Well, now I’m going backwards in to the ’70s. 1979 was a big year for Canadian rock, lots of big albums and plenty of forgotten gems.
I’ve chosen 15 (there was just so many records released in’79, and too many tough decisions), and I’ve also included a gallery of album covers that I didn’t include in my list (at end).
Feel free to drop your favorites or anything I’ve missed, in the comments.
APRIL WINE – