previously only available on the vinyl edition and the previously unreleased rendition of “32-20 Blues” performed by bassist Colin Hodgkinson. Founding member Ric Lee states, “In the early days at London’s Marquee Club we did an acoustic performance where Alvin Lee played an acoustic guitar, Leo Lyons played an upright string bass, Chick played the Marquee’s acoustic piano and I went from the drum set to the front of the stage to join the guys with just a snare drum on a stand and a pair of brushes. The slot went down really well and several years later when we were playing larger venues, I suggested we played the acoustic spot again to add some variety to what we were doing. Alvin didn’t think it would work and so it didn’t happen. Much later, after Alvin had more or less retired and we had Joe Gooch on vocals and guitar I again suggested we do the acoustic set but this time Leo didn’t think it was right. 

When Marcus and Colin joined us and we were discussing new material for the set, they were both very enthusiastic about doing the three acoustic songs included on the Naturally Live (Deluxe Edition) album and it proved to be a good decision, as that part of the set goes down fantastically well with our audiences. “I Say Yeah” always sounded like an unfinished song to me so we worked out a new arrangement and it’s become somewhat anthemic and involves audience participation. 

What can I say about Colin’s performance of John Lee Hooker’s 32-20 Blues? It’s a superb showcase of his amazing bass playing and vocalizing. Colin is an extremely talented and experienced musician. The people he’s played with throughout his long career reads like a who’s who of the music business. From my point of view it’s an honor and a pleasure to have him in the Ten Years After rhythm section and, to cap it all, he’s a great guy too!”.  

“On this record you can hear a band that lives on its legacy but also wants to look ahead….New frontman Bonfanti further enhances the band’s rock image. Never before had Ten Years After a singer with such a rough and growling voice. With his equally rough guitar playing, Bonfanti is the rock star among the old veterans.” 

There are limited edition bundles (while supplies last), which can be ordered via: https://bit.ly/30fsewb

Product Includes:

– One (1) TEN YEARS AFTER – “Naturally Live (Deluxe Edition)” CD
– One (1) TEN YEARS AFTER Tote Bag
– One (1) TEN YEARS AFTER Autographed Photo
“Naturally Live” (Deluxe Edition) Tracklist: 

Land of the Vandals 
One Of These Days 
Hear Me Calling 
I’d Love To Change The World 
Silverspoon Lady 
Last Night Of The Bottle 
Portable People 
Don’t Want You Woman 
Losing The dogs 
50,000 Miles Beneath My Brain 
Good Morning Little Schoolgirl 
I’m Going Home 
Ric Lee Introducing TYA 
I Say Yeah (bonus track) 
32-20 Blues (bonus track) 



www.dekoentertainment.comCopyright © 2021 Chipster PR & Consulting, Inc., All rights reserved.

07 / ’21

Foghat 50th Anniversary Live Album!

Noisy S.O.D., Inc.



Multi-Platinum rockers FOGHAT celebrate 50 years of Rock n’ Roll with 8 DAYS ON THE ROAD, a 14-track live performance that will be released as a double CD/DVD package on July 16, 2021 on their own Foghat Records label, distributed by Select-O-Hits (which is part of the Sun Records family and is owned by Sam Philips’ son and nephew). It will also be available on 180 Gram Vinyl later this summer.  Recorded on November 17, 2019 at Daryl’s House Club in Pawling, NY, the collection features the band’s biggest and most legendary hits, including “Slow Ride,” “I Just Want To Make Love To You,” “Fool For The City,” and so many others. Pre-orders are available on digital outlets including Spotify , and iTunes includes an instant download of “Road Fever” with purchase.
A video for “Road Fever” can be seen on the band’s official YouTube page today. The collection will also be available on 180 gram vinyl in the coming months.
 The band has already started to work on a new Blues/Rock studio album to be released in 2022. Track listing:
1. Drivin’ Wheel
2. Road Fever
3. Stone Blue
4. Fool For The City
5. It Hurts Me Too
6. Take Me To The River
7. Home In My Hand
8. 8 Days on the Road
9. Chateau Lafitte ’59 Boogie
10. I Just Want To Make Love To You
11. Chevrolet
12. Maybellene
13. Play That Funky Music
14. Slow Ride

Also available on the Foghaonline store: 
Amanda Cagan
ABC Public Relations
Contact us directly at boogie@foghat.com 

06 / ’21

Corky Laing – An Exclusive Interview

Corky Laing is the legendary drummer from Mountain. Laing has had a long and amazing career going back to the ’60’s in Montreal, where he was from. He would join Mountain by the end of the ’60s, playing on all the band’s classic albums, and continue on with the band when he and Leslie West reformed the band in the ’80s. In recent years he’s been playing with his own band, carrying on the Mountain legacy, performing the classics, and a couple of years ago recorded Toledo Sessions, which has recently been reissued on vinyl. Along the way of his 50 year + career, Corky Laing has recorded with numerous bands, a solo album in the ’70s, and a few other projects. I spoke to him recently to discuss Toledo Sessions, as well as some of the other albums he has been apart of . It was a fun conversation, and here’s looking forward to hearing more from Corky in the near future. I did interview Corky some years back for the first ‘Cork’ album, so I am just putting that together and hope to post that as well, in the near future. * For more info on his career and latest releases – check out the links below.

How did the [new album] come about with Mark Mikel and Chris Shutters on there. How did you meet those guys and how did you end up in Ohio?

What happened was I was looking for a guitar player way back, because there’d been a couple of changes over the past 4 or 5 years, and I wanted to get a guitar player that played in that Mountain approach – that vibe. And I went to see Kofi Baker at a show in New York, and he recommended this guy Chris Shutters, who sounds very much like Clapton, he’s really good, but also he could play a lot heavier. So what happened is the show was commended, and Chris Shutters – he’s from Toledo, he drove from Toledo to New York, to get together with me just to so if we could vibe, and I was very impressed with his whole attitude, and at the time I had played with a couple of other musicians that I wasn’t terribly happy with going the long run with, as they say. And Chris said ‘I have this bass player I think you’d really like, and he lives in Toledo also.’ So, he said says ‘why don’t you come to Toledo and check out this guy Mark Mikel?’ , who is apparently a local hero in Toledo, he’s a brilliant musician, and he had his own thing going. And Mark had his own recording studio, and we got together, and played a little bit, and that night – the night that I arrived, apparently says ‘listen, why don’t we go to this place called The Dirty Bird and jam – and really jam’. And Mark at the time had already studied some of the Mountain songs, so we broke right into “Never In My Life” and I’m looking around going ‘how the Hell does this guy know this!?’ Well, Chis had advance messaged him and said ‘learn a couple, maybe we can get right to it.’ and we did, and the response was amazing. So we went back to the studio, and at that time, I think it was about November. And we went in and we started playing, and I must say that after the last 40-odd years of jamming with different people, we locked in – and I’m not saying that to hype you Kevin, but I’m saying it because it is so wonderful when that happens. It doesn’t happen that often. We locked right in, and Chris started singing, Mark sings, and there was this little funky beat up drum set that I was playing, but Mark recorded it, so it sounded brilliant! And that’s when we started going back and forth on these songs over a period of about 6 months. I would go back to Toledo, and to make a long story short we finished off the record, and at the time Jack White [from The White Stripes], he was friendly with this guy I knew Jason Junior, who had his own band.. Anyway there was a little bit of a loop of musicians and record company people around Toledo and Detroit, anyways, this Jason heard the record and he says ‘that’s brilliant, can we put it out?’ And they had a small label , which eventually became Prudential Records. And they put it out, but it was ready because it was just when Co-Vid kicked in. So we had the record, and I put it on hold because we wanted to get some shows, and now it’s been a year and we’re starting to plan the shows for the summer. And I guess you got the press release that the record is now going to be officially available on vinyl, and on CD. And I have to say Kevin, and I’m not a promo slut [well I guess I am], but the point is that we love this record because of the way that it came about, you know – I didn’t go out and hire people off the street, I didn’t hire anybody, they wanted to play and we just played, and as it turned out I’m very very happy with the record, and a lot of people are too. That’s the story.

Well, it’s definitely a ‘band’ sounding album, and will appeal to those Mountain and blues-rock crowd. It’s a great sounding album.

That’s the best thing you could say is that it sounds like a band, right away, because it does. I felt like we’d already been together for 10 or 15 years, with Mark and Chris. It was great! And as soon as you said that in your questionnaire, I said ‘I got to speak to Kevin, he knows his shit.’

Well, a lot of times you get these albums that are listed as ‘solo’ albums and they’re all over the place, but this one sounds like an actual band as opposed to a random solo project.

Yes, I agree. And I’ve had a few of those, so I know what you mean.

Did you do all your recording in Toledo, as well?

All the recording that’s on that record is done in Mark’s studio, in Toledo. And it was mixed by Jason Junior, who is also a drummer for Ted Nugent. He’s a young kid. Jason Junior grew up with Mountain, he’s only 22 years old. He wanted me to teach him when he was 6 years old, and I said ‘come on’. And he stuck with it, and over the last 10-12 years he became a great drummer, a great musician – this is Jason Junior, our record producer, and now he’s playing with Ted Nugent when Ted plays live. What I’m getting at is that it was a bit of a family affair, which is nice.

Can you touch on some of the songs, like did you write your own lyrics or did everyone write their own lyrics?

That’s a good question. Most of the songs, I collaborated on everything. “Knock Me Over” was the first song … Ya know, we were sitting around and we were ‘we gotta write a lyric and it’s gotta be’, and we’re both veterans , so to speak, and I hate that expression ‘Been there – done that!’ I’ve always hated that, and I don’t understand why people say that because if you say that, you’re going nowhere. But the opposite to that is ‘Knock me over’, and Mark and I were saying ‘let’s get a song that really knocks people over’. And you either love it or you hate, but it moves them – it kicks them! And that’s the first song we wrote. And I don’t ever remember playing as much drums on a record as I did then. And they played along, so that record is live – “Knock Me Over”. And as we moved along, I’d come in with a song called “Something’s Got To Give”, which I started writing 5 years ago at my rehearsal place. And if you think politically, this was a couple of years ago, and with the political situation which was stagnant – people were frozen and polarized. So I wrote this song “Something’s Got To Give” in a personal way. You know, like you talk to somebody and they’re totally in distress and they’re languishing, and you give them a little bit of advice and you say to them – ‘hey, something’s got to give – don’t worry about it, it’ll come.’ So the lyric and attitude in that is personal yet political. Some of the other songs Chris Shutter’s came in with and we would tweak them. Mark Mikel came in with “Earthquake”, and I love that song! And we wanted to come up with a track that was relevant for that, because it’s a delicate lyric – “You can cry tears to fill a teacup, but I could weep enough to form a lake”, it’s got some really good metaphors. But that would be Mark’s baby. The other one “Hell Yeah!”, It’s kinda like when we did play shows a year after, and we would get in the back of the car, and I’d be talking and Chris would go “Hell Yeah!”, ya know when you agreed with him. And I thought it was so repetitive. And at one point I came back to my studio and I was playing on my electronic drums, just kidding about, and I sent the drum feel to Mark, and I said ‘what do you think of these electronic drums? which I really don’t like, and he said ‘we could do something – Hell yeah!’ It just became kind of a joke, but it became a favorite on the record because it’s very different, and I love the lyric. And that would be Mark’s baby too. It’s just this thing, and I don’t know if it’s an Ohio thing or a mid-west thing, but it’s kinda one of these trailer park things – ‘Hell Yeah!’ [yells]. (I’ve had 14 coffees so you can tell I’m a little hyped up). and a little background to the music – you know, everybody stretched their playing, Mark stretched the bass playing, and he plays acoustic guitar on “Beautiful Flies”. And “Beautiful Flies” was like the last song we played and I really wanted to get a really ‘up’ beginning to the album, so I went right for the 2/4 beat, the double bass drum, everything I could to jumpstart that baby. And Mark, at the time, picked up the guitar and came up with the lick, and i loved it, I love that feel – it’s really ‘up’. The song itself is just a fun rocker, that we decided to start the album with. And then we had the ballad “The Road Goes On”, which is very much like on the Mountain record, the song “Theme For An Imaginary Western”.

You guys used a lot of harmonies on “The Road Goes On” and “How’s The Weather”. ” How’s The Weather is an interesting one, as soon as I heard that intro I thought of the Allman Brothers.

Could be, that’s a great comparison. Mountain had 2 vocalists, right – Felix sang the ballads, and Leslie had the rustic, gutsy blues voice, so we had a nice dynamic, I loved the vocals in Mountain, when they were vocalizing, so yeah I was really happy with the harmonies on this. And I had nothing to do with the harmonies on this, that would be Mark and Chris, they did a great job. and I agree with you – if it sounds like The Allman Brothers, so be it! A lot of drums for sure, and that’s my fault.

With “Earthquake”, I think the harmonies kinda give it a bit of a Beatles’ feel, and then you got the moog synthesizer in there, which gives it a bit of retro 60/70s feel.

Yea, that’s exactly right. These are things we did think about and a lot of times you think ‘well I made it up’, no a lot of this stuff is big influences. and it seems weird because I influenced them being in the original band, and it’s like a circle. Kevin, in rock n roll – it’s all been done, we played everything. And the thing you’re picking out, which I really respect, is we brought our own thing to what I would consider something that was there. You’ve gotta make it your own, even if you’re doing a cover record. So I like to think that everything we record, or I record, even if I’m copying somebody, I’m bringing my own thing to it. in my case i guess it would be the drumming because I was never really a studio drummer, and I really have my untethered approach to playing, and I got that opportunity with Felix and Leslie, they never told me what to play, they just said ‘show us where the one is, so we know to we come back together’. And that was being lucky, because after that in the 70s, all the drumming was basically tied to a click-track, and I never psychologically or even emotionally – I never had a click-track in my body, I have a heartbeat, but it’s my own – that’s my inventory. So, when it comes to playing, even on this record the guys were beautiful, Mark and Chris just said… and I wanted to edit about 40 per cent of the drumming out of what we did, and they refused, they said ‘no, this is your record, do what you want.’ And who the fuck are they to tell me what to do when it’s my record , and acknowledge me, and it made me feel confident – that’s me and that’s who I am on the record, like it or don’t like it. and i guess it’s sort of a philosophy of life that I’ve been very fortunate to not be tethered or attached to anything else but my own heart. And again, this is who I am and what I do. It’s the philosophy of this record, it’s the Toledo Sessions, it’s a time and place and a creative moment over a period of a few months, at the time.

The other song that stands out is “Information Overload”. I’m curious how much the lyrics have to do with information, technology and the internet.

You nailed it. That’s exactly what Chris had in mind. and also it’s emotional information – like nothing’s personal anymore, it’s just all out there. Ya know, everybody is wearing their heart on their sleeve when it comes to certain things. and maybe there’s certain they shouldn’t talk about. And I don’t know, if you have a relationship and you’re sitting at the table and somebody’s telling everything about how they go to the bathroom – that’s too much information. But the one Chris is talking about is exactly what you said,

Had you done any shows since this album came out?

No, not officially. we’ve been playing Mountain songs, mostly.

I saw some of the last shows you had listed and you had Ritchie Scarlet listed with you…

Yeah, that was one of the changes. That happened about a year ago when Chris was putting out his solo record, and at the time, it wasn’t a break-up, it’s just that we were going to Europe to play, and I needed a guitar player, and I didn’t think twice, I thought Chris would do it, but he was getting married, and he was putting out his record, and he said ‘can I join you in Europe, I need a week’, and it was a 1 month tour?’ , and I said ‘Oh no, it’s going to cost too much’. And Ritchie Scarlet and I had been together with Leslie, Ritchie was playing bass at the time, and I knew he was a great guitar player, and I knew how influenced Ritchie was with Leslie’s tone and Leslie’s attitude towards playing. So since we were playing Mountain songs, and I have to explain that we were playing Mountain songs the way that they were played when we first released the Mountain records. You know, Leslie and I would jam the last last 10-15 years on some of the songs, and go way off the songs, where people wouldn’t even recognize it. So Warren Haynes, from Government Mule came to see me one time, and we were talking and he’s a big fan, and he says “I like it, but I don’t recognize the songs anymore – you’re going off, I didn’t even recognize Mississippi Queen.” – And what he was saying was that Leslie and I were just jamming too much. So why don’t I, when I put the band together with Ritchie and Mark and going Europe, arrange the songs exactly like they are on the record. And it paid off. I don’t think there’s millions of Mountain fans, but the ones that showed up were so appreciative that we played it that way. You know in “Nantucket Sleighride” we put the piano in the beginning, the intro, and it worked. We were very specific and deliberate in the way we played the songs and the way people heard it originally. Because, keep in mind, we’re over in Europe and it’s been 50 years since Mountain Climbing, and people are still coming out for the material.

The other thing that came out was the reissue of Pompeii : The Secret Sessions album. Are you happy with that reissue as well?

This record company found this, and you’ll notice the name of it The Secret Sessions, it’s because nobody ever found out about it. It was a compilation of songs I’d record with different people – Eric Clapton, Ian Hunter, over the years. and this record company, the same record company previous to putting out Toledo Sessions, this was 6 months before that said ‘do you mind if we get permission to put out The Secret Sessions on vinyl because of the archival value of it, and I said ‘great!’ So they wanted to release Pompeii on Record Store Day, and I said ‘fine, you know the repertoire is there’, and we added a couple of bonus tracks, where Jason Junior played the drums on “Growing Old With Rock n Roll”, which was a favorite of Jason’s from a-way back on my solo record. And in capsule form Kevin – Pompeii was a one-off. And to show you how surprised I was, they said ‘we’ll press a couple hundred vinyls’, and I said fine. And Sony got orders for over 1500 vinyls, and they all sold out. I’ve only got one copy, myself. And of course, they’re going to re-release an orange acetate. And apparently the audiophile collectors save those, and I don’t know, it’s new to me. And that particular compilation goes back over 30 years [Ed 40]. People love it. Mick Ronson was brilliant on “The Outsider”. It’s a killer song that Ian was going to throw away! It was in his garbage basket when I went to his house to work with him. I said ‘what’s this?’, and he’s ‘ahh, it’s a fucking ballad, I’m a rocker, I don’t really like ballads’, he says. But he wrote some of the most beautiful ballads in Mott The Hoople. And when you hear it I’m playing the mallets, on the tom-toms, like a ghostly kinda pulse. I love that song! I had a great time with that record. It was done over a period of time and place. And I have to say people like it.

