SAXON recently released a sequel to their 2021 covers’ album Inspirations. So, More Inspirations is 10 classic rock songs that have been been given the Saxon treatment. I do Not normally like or buy covers’ albums, but the 2 Saxon have made I am happy with. The band tends to choose plenty less-then obvious gems to include. They also keep the production simple, without adding things that are not part of the song or not part of the Saxon sound, hence there’ s no keyboards on the likes of “Gypsy” (Uriah Heep), or “Man On The Silver Mountain” (Rainbow), which is fine, both still sound great!.
Favorites here include the band’s takes on “Tales Of Brave Ulysses” (Cream), “Substitute” (The Who), “From The Inside” (Alice Cooper), and Nazareth’s “Razamanaz”, which suits Saxon & Biff’s voice perfectly! Love the band’s performances here, and Biff has one of the most recognizable voices in British rock. Well worth checking out!
CHARLIE was a British band, that initially started out as a fairly hard-rock guitar band, and it’s the band’s 1976 debut album Fantasy Girls that is easily the best in their catalogue (IMO). The band here comprised of Terry Thomas (lead vocals, guitar), John Anderson (bass, backing vox), Steve Gadd (drums, percussion), and Martin Smith (guitar, backing vox). Fantasy Girls came with different covers for each side of the Atlantic; I prefer the UK version, subsequent albums would feature models on the covers, which were an improvement.
As for the songs, this album is full of great guitar, with plenty of different styles and blends, heavy in places, harmonies, melodies… Not quite an overly heavy band, but holding back with smooth production, and a variety of cuts. Some massive solos, like these guys were torn between wanting to be an-out 2-guitar hard-rock/metal act and vocally an American smooth sounding AOR band. Regardless, every track is good here, but highlights have to be the title track, as well as “Prisoners”, the single “TV Dreams”, and the closing straight ahead rocker “Summer Romances”.
There’s not a lot out there (that I could find) in the press, and I suspect it wasn’t huge at the time. No North American single. Follow up albums seemed to get somewhat softer and smoother (tho’ I do like No Second Chance and Good Morning America!). Fantasy Girls has been reissued a few times – including one from Renaissance Records in 2006 with Another cover! Drummer Stephen Gadd would go on to be a drum tech for Iron Maiden years later, and Terry Thomas would become a major producer, notably with Bad Company in the ’80s (notably with Tommy Shaw, Bad Company, Foreigner, Giant, and Tesla).
CHARLIE- Fantasy Girls, Columbia PC 34081. Good, straight -ahead rock set from British quartet who approach rock in a simple, forward fashion. Good lead and good harmony and backup vocals, with lyric quality better than in most of the newer rock groups. Nothing extreme, as the band stays away from the heavy metal syndrome. More along the lines of some of the better fun rock of the ’60s. Best cuts: “Fantasy Girls,” “Don’t Let Me Down,” “First Class Traveller,” “Please Let Me Know,” “Summer Romances.” Dealers: Several potential singles here. – Billboard
CHARLIE: ‘Fantasy Girls’ (Polydor Super 2383 373) When I saw Charlie on the Old Grey Whistle Test, I thought they were tedious Their album, however, shows a much tighter control of the music then the live appearance. Their main problem scorns from a lack of originality. Their playing is competent but couldn’t be distinguished from the sound of a 101 other bands. Their lyrics aren’t exactly gripping either, le: “I have my dreams although I’m broke, acute skintitús is no joke.” That speaks for itself I think. – Rosalind Rusael, Record Mirror
Well, being Phil Lanzon’s birthday I thought to pull this one out, from Uriah Heep’s keyboard player and a major songwriter. It is an album I never tire of! Phil’s first solo album, from 2017, From the eye-catching cover art courtesy of Michael Cheval through all 10 tracks – this album really has it all with catchy swinging pop rock like “Lover’s Highway”, to heavy keyboard prog in “Step Overture”, to acoustic tale-telling ballads like “I Saw Two Englands” and heavy Heep-like prog-rock of “The Bells”. Really an entertaining and amazing package, especially the 2LP vinyl (which I have on this am).
Phil sings some lead vocals, as does John Mitchell (Lonely Robot), Andy Makin (Psycho Motel) and Andy Caine. Aided by Simon Hanhart (co-producer), Laurence Cottle (Black Sabbath), Richard Cottle (co-producer, orchestrations). as well as violin players, cello players choirs, pedal steel guitar (Sarah Joy), etc… *If you’ve not heard this, I highly recommend it! Phil followed If You Think I’m Crazy! up with 2019′ excellent 48 Seconds.
The last Badfinger album released while the original band were all still alive. Wish You Were Here was the band’s 7th album, and their best, IMO. A Vast improvement to the band’s 1973 self-titled album, both in songs and production. With money from the band’s label (Warner Bros) unaccounted for (courtesy of their manager), the album was quickly pulled from the shelves and taken out of print. A shame as Wish You Were Here could’ve been huge! Sadly that missing money and the album being pulled, lead to the band’s eventual break-up and the tragic death of Pete Ham. But, it remains a classic from 1974, still sounding fresh and energetic, with favorite tracks like “Dennis”, “No One Knows”, “Just A Chance”, and “In The Meantime / Some Other Time”.
*A 2019 compilation titled So Fine (The Warner Bros Rarities) was issued on 2 LP red vinyl, which included alternate mixes of Wish You Were Here tracks on 1 LP, with (previously unreleased “Queen Of Darkness” subbed in for “King Of The Load”
WISH YOU WERE HERE – Badfinger – Producer: Chris Thomas – Warner Bros. BS 2827 One of the most demonstrative British groups to take the country by storm, Badfinger continues its string of unique and challenging LP’s with this dynamic collection of tunes guaranteed to bring a smile to your face and raise your spirits. Impeccable harmonies, crisp arrangements and excellent selection of material earmark this LP as a sure-fire winner. We like “Just a Chance,” “Meanwhile Back At The Ranch,” “Got To Get Out Of Here” and “Should I Smoke.” CashBox, 10/26/74
British Heavy Metal legends SAXON unleash the high-octane second single, “Razamanaz”, from More Inspirations – out this Friday, March 24th via Silver Lining Music.
Following the release of Inspirations in 2021, More Inspirations is the second ‘deep dish’ serving of the influences which have fed the mighty Saxon’s immensely successful 40+ year career. The second single is a striking take on Nazareth’s “Razamanaz”.
FrontmanBiff Byford comments “In the seventies we’d go and see Nazareth they were one of the premier touring hard rock bands. We were lucky to tour with them in 1980, they used to open the show with this song, it’s about the audience performed to an audience… brilliant stuff!”
Watch/Listen to the recently released “The Faith Healer”, the “making of” video directed by Jay Shredder, at this location
Whether unveiling a sensational take on The Sensational Alex Harvey Band’s “The Faith Healer” (in the process showing the direct lineage from teenage turntables to international glory), getting feral with The Animal’s “We’ve Gotta Get Out Of This Place”, letting loose a high-octane take on Alice Cooper’s “From The Inside”, or laying down a ferocious tribute to KISS’ “Detroit Rock City”, More Inspirations is a joyous trip into the sounds which galvanized the Barnsley boys and continue to get spun on home stereos and tour buses.
Produced by vocalist/co-founder Biff Byford, with Seb Byford helping record the music alongside mixing engineer Jacky Lehmann, More Inspirations also includes enthusiastic takes on Alice Cooper, Rainbow, ZZ Top and Cream, as well as a thunderous “Razamanaz” by Nazareth, a tasty take on The Who’s “Substitute”, and a thick groove take on Uriah Heep’s “Gypsy”.
Whether this is your first dance with such classic songs, or you’ve come to see where Saxon were born, More Inspirations delivers the goods and then some.
URIAH HEEP”s Chaos & Colour has been out for some time now, and has been received enthusiastically and with great reviews from fans. Phil Lanzon, has been a major part of the Heep songwriting team since he joined the band as keyboard player. On Chaos & Colour Phil, along with founder/guitarist Mick Box, have delivered 6 awesome new Heep tracks. In this exchange Phil answers my questions pertaining to the band’s latest album, as well as what else he is up to. *Check out the links below!
With the pandemic and time away from each other and stage, was there more songwriting going on prior to recording Chaos & Colour? Was there an abundance of songs & ideas to choose from this time around?
Yes there was plenty of that. Mick and I wrote songs remotely during the pandemic. It was unusual but worked really well. There are songs and ideas left over, maybe for the next album, who knows.
You worked again with Jay Ruston. Was that an easy decision?
Yes it was easy. Our working relationship worked really well with Living the Dream so we wanted that to continue with Chaos.
Russell & Simon Pinto contributed 4 songs to Chaos & Colour. Was there some tough decisions in cutting down the number of songs?
Well there is always tough decisions when choosing the final songs. Especially as others band members are contributing; which we all feel has made for a great combination of material.
Chaos & Colour is a great follow up to Living The Dream, but I think a bit of a step up with more varied tracks trhoughout. Was there any deliberate move to try and include more progressive moments or ballads?
I personally always feel that there should be a prog section within a Heep album, specifically to keep variety in the material and also take the listener on a journey. It is a Heep feature that makes an appearance on many Heep albums from the early days to today.
Can you give me a bit of insight into some of the tracks- lyrically or recall on how it all came together…
I’ll keep it short. We always keep a strict eye on our lyrics that they don’t stray into the ‘norm,’ which is a pitfall of many artists, so we use the basic premise of positivity and the knowledge that there is good everywhere. You just gotta find it!
You seem to have a few new keyboard sounds on this album, such as on “Fly Like An Eagle”. I get a bit of Dream Theatre feel in there. Can you touch on any new sounds, approaches or equipment?
Not a great deal of new sounds, I was just messing around with a mini-moog style sound and decided it worked for the track.
“Age of Changes” is a fantastic track (my early favorite). Can you touch on this song?
I wrote this lyric based on my first childhood sweetheart. A story I’m sure will resonate with so many. We go through so many changes in our lives but the first real awakening to that fact hits most of us in the school yard.
You guys recently completed the 50th anniversary tour. How did You enjoy the shows? Any highlights or favorite moments in the set for you?
We all enjoyed the tour, it was a huge success as far as we are concerned and made a whole lot of Heepies very happy. The acoustic show was well received and was a joy to perform.
Phil, in your time awaiting the next Heep tour – might you be working on another solo project, book, or any guest appearances anywhere?
I am at the moment trying to sell my Musical, I mean, musical theatre. It is a full length musical about Ellis Island New York in 1917. The script is with an American producer as I write.
What are you listening to these days? Any current (new) favorites?
Nothing new at the moment. I am immersed in my artwork right now. Check out my Instagram.
British musician/singer/songwriter and producer Peter Green (best known as Daniel Boone) passed away January 27, in Paignton Devon, UK. Boone was best known for his 1972 international hit single “Beautiful Sunday”.
Born Peter Charles Green on July 31, 1942, the singer had a lengthy career dating back to the early ’60s with such bands as The Beachcombers and The Bruisers. He soon started using the name Lee Stirling, then Peter Lee Stirling, and recorded a number of singles under that name. Some of his songs were recorded by other artists during the ’60s as well.
In 1971 Green adopted the name Daniel Boone and recorded a number of albums, and having other such hits as “Annabelle” and “Sunshine Lover”. He’d also recorded for Avenue Records (cover versions), Bell Records (singles), and recorded rock albums with studio bands Rumplestilskin and Hungry Wolf.
Boone also had a working relationship with David Byron (Uriah Heep), and co-wrote and produced Byron’s 1978 solo album Baby Faced Killer. The pair also worked on a number of disco/dance releases under such names as Warlord, The Intergalactic Orchestra, and Technique – who scored a hit with “Michael Angelo”. During this time at Old Smithy Studios with Muff Murfin, Byron wrote under the alias Mark Oxford, while bass player Pino Palladino (uncredited) was also involved. Boone ended the ’70s with his 1979 solo album All My Own Work (a Canada only release).
In the ’80s, as Boone, he released a solo album in 1985 – I’m Only Looking, and played on Peter Green’s (ex Fleetwood Mac) 1983 album Kolors. He also co-wrote 2 tracks that appeared on the first Byron Band single, as well as co-wrote and appeared on releases by guitarist Robin George. In the ’90s he recorded with The Troggs. There are a few clips on youtube of him appearing on TV in Europe performing “Beautiful Sunday”.
YES have announced the release of a brand new album, and follow up to 2021’s The Quest. The band’s 23rd studio album – Mirror To The Sky comes out in May, including 9 tracks, and featuring Roger Dean artwork. It is also features the lead off single / video “Cut From The Stars”, and is the first to feature Jay Schellen (ex Hurricane, Asia feat John Payne, Unruly Child) as YES’ fulltime drummer, taking over for the late Alan White . *check out the video below, as well as more info on Mirror To The Sky from the press release.
YES, who are Steve Howe, Geoff Downes, Jon Davison, Billy Sherwood & Jay Schellen, are pleased to announce their new studio album Mirror To The Sky on InsideOutMusic/Sony Music on the 19th May 2023. “This is a very important album for the band,” says Steve Howe, Yes’ longest serving member, master guitarist, and producer of Mirror To The Sky. “We kept the continuity in the approach we established on The Quest, but we haven’t repeated ourselves. That was the main thing. As Yes did in the seventies from one album to another, we’re growing and moving forward. In later years, Yes often got going but then didn’t do the next thing. This album is demonstrative of us growing and building again.” For Yes, that “next thing” is a collection of high energy, intricate, lush and layered new studio songs for an album which adds to the band’s much heralded legacy, while charting a path to exciting future times ahead.
As they were wrapping up The Quest, Yes found themselves with song sketches, structures, and ideas that were demanding attention. Yes received unconditional support from InsideOut boss Thomas Waber, who encouraged them to keep going in the studio, months before The Quest would even go on sale. It was like throwing gasoline on their creative fire.
“When we delivered everything, and they were just getting the vinyl and everything into production for manufacturing, we were still very much in that creative zone,” explains Steve Howe. “That belief that Thomas had in us really meant a lot,” he says.
“We truly get along as people,” says Jon Davison. “I feel like everyone’s focused inward to the greater circle, concentric to the core of highest standards that define Yes. It’s a wonderful thing to witness and of which to play a part. I believe this reflects vibrantly in the music and the creative input that each one is willing to apply, not for the benefit of the individual, but for the greater whole that is Yes.”
“There was a lot of material floating around because the band hadn’t done anything in the studio for so long. Ideas were just copious,” says bassist Billy Sherwood. “The pace of it was fast. As soon as we were finished with The Quest, and the mix had come out, we took a couple of little breaks there to catch our breath. But there was still music flowing around in the loop. It was just constantly being looked at and worked on. As we were all home and in that mode, things started progressing quite swiftly. We just went one album into another without really announcing, ‘Hey, we’re working on a second record right now.’ We just continued to work on material. It came about pretty naturally, and then we refined it as the process went on. But the initial bursts — there was a lot of material around!”
Much to everyone’s delight, including that of long-time fan Thomas Waber, Yes have pushed into territory they practically invented — the prog rock epic — albeit in a thoroughly new and modern way. “I always felt that it would be great to have stuff that’s a little bit more epic,” he says, although he resisted the temptation to push for something that would be too formatted and could come off as contrived. He just gave the band space to do what they do and let things develop. “They were so excited by The Quest and the momentum they had that they went straight back into the studio. What they were writing, even early on, was obviously headed in that epic direction — what Yes music really is to me. It is almost a genre onto itself. It is ‘Yes Music.’ Mirror To The Sky certainly is Yes Music.”
Mirror To The Sky features not one, but four tracks clocking in at over eight minutes, with the sweeping and cinematic title track coming in just shy of fourteen minutes. What’s more, the tracks, like Yes’ best, take the listener on a wide dynamically ranging journey of soundscapes which also showcase Steve Howe’s dazzling guitars, keyboard wizard Geoff Downes’ impeccable sounds, exquisite melodies and fills, Jon Davison’s angelic, crystalline vocals, Billy Sherwood’s deftly dancing bass and Jay Schellen’s masterfully controlled explosions, on drums.
Jay Schellen, who has been touring with the band since 2016, was hand-picked to step into his mentor and friend Alan White’s role when White sadly passed away in 2022. “I had done the 2016 Topographic Drama tour on my own for Alan,” says Jay. “From late 2017 onwards, we had a partnership, and a beautiful partnership, I might add. I learned so much, and discovered so much about Alan’s style, and why it was the way it was. It fit his personality so perfectly. This album has Alan’s presence all over it. It is inside of us. So this is still, in my heart, Alan just being present and with us, and with me, in a big way.”
‘Mirror To The Sky’ will be available on several formats, all featuring artwork by long-time Yes artist & collaborator Roger Dean:
Ltd Deluxe Electric Blue 2LP+2CD+Blu-ray Artbook with poster
Ltd Deluxe 2CD+Blu-ray Artbook
Ltd 2CD Digipak
Standard CD Jewel case
Gatefold 2LP+LP-Booklet
Digital Album
The Blu-ray editions include the album as Dolby Atmos, 5.1 Surround Sound, Instrumental Versions & Hi-Res Stereo Mixes.
British band White Spirit, who’s 2022 album Right Or Wrong featured previously unreleased tracks sang by the late Brian Howe (Bad Company), have posted a new video for the instrumental track of the song “Rock ‘N’ Roll”. This instrumental version is the Japanese-only bonus track. A great ’80s sounding fast paced rock track, love the synths throughout this. Check out the clip below (and others via their new youtube channel). Right Or Wrong featured a number of name players such as Neil Murray (Whitesnake, Black Sabbath) and Russell Gilbrook (Uriah Heep), as well as guest singers Jeff Scott Soto, Lee Small, and Steve Overland, all joining guitarist Mick Tucker and keyboardist Malcolm Pearson.
The band have recently announced their touring line-up, which (besides Tucker & Pearson), includes drummer- Kyle Hughes (Graham Bonnet Band), bassist- Steve Ireland, guitarist- Micky Crystal (Tygers Of Pan Tang), Lead singer- Alexx Stahl (Bonfire, Purple Rising, Viron), plus backing singers Ian Gillson, Linzi Hunter and Jackie Fox. As well, the band are signed on to play the Dominion Festival in the UK, May 7. White Spirit are currently finishing up work on an EP to be completed in March, which will include a pair of older songs, plus 2 new ones, and is being produced by Pontus Norgren (Hammerfall).
If you haven’t checked out Right Or Wrong from White Spirit, I recommend it; a classic ’80s style hard-rock album (see my review elsewhere here). Looking forward to the new songs, and possibly a vinyl release of Right Or Wrong.
Russell Gilbrook joined URIAH HEEP in 2007, and made an immediate impact with his drumming performance on Wake The Sleeper. Coming up to fifteen years since the release of that first album, Heep’s brand new album is titled Chaos & Colour, and Russell Gilbrook has not only given the band a strong boost of once again, but has also contributed 4 songs to the new album! Along with longtime friend and guitarist Simon J. Pinto, Russell also co-wrote the band’s newest single “Hurricane”. In this interview Russell answers my questions pertaining to the amazing new Uriah Heep album, his writing contributions, and more. Enjoy the read, and check out the new Heep album, as well as the links below.
You’ve contributed 4 excellent tracks to the new Uriah Heep album, co-written with Simon Pinto. First, can you tell me a bit about Simon and how you came to work & write with him?
I’ve known Simon for around 30 years and played in quite a lot of bands with him. He really understands my approach to drumming and rock music in general. He’s a great player and I knew the chemistry would work between us when it came to a writing process.
How did you and Simon write together — who came up with musical ideas, lyrics, etc…?
We got together and I gave him all my ideas of feels, grooves, chord progressions etc.. and he did his own research and familiarized himself with the Heep back catalogue and we slowly built up the songs from those initial ideas.
We wanted to write songs that had a storytelling element and wanted the music to help tell these stories.
Was there an abundance of songs to choose from for Chaos & Colour, more so than previous albums? How was it all cut down (producer’s choice?) And was there anything put to tape that wasn’t included?
Because of the lockdown situation, everyone was able to put down a lot of ideas. We had a lot of time on our hands. All those ideas were brought to the table during our two weeks of pre-production and we picked what we felt were the strongest ideas for the next album. Our producer, Jay Ruston, also had a say on which ideas he would like on the album.
The 11 songs were agreed and recorded in Chapel Studios over the three-week period.
Are there any plans to work on / record your songs that didn’t make the album in the future or with another project (solo or with Simon)?
Yes! All ideas that didn’t go on this record are saved and may be used for either a future Heep record or another project somewhere down the line.
Hurricane sounds like it will be a great live track. I know it might be a ways off, but have you guys discussed what songs from Chaos & Colour you’re probably going to include in the live show?
Well, we have no idea at this time what will make the live set but I’d definitely love to see it in there. What tends to happen is when we rehearse for touring the Chaos & Colour album, we’ll try out various songs from the album to see which ones we think will fit well with existing Heep songs.
You’ll Never Be Alone is an epic piece! Can you talk share a bit of what influenced this song lyrically and musically?
The story is about a child’s dream where fairies are luring and kidnapping children but this one particular child realizes that there is a problem and alerts the parents who then come to find the lost children and take them from the fairies’ grasp and when it seems like all the children are safe and well, the initial verse structure repeats, suggesting that it is a recurring dream and the fairies are up to their usual tricks. If you close your eyes and focus on the music, it really accentuates the story in a dramatic and magical way. It was really important for us to match the lyrics with the music, making it such an epic track!
Can you give me a bit of insight into Hail The Sunrise (a great catchy chorus), and Fly Like An Eagle (just an awesome hypnotic, progressive sort of song)?
