British blues-rock trio Bakerloo was a short-lived outfit, who’s debut album became highly sought after, not just for solid heavy blues-rock on it, but also for the connections of the players involved. Bakerloo guitarist Dave ‘Clem’ Clempson – who would go on to Colosseum, Humble Pie, Rough Diamond; drummer Keith Baker – who would join the pre-Supertramp band ‘Daddy’, and then Uriah Heep where he’d tour and play on the Salisbury album, and bassist Terry Poole, who would later work with Graham Bond, and with Colin Blunstone (Zombies). Baker wasn’t the band’s first drummer, there were many – including Bill Ward (before him) and Cozy Powell (after him), but Baker was there for the majority of 1969 when the band recorded their lone LP. Released in the UK & Europe, Bakerloo consisted of 7 tracks , largely written by Clempson & Poole, It’s pretty heavy blues, blues-rock,a bit of jazz, jams, a few cuts without vocals. Clempson and Poole also sang a few songs each, and Clempson was also credited with harmonica, Harpsichord, and piano.
Bakerloo highlights included the Willie Dixon cover “Bring It On Home”, as well as “Gang Bang” – which is the lone track to include Keith Baker on the writing credits, and this is likely due to almost half of the track being a drum solo! There’s also the fast, energetic opener “Big Bear Ffolly”, and the 15 minute “Son Of Moonshine – which is an epic of blues rock, proto-metal, and a few tempo changes, a must hear for Clempson’s guitar playing.
There have been a few CD reissues of this, but the 2013 Esoteric package includes 5 bonus tracks, liner notes from Malcolm Dome, an interview with Clem Clempson, as well as various images – a much better prospect than holding out for an LP w/ original gatefold cover, which can fetch 200-300 $ US.
BAKERLOO “Bakerloo” (Harvest SHVL 762 stereo). IN the nouveau manner of jazz- rock fusions. Bakerloo are yet another group more musically competent than most. They tend to use attractive jazz percussion work combined with mediocre material-but basically they are a quality outfit. Musically, this LP is worth listening to-they are good. Interesting to hear further records. * * * * – Record Mirror, Sept 13, 1969
From 1971 to ’77 British folk-rock band UNICORN released 4 albums. Their most memorable being 1976’s Too Many Crooks, which was one of a few of their records to be produced by David Gilmour. Too Many Crooks was the band’s third album, but in Canada and the US, it was released as Unicorn 2, with different album artwork (the previous album Blue Pine Trees was issued as the band’s first, with a very similar cover to Unicorn 2). Too Many Crooks (or Unicorn 2) included the classic “No Way Out Of Here”, which David Gilmour would cover for his 1978 debut solo album, as well as the single. Gilmour is also credited with pedal-steel guitar on the title track. These guys were a mix of folk rock, country rock, and pop, with Too Many Crooks featuring 10 excellent songs written by Ken Baker, and added fine harmonies throughout the songs. Other favorites include “Ferry Boat”, “Easy” and “Weekend”. If you’re a fan of the likes of Poco, The Eagles, Crosby, Stills & Nash, you’d want to hear this. Too Many Crooks will be reissued on CD and Vinyl on May 12, via Think Like A Key Music. It will include liner notes by Dave Disano, rare photos, and the bonus track (outtake) “So Far Away”. *For more info check out the press release below, as well as links.
UK Country Rock Legends Unicorn’s Seminal Third Album Produced by Pink Floyd’s David Gilmour With It’s Reissue on CD & Vinyl
Enchanting British Folk-Rock and West Coast Vibes Return on May 12, 2023 courtesy of Think Like A Key Music
Unicorn’s captivating third album “Too Many Crooks,” produced by Pink Floyd’s David Gilmour, returns to delight fans and music aficionados alike with its reissue on CD and vinyl, set to release on May 12, 2023, through Think Like A Key Music. The album, originally released on EMI’s Harvest label in the UK and Capitol in the US, showcases the band’s unique blend of pastoral British folk-rock and evocative West Coast vibes.
The reissue invites listeners to immerse themselves in Ken Baker’s rich songwriting tapestry, woven together with Beatlesque melodies, tight performances, and a compelling sonic narrative. Tracks like the irresistible country-rock anthems “He’s Got Pride” and “In The Mood,” the funky groove of “Bullseye Bill,” and the tender, Big Star-esque title track effortlessly explore a diverse range of musical landscapes.
Although Unicorn’s proto-powerpop gem “Disco Dancer” did not achieve chart success, the haunting track “No Way Out Of Here” found a second life on David Gilmour’s debut album. This reissue is an essential piece of music history for any discerning music aficionado.