Do you foresee yourself doing a follow-up to Toledo Sessions?

Absolutely! I’m going next week to start doing the demos with a friend of mine there. thing is you can’t go anywhere right now. So to answer your question, we’ll definitely be following it up with another record. Not sure if we’ll call it Corky Laing’s Mountain . The record company wanted to put the Mountain thing in there, and I had no problem with that. And Leslie had no problem with that, he loved the record. I got the endorsement from him because at the time, he told me ‘get a guitar player that can read you as a drummer.’ And that’s when I met Chris. And if I may say so, Ritchie Scarlet was a student of Leslie West, and when we play Mountain songs he [Ritchie] nails it.

You did the Leslie West Band album from 1975, with Mick Jones, and a few other people. That’s an album I really love. Do you have any recall on that album?

What happened there on a business level, Mountain with Felix had just disbanded, and the label – I’m not sure what happened with them, but our manager started a new label called Phantom Records with RCA, and they wanted to put a record out. And Leslie, at that point was thinking ‘where we going with this? We couldn’t call it Mountain, that wouldn’t be fair.’ So Leslie said ‘Do you mind if we call it the Leslie West Band?’ And at the time we had brought in Mick Jones from Spooky Tooth. You know, he was over in England, and through friends and management he wanted to come over. So I was with a guy named Miller Anderson, and we were importing musicians, it was a flowing time Kevin, people were searching for places to land – musicians were looking for places to hook up. And Leslie and I had to really get together and write songs, and I believe “Down By The River” was one of the songs on that record that I played on my solo record that Eric Clapton played guitar on; he really liked it. This was when I was doing my solo record in Macon, Georgia. So what happened was as things moved along, Mick Jones had came in the band, and I was having a difficult time personally, and I left, and Carmine Appice slipped in.

Carmine did the live shows?

He did 1 or 2. I left to do my solo record, and I was having a hard time with Leslie. It was a rough time for us. I called it the ‘7 year bitch’. Leslie and I had been together for 7 years, and I was in a bad head-space, and I wasn’t happy with my playing, so I left, and Leslie went off and did his own thing at that point. And I went to my solo career, which was ’76-77. I have fond memories of Howie Wyatt playing keyboards on that. Howie Wyeth was Andrew Wyeth’s grandson, the artist Andrew Wyeth. And Howie and I became very good friends, and actually Howie introduced me to Kiki Friedman and I would go every Sunday to the Lone Star cafe with Kiki Friedman. That was a time I was bouncing around, bouncing around like a bloody basketball, but it was fun. I have no bad memories of that.

On this album there’s a guy name Ken Asher credited on piano…

A lot of those guys were studio guys. You’re right about that. We did the Leslie West Band, and then he did The Great Fatsby that he put out, and I think I played a couple of tracks on that.

You played drums along with Nick Ferrantella on that album.

Yeah. Nicky Ferrantella was a very close friend of mine, he just passed away last year. He and I were friends when I had my local band in Nantucket, and so when I went in to work with West Bruce & Laing he became my drum roadie, because I wanted to have a friend with me. So for a couple of years, he was my drum roadie, because he’s also a drummer. We had a good time on the road. And I went off the road after West Bruce & Laing, and Nick went off to work with Mick Jones because of the affiliation with Leslie West. And he worked for Foreigner for years. He was a good drummer, and we did a couple of sessions for a couple of soundtracks, which was fun, in Nantucket.

I picked up this album a year ago [Leslie West Band], and i really like the track “Money” ….

‘Whatcha gonna do with the money’ , yeah !

And the “Dear Prudence” take – that was another one. That was very unusual.

Leslie always wanted to do a lot of covers. To take you back – Felix was dead against doing any covers. And Leslie, when he was on his own, he said ‘I want to do these songs’. So that’s why. And “Dear Prudence” was great. I loved that version.

“We Gotta Get Outta This Place” was the other cover.

OK, that’s right…you’re shaking my brains up, Kevin. I gotta think about it.

The other album I’m curious about is you did an album with a band called The Mix, in 1980.

That’s was sort of the new wave, when we came in to the 80s. All the records before that, we were considered the dinosaurs. Then all the punkers came in. I met this guy Stu Daye, through this producer Jack Douglas – the guy who produced Aerosmith. Jack introduced me to Stu Daye. I went to New York to find a band, and they said I had to cut my hair. I felt like Samson ya know, all that rock n roll glam-rock / heavy metal hair – I cut it shorter, so it was more ’80s. And I got together with Stu Daye, who at the time was a local hero in New York, and David Grahame who wrote that song ‘all I wanna do is be with you’ [sings], you know the song by Big Star or something!? Anyway, he was the bass player. And the keyboard player was Chris Meredith. So we lived in New York and we played all the New York clubs. And we were managed by Leber-Krebs, they had Aerosmith, it was bigtime. And they did a great job. And they started their won label called Word Of Mouth. So if you can’t get the record, that’s why, it was a very small label. And quite frankly it was a great little album, I think. But it was on a much smaller scale, the songs were like 2 minutes.

I was curious about that album, as Stu Daye did some stuff with Neal Smith of the Alice Cooper group. And you guys did a cover on there of a song called “Love Is Rather Blind”, which was originally on the Billion Dollar Babies [band] album a couple of years before. How did that come about?

I don’t know too much about that Kevin. But I know Stu, he worked with Cyndi Lauper for a while, when she was local. He’s living in England now. He shows up now and then. Stu is a really good musician. He was a good guy, but he just had no control over his career, he was all over the place. But – a very good musician! And I always liked his voice; he had a really high voice, and it would either drive you crazy or put you to sleep; it was really something.

You did a couple of Mountain albums with Mark Clarke on bass. Do you still have contact with Mark?

Yeah, as a matter of fact he’s playing with Colosseum now. I spoke to him a couple of weeks ago because Leslie had passed away and Mark called me with condolences, and I spoke to him, and he’s doing quite well. We did a couple of tours back then; we did a couple of European and UK tours with Mark.

Yeah, there’s a lot of stuff on Youtube, even from the mid-’80s as well [with Mark].

Are they good? [haha]

There’s some professionally done stuff – TV shows, full shows…

The Dennis Miller Show is the one we did with Ritchie Scarlet for the first time, this was way back in the ’90s. We played “Mississippi Queen”. And Leslie had lost a shit load of weight, because he had lime decease – I didn’t even recognize him! And I hadn’t seen him in 6 years, I was working at Polygram Records as an executive, and he called me up and said ‘David, Dennis Miller wants us to play on this new show he has, do you want to fly to LA?’, and I said ‘Hey, why not!?’. I had a great time. And at that time we al hadn’t seen each other in 6 years, and of course we all remembered “Mississippi Queen”, it wasn’t difficult.

Are you much of a collector of vinyl, do you keep much stuff?

I used to. My son took over my vinyl collection. He has a shitload of stuff. He’s up in Richmond Hill, north of Toronto. I moved down to the States, and I left all my gold records and my stash with Colin; so he is the gatekeeper to all that. But yes I do have quite a few vinyls here, and my son bought me a phonograph player for my studio here, a little portable one, and he has the big one. What I did was I left everything with Colin up there.

The first time I spoke with you was when the first album with Eric Schenkman came out, and you were living in Toronto.

The old Cork band, yeah, we had Noel Redding on bass – that was a lot of fun! Eric is an amazing player. And I met him when I was in New York, and he said ‘let’s get together and jam’, and little did I know that he was moving to Toronto, and that’s where I was living, so.. We hooked up, and quite frankly Speed Of Thought is one of my favorite material records because Eric’s a great writer and a great player. Kevin, I have been really lucky with the musicians I have met and I have played with – I just want to make that clear. I don’t want to boast about what I do, and I will boast about being really fucking lucky because that takes a lot in this business. The first thing you need is a pulse, and the second thing you need is luck to get on.

You’re originally from Montreal. Do you keep up with the Canadian scene?

I would go to the Forum all the time, I was a very big Habs fan, you know when they had the royalty like Maurice Richard. But I am a huge Habs fan, but I don’t keep track of the players right now. And the way the season is this year I can’t keep track. I was a big fan of baseball and Warren Cromartie and Bill Lee, when they played with the Expos. And I did a movie, actually with The Mix, with Stu Daye, we did a movie theme for The Bill Lee Story – I Lost A Grounder In The Sun was the name of the sub-title . And I got to know all the Expos at the time, that would’ve been 1981. When I moved to Toronto I had to be careful because I’m not a big Toronto fan – of any team. Down deep I am very Canadian. I keep track of a lot of the comedians and a lot of the actors that are Canadian. And you know when a Canadian crosses the border in to America, they’re going to try ten times harder, that’s why – Lorne Michaels and the keyboard player from David Letterman – all those guys are Canadian, and people seem to respect the Canadian performers and creative people because they try that much harder, I think – That’s my feeling. There’s something a little extra stock in Canadians when it comes to the creative atmosphere, and that loop. I’m very proud to be Canadian.

Going back to Montreal in the late ’60s, early ’70s – there was a good scene, you had Mashmakan, you had April Wine starting out. Were you familiar with any of those guys back then?

JB and The Playboys, Al Nicholls used to get in touch with me. The Mandala used to come to Montreal [Ed- Mandala was Dominic Troiano’s band]. We played with The Mandala at the Prempter [sp?] lounge, they were playing next door at the Knickerbocker lounge, this goes back to the mid ’60s. The list goes on – The Haunted, I remember all those guys, they were terrific. We did a TV show ‘Something 65’ , or weird little Dick Clark type of show for the Canadians and they did a reunion, and it was a lot of fun. But I don’t know what’s going on these days up there.

The last few years when Leslie was ill, and unfortunately passed last year, can you give me a bit of your memories of him, your first impressions of him and sort of the impact he had on you, and how you got on with him the last few years?

I’ll tell you what it is, Leslie and I were brothers from another mother! we were really close – even in contracts and in divorces; you name it – we’ve been through all of that – record deals, musicians, Leslie and I were in and out of that like sibling rivalry. But if I could make one statement that rings true is that I had the very best of times, at certain times with Leslie West. I mean, we were on top of the world, for years, in and out. And even though the band fell from grace for whatever reason, because of the punk rockers or whatever, I don’t believe that – I had a great great run with Leslie. He had a few personal problems that he had to deal with every day, he was very diabetic, so am I, but he was number one. All I can say Kevin is that here was no better musician to play with, and when I say ‘play’ I talking about – just get right out there – than Leslie. He had the most amazing tone, and above all he had one of the best rock voices ever! and all those guys – Rod Stewart, Paul Rodgers, they all loved Leslie’s voice, and they loved his guitar playing. And in a strange way Leslie never gave his voice much credence, his whole thing was he was a guitar player, but I always loved his voice. And as a matter of fact the last record we did was The Masters Of War, and at the time I didn’t have any ideas to write and neither did he, so what we decided to was – he started playing “Blowin’ In The Wind” by himself – acapala, at certain shows, and people loved it. And Leslie said ‘why don’t we do a whole bunch of Dylan stuff our way!?’, and we did – The Masters Of War – The Mountain versions!

And it was a great time; I think it’s a really great record, we really loved the sound of that record. And here’s the thing, we really didn’t have to worry about writing songs, we had the best songs in the world right there, all we had to do was interpret it. And like I said before I brought what I thought I wanted to bring to the Dylan songs, and Leslie brought what he thought should be his contribution, and it was a lot of fun when you don’t have to worry whether people like the song or not. There was very high points on the Mountain, very high points. And i don’t like to bring up any negatives in any of this business because it doesn’t do you any good. Everybody has their fall from grace, and you fall down and it’s how you get up. And right now Kevin, I’m doing the best I can to get up because a lot of our brothers and sisters in the music business have taken the Nantucket Sleighride, within the whole music promotion and business, and they have not come back. The whole trip in the rock industry is you give up everything to go out there, and again, sometimes you never come back. And we’ve lost a lot of them in the last 3 or 4 years. And I feel very blessed that I am still here talking to you. Here I am talking to you about my history in the music business, and I am very very lucky.

You put out a book a few years ago as well.

Letters to Sarah: Laing, Corky, Takala, Tuija: 9789529415304: Books -  Amazon.ca

Kevin, get the book, because it does have a lot about Montreal, it’s about me growing up in Montreal, and going to New York, etcetera. The book is called “Letters To Sarah”, Sarah’s my mom. And when I was all Toronto and Quebec, in all these shitholes, I would be alone in the hotel room, and I would always write my mother. I wanted to keep in touch with her, she was always worried about me. I have a bit family, I have triplet brothers, a sister, and the only time I got her gratification was when I wrote her letters. So from the early ’60s to the late ’90s, even when I was playing Carnegie Hall – I’d go back to the hotel or wherever I was staying, and write her a letter, and tell her all about it. So what we did Kevin, is we took all those letters, and when I say ‘we’ – it was with my manager Tuija Takala, she’s a Finish academic doctor, and we wrote the book. She took the dates of all the letters, and in between the dates I would talk about where I was, what I was feeling, I would expand upon that time. And that is why the book is called “Letters To Sarah”. It so happens it sort of reads like a memoir, but that’s alright. Get it, it’s on Amazon.

Anything else on the horizon?

Yeah, everything’s all on the horizon now. We have a new booking agency, and we’re going to start booking August to the next decade! I’m looking forward to a lot of shows. I’m looking forward to playing with Ritchie and recording with Ritchie, playing with Mark and recording, and we’re going to expand the actual performances with videos and back screen, try to bring it up to date, even though we’re old school we’ll bring up the performances. And right now I’m going to focus in on that while I’ve still got a pulse.


Musician | Corky Laing (corkylaingworks.com)

Prudential Music Group

(7) Corky Laing | Facebook

The Story of Pompeii – Long Lost Corky Laing Supergroup Recordings to Be Released on Record Store Day – Music Life Magazine

Letters to Sarah: Laing, Corky, Takala, Tuija: 9789529415304: Books – Amazon.ca

KJJ, May, 2021

Cactus – Tightrope


Cactus returns with a new album titled Tightrope, their first in 5 years. The band were originally founded by [then former] Vanilla Fudge members Tim Bogert [RIP] and Carmine Appice, along with guitarist Jim McCarty [ex Mitch Ryder & The Detroit Wheels] and singer Rusty Day [ex Amboy Dukes], making the band something of a ‘supergroup’ at the time, and would be dubbed ‘the American Led Zeppelin’ for their blues rock approach. In 2021 the band is still lead by the legendary drummer, and includes longtime members Jimmy Kunes [vocals], guitarist [and co-producer w/ Appice] – Paul Warren [ex Rod Stewart, Rare Earth..], Randy Pratt on harmonica [The Lizards], and bass player Jimmy Caputo. Tightrope also includes guest appearances from Jim McCarty, Phil Naro, and Pete Bremy.

Featuring 12 tracks of varied blues and blues rock, Tightrope is a good album to get in to and enjoy multiple plays, with so much to offer. Notable is the rocked up cover of “Papa Was A Rolling Stone”, a song that Warren played on as a session for The Temptations decades ago. Other highlights include blues rock numbers “Primitive Touch” and “Elevation”, as well as the epic atmospheric piece “Suite 1 and 2: Everlong, All The Madmen”. Dig the closing track “Wear It Out”, a cool rock tune, with the added bonus of featuring McCarty and Naro. *Available on CD or a nice looking 2 LP gatefold, colored vinyl.

Classic Rock Legends CACTUS Balance Power & Precision On New Album TIGHTROPE! | Glass Onyon PR

Cactus – Tightrope (Limited Edition Colored Double Vinyl) – Cleopatra Records Store (cleorecs.com)


KJJ, 04/’21

Corky Laing’s Mountain – The Toledo Sessions

Corky Laing’s first solo studio album since 1977’s Makin’ It On The Street, Toledo Sessions was released on CD in September of 2019, which has been followed up by a limited orange vinyl edition [along with a vinyl reissue of The Secret Sessions w/ various ’70s legends like Ian Hunter, Mick Ronson, Clapton, Dickie Betts… from ’99] . Toledo Sessions is a return to a classic blues hard rock sound, with plenty of variety, and great playing – which should appeal to Mountain fans. On it Laing teams up with Mark Mikel [ex The Pillbugs, The Sprags], and whom guested on the last Alan Parsons’ album] who handles bass, engineer, and co-produces, along with blues guitarist Chris Shutters [who released his first solo album in 2019, as well]– both share lead vocal duties.

“Beautiful Flies” kicks off this album, and it’s a great heavy blues rock tune, and there’s plenty of heavy blues riffs rock, combined with more laid back melodies, and cool tracks in “The Road Goes On”, “Knock Me Over”, “How’s The Weather” [riff reminds me of The Allman Brothers], and the outstanding “Information Overload”, and the summertime ballad “Earthquake” [great ’70s vibe here] . A solid album of 9 tunes, well written and produced.

“The excitement brought on by the new repertoire is reminiscent of the classic Mountain albums, Climbing! and Nantucket Sleighride.” [from Prudential website]

After 50 Years Drummer Corky Laing Is Still Climbing the Mountain! | Glass Onyon PR

*For ordering: Prudential Music Group

Musician | Corky Laing (corkylaingworks.com)

KJJ, 04/’21