Hail The Sunrise is going back to ancient times of how people erected these sacred formations and the blood, sweat and tears and long journeys that went into the process of moving the stone from one place to another, all for what they believed in. The dedication and devotion that ensured the formations at places such as Stonehenge, Gurung Padang and Gobekli Tepe stood through the ages is astounding and difficult to even comprehend! We wanted the chorus to be quite anthemic to represent the elation these people must have felt when these structures were completed and in use.
Fly Like an Eagle… On the surface it’s about meditation but it also touches on the indigenous cultural tradition of ‘Vision Quest’ – A spiritual journey to receive knowledge from the spirit world. The song was written to be uplifting journey for the listener, so hopefully, everyone gets those feelings from it.
Of the other tracks on the album from with Davey or Mick & Phil – what are a few of your favorites?
Save Me Tonight by Davey and Jeff Scott Soto is a killer, high energy track! We had no doubt Dave would bring something like this to the table after ‘Grazed By Heaven’. I also really enjoy Silver Sunlight by Phil and Mick. The dynamic changes within that song and the big melodic chorus are exactly what Heep fans love, but all in all, I think every track on the album has it’s strengths and the album has something to offer everyone.
There’s that cool little exchange between you w/ Mick and Davey, back and forth on “Freedom To Be Free”. A pretty intense instrumental section. Can you recall a bit about that song and section came together?
The song was written by Mick and Phil and we agreed that it would be great to have Davey do a bass solo in there. We played a musical phrase and Davey basically answered it. What that tends to do within a song is give it a bit of a cool musical expression to add a bit of interest. It’s the proggy part of Heep coming out, I suppose!
How did you approach this album playing-wise — anything different?
As a band, no, nothing different really. The song ideas determine ways to play and in the pre-production weeks, we try out a range of different approaches for the playing and find which works best. For me personally, the way I tackle the songs is pretty organic – When I hear the first demos I can already hear what the song needs and as I come from a session background and have played a load of different music styles I tend to have quite a few ideas on the spot and as a result, the drum parts come together pretty easily.
Prior to the release of this album you played on the White Spirit album. Can you tell me a bit about this project? How you got involved and all? Any plans to perform with the band live or on anything in the future?
Actually, Dave Ling (Classic Rock journalist) recommended me to Cliff Evans (Guitar) and Mick Tucker (Guitar) as they were looking for a drummer for the project. They sent over the rough demos and said that I was free to do my own thing on it. Unfortunately, due to the Heep schedule, adding in other touring responsibilities is quite difficult, however, I never say never if there is a gap in the Heep dates, I’ll be out there playing! I’m very happy with the outcome of the album and the songs are really good! It’s a great album, with awesome artists collaborating on it. I’d recommend people go check it out if they haven’t yet.
You’ve been in Heep now for 15 years. Have you ever sat and gone through the band’s Entire catalogue? And do you have a few favorite albums, and/or a few favorite tracks that might be considered ‘deep cuts’ or hidden gems in the Heep repertoire?
I wouldn’t quite say I’ve sat and gone through every album! Haha, but when we have rehearsal time to put together a new set, we tend to go back in the archives and find tracks which the band hasn’t played for a while, such as ‘Love Machine’, ‘Shadows of Grief’, ‘Wiseman’ and ‘Against the Odds’. As for albums that I love, ‘Wake The Sleeper’ is special to me because it’s the first album I played on, just a few weeks after joining the band and ‘Look At Yourself’ is such a Great early album for Heep that has the fantastic ‘July Morning’ and title track. Special mention goes to ‘Chaos & Colour’, of course as It’s my first contributions to the writing.
What sorts of music do you listen to at home (in car or at the gym)? Anything new you’ve been into lately? btw – Do you still buy albums – physical copies or mainly download or stream?
I like a varied amount of music – My car playlist is a bit of a joke actually! Haha
My car favourites go from the likes of Saxon and Judas Priest to Billy Joel and Oscar Peterson.
I’m really enjoying the new Ozzy album ‘Patient Number 9’ at the moment – I’m listening to it a lot in the car.
To be honest, I mainly stream because I only really get to listen to music in the car or in the tour bus. Unfortunately, streaming is the easiest way to access music in these cases.
Can you give me Russell Gilbrook’s Top 10 (favorite) Albums from your youth?
I struggle to name my top ten favourite albums from my youth! I have too many, but I can list 10 albums that I really like in general?
Outsider Rock 