The album’s liner notes, written by Dave Disanzo, tell the story of Unicorn’s connection with David Gilmour, who not only produced the album but also played guitar on several tracks. “Too Many Crooks,” considered by many as Unicorn’s finest release, perfectly encapsulates the band’s brilliant songwriting, exquisite harmonies, masterful musicianship, and crystal-clear production.
The reissue includes rare session photos and lyrics, making it a must-have for fans and collectors. Don’t miss this opportunity to rediscover the enchanting sounds of Unicorn’s seminal third album.
About Unicorn:Unicorn was a renowned British rock band formed in 1971, originally known as The Senders. Their unique sound combined elements of country-rock, soft rock, and folk, creating a distinct and captivating musical experience. Discovered by David Gilmour of Pink Floyd, who took on the role of their producer and mentor, Unicorn consisted of talented musicians Ken Baker (guitar, keyboards, vocals), Pat Martin (bass, vocals), Peter Perrier (drums, vocals), and Kevin Smith (guitar, vocals). Throughout their career, the band released four critically acclaimed albums, garnering a dedicated fan base. Despite their undeniable talent and passion, Unicorn never achieved mainstream success, ultimately disbanding in 1980. Their legacy, however, continues to live on through their timeless music and the impact they had on their loyal listeners.
About Think Like A Key Music:Think Like A Key Music is an independent record label devoted to the promotion and production of frequently underrepresented music. The label’s objective is to produce timeless, inspiring, and uplifting music releases for an ever-evolving world. Possessing a wealth of experience and talent, Think Like A Key Music offers a fresh perspective to the music industry by crafting releases that resonate with listeners for years to come. We invite you to embark on a musical journey with us, exploring our diverse catalog, and uncovering new favorites as well as revisiting cherished classics.
UNICORN 2 – Unicorn – Capitol ST 11453 – Producer: David Gilmour – List: 6.98 A nice, mellow blend of laidback country flavored blues highlights the latest effort by Unicorn. Nothing takes predominance as vocals and instrumentals share all lead passages with equally effective results. A couple of rockers round out this musical picture in fine form. There’s AM in this record’s future while easy listening and possibly country outlets might wish to bite. Top listens include “Too Many Crooks“, “Keep On Going”, and “No Way Out Of Here”. – Cash-Box-1976-01-24
UNICORN 2 -Capitol ST -11453. Second LP from British quartet produced by Pink Floyd member David Gilmour is a well done mix of goodtime rock (similar to ’60s British material), acoustic, harmonizing mid tempo cuts and even a country rock cut or two. Best cuts: “Weekend,” “He’s Got Pride,” “Keep On Going,” “Easy.” – Billboard 1976-01-24
Like Pink Floyd albums, David Gilmour solo releases seem few and far between, thus become events to listeners and fans. And with such a wait, expectations are high. So, 2015’s Rattle That Lock was an eventful one for David Gilmour fans – a new studio album, followed by a world tour. Rattle That Lock being Gilmour’s 4th solo (studio) album since 1978, and followed the 2014 Pink Floyd album Endless River. From the packaging alone, one can sense something special in holding Gilmour’s latter releases – beautiful cover art, gatefold, a 16 page booklet insert.
And then the music, starting off with the built up instrumental / overture “5A.M.”, and there is something about Gilmour’s guitar sound & feel that make this sort of stuff so appealing that I want to play it repeatedly. The title track is one of a few upbeat songs here, it is memorable, a fine choice for a single, with nice harmonies, the other more upbeat tune being the album’s other single – “Today”. Rattle That Lock is largely slower tempo, atmospheric music, but with a good deal of changes. It all flows together so perfectly through Gilmour’s guitar sound, voice, and top production. Favorites cuts have to be “Faces Of Stone”, “Dancing Right In Front Of Me”, and “In Any Tongue”, where Gilmour lays out his ‘heaviest’ and most memorable solo. There’s some different stuff here, such as the slow paced jazzy “The Girl In The Yellow Dress”, featuring cornet and saxophone.
Plenty of guests, plus the use of orchestra and choirs on a various tracks. Guests include Phil Manzanera (Roxy Music), Andy Newmark (Sly & The Familiar Stone), Jools Holland (Squeeze), British jazz bass player Yaron Stavi, among others. David Crosby (RIP) and Graham Nash add harmonies on “A Boat Lies Waiting”, and pre-recording-days Pink Floyd guitarist Rado Klose (I never knew). The journey of Rattle That Lock ends with a revisit of the opening theme on “And Then…” The ensuing tour would give us the Live At Pompeii release in 2017.
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
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.
Outsider Rock 