Tag Archives: British Rock

WYTCH HAZEL to release fourth album

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British heavy metal band WYTCH HAZEL will release their 4th album June 2nd. Wytch Hazel, who also include elements of folk and prog, along with Christian based lyrics, also have a brand new video out for “Angel Of Light”. Citing the likes of Blue Oyster Cult, Iron Maiden, Deep Purple and Led Zeppelin (among others) Wytch Hazel’s music has a wide appeal to 70s classic rock fans. Two tracks from their forthcoming album IV: Sacrament can be heard and purchased at the band’s Bandcamp site – the above mentioned “Angel Of Light” (nice Thin Lizzy vibe), and the excellent “Digging Deeper”, which has an early Wishbone Ash feel. The new album features cool artwork from Nathaniel Winter Herbert, and will be out on Bad Omen Records (see SPELL, BIRTH, SATAN’S SATYRS) in multiple formats, including colored vinyl. *for album & merch orders – https://wytchhazel.bandcamp.com/album/iv-sacrament?from=fanpub_fnb

*Check out more info on the band below (from band’s site Bio) and links.

For many all-time-great rock bands in the ascendant, the fourth album is often the point where youthful years of febrile creativity and progressive momentum culminate in a masterwork for the ages, setting the seal on an early signature sound while opening it up to future possibilities. From enchanting 2016 debut Prelude, through 2018’s assured II: Sojourn, to 2020’s wizardly III: Pentecost, each Wytch Hazel album has embodied that old-fashioned notion of unstoppable progress, and the glittering treasure chest that is IV: Sacrament proves eminently worthy of rising to the toughest challenge. Not just the Lancashire quartet’s most classically beautiful production, but their strongest yet front-to-back collection of affecting hooks and ageless melodies.

A very tough challenge it was, too; records this good don’t get banged out willy-nilly, and Jimmy Page, Ian Anderson and Freddie Mercury didn’t have to fit recordings in between day jobs and school runs. “This album has been a trial,” sighs founding singer/guitarist Colin Hendra with his head in his hands, his voice full of cold. “It’s been a tough few years for everyone, which plays into it, but it was exhausting. Working full time, trying to be a dad and husband, running the band, writing the albums – and being a complete control freak about every aspect of the process…” Colin breaks off and chuckles at his Eeyorish approach to album promotion. “But there’s no gain without pain!”

The triumphs and tragedies are written all over IV: Sacrament. Working closely again with regular producer Ed Turner, Colin’s God-given gift for diamond songwriting has been enhanced to majestic proportions with Ed’s Roy Thomas Baker doozy of a production job, his expressive sonic trickery sublimely underscoring the varied musical moods. “Me and Ed like the same albums, so we’re singing from the same hymn sheet every time,” enthuses Colin. “We love the Sabbath production, obviously Martin Birch, and the Queen albums; we want it to sound like Wytch Hazel, which it kind of always does, but we want it to also have that classic sort of quality.”

Colin describes his working relationship with Ed as “perfectionism amplified. We’re a good match but bad at the same time! It takes ages to get an album done, but if it’s going to be done we want to do it right.” The new studio looked promising: a converted Baptist chapel in rural Wales, chock full of vintage gear. However, with personal reasons forcing drummer Jack Spencer to step back from the band (subsequently departing in September 2022), Colin took on the additional laborious task of completing all the drums himself. As well as all the vocals, lyrics, lead guitar and drums to fret over, there were so many mysteriously blown cabs, amps and vocal cords you might suspect the Devil was trying to stop anyone else getting the best tunes. “I don’t know why we have such bad luck,” groans Colin. “Engineers were scratching their heads, like ‘how have you done this?!’”

photo- Sam Scott Hunter

Now Sacrament is finally offered – and sounds as fantastic as it does after all the blood, toil, tears and sweat – you might think Colin could finally bask in the glory of this resounding achievement, but he’s not even fully comfortable taking credit for his own songs. “When I listen back there are multiple times when I’m like, I don’t even know how this happened,” he ponders. “I know I wrote it, but I don’t feel complete ownership over them. It has that sense in which… there’s something else, and I’m a part of it.” On previous albums, specific influences were readily discernible, and although Angel Of Light tips a nod to Angel Witch and Endless Battle nails the sweet spot between Steeleye Span and Judas Priest, Sacrament’s ten songs zero in on a sound and style that’s all their own. With assertive, explosive earworms like The Fire’s Control, Strong Heart and A Thousand Years and the profound emotive magnetism of Time And Doubt, Deliver Us and Digging Deeper, Wytch Hazel revel in their distinctive Wytch Hazelness. Colin’s Christian faith continues to inform much of his lyrical outlook, but there’s a disarming openness and emotional force that might have you reaching for the Kleenex.

“It’s some of the most honest songwriting I’ve ever done,” Colin reflects, “and they come from a darker place, I think. I’m getting older, that comes through in some lyrics: ‘see my body breaking’, ‘I’m digging deeper’, ‘time’s running out…’ I struggle to see the positive a lot of the time, so the songs end up being negative, the subject matter coming from constant striving.” Among all the doomsayer tendencies, gorgeous sylvan acoustic strum Future Is Gold proclaims a radiant optimism, but it’s more hope in the eternal than an expectation of earthly improvement. “It’s rooted in scripture,” Colin explains, referencing the Book of Haggai: ‘the glories of this latter house will be greater than the former’. “I struggle to believe that half the time, with the state of the world, but who knows what level that is? Will the afterlife be better, when all suffering has ended, or is what we see as better not actually better? If things are always going comfortably, it isn’t always the best thing for us. An element of suffering is necessary.”

Suffering has clearly been necessary for the creation of the fourth Wytch Hazel album; let’s hope for Colin’s sake the next one requires a bit less. “I’ve blown my own mind a bit,” he concludes. “And even after all this painstaking work, I still feel like I’ve only scratched the surface of what we could be doing musically. I wish I could have a month to work on one song, and go on a tangent a bit. I will in the future, it’s going in the right direction. I’ll get to the stage when I can commit more time and do an odyssey or something!” 

Credits:

Drums, Guitars, Vocals, Piano & Organ – Colin Hendra
Guitars – Alex Haslam
Bass Guitar – Andrew Shackleton

Mandolin & Mellotron – Ed Turner

Recorded at StudiOwz, Pembrokeshire, Wales
Produced and mixed by Ed Turner
Engineered by Owain Fleetwood Jenkins
Mastered By Terry Waker at Tonalex

LINKS:

http://www.wytchhazel.com

https://www.facebook.com/wytchhazel

https://www.youtube.com/wytchhazel

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SAXON – More Inspirations, out now

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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!

LINKS:

http://sl-music.net/en/artists/saxon/releases-saxon/1042-moreinspirations

https://www.saxon747.com/

https://www.facebook.com/SaxonOfficial

Album of the Day: CHARLIE’s Fantasy Girls

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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

Links:

https://www.facebook.com/groups/340469967728769

Charlie. Fantasy Girls. UK Tour. Original Advert 1976 (ref AD11824)

Album of the Day: PHIL LANZON’s If You Think I’m Crazy

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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.

Links:

https://www.phillanzonwordsandmusic.com/

https://getreadytorock.me.uk/blog/2018/02/album-review-phil-lanzon-if-you-think-im-crazy/

Album Of The Day: BADFINGER’s Wish You Were Here

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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

Links:

The Dramatic Conclusion of Badfinger… And the Lost Album You’ve Never Heard

https://ultimateclassicrock.com/badfinger-wish-you-were-here/

https://www.superseventies.com/spbadfinger2.html

SAXON release single/video for cover of “Razamanaz”

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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”.

Frontman Biff 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.

Pre-order More Inspirations here

Links:

www.facebook.com/SaxonOfficial
www.instagram.com/saxon.official
www.twitter.com/SaxonOfficial
www.youtube.com/PlanetSaxon
www.saxon747.com

URIAH HEEP’s Phil Lanzon: Chaos & Colour interview

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from- https://markusheavymusicblog.org/

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.

Links:

http://www.uriah-heep.com

https://www.facebook.com/uriahheepofficial

https://www.phillanzonwordsandmusic.com/

*UH live photos courtesy of Markusheavymusicblog , from Hamburg, Germany, September 2022. See more HERE.

DANIEL BOONE – RIP British musician/songwriter

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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”.

LINKS:

http://www.brumbeat.net/bruisers.htm

http://www.davidbyron.net/

https://www.discogs.com/artist/1522711-Peter-Green-10

http://www.rtlmusic.co.uk/danielboone.html

http://www.california-ballroom.info/bands/peter-lee-stirling.htm

GALLERY:

YES announce new album, single

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photo by Gottlieb Bros.

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. 

Pre-order now here: https://Yes-Band.lnk.to/MirrorToTheSky  

Tracklisting: 

CD1: 

Cut From The Stars  

All Connected

Luminosity

Living Out Their Dream  

Mirror to the Sky

Circles of Time

CD2: 

Unknown Place

One Second Is Enough

Magic Potion

YES ONLINE: 

www.yesworld.com   

www.facebook.com/yestheband   

www.twitter.com/yesofficial   

www.youtube.com/user/yesofficial   

www.instagram.com/yesofficial   

www.soundcloud.com/yesofficial  

WHITE SPIRIT – release video for instrumental track

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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.

Links:

https://white-spirit.co.uk/

https://www.youtube.com/@whitespirit1082

https://www.facebook.com/profile.php?id=100057431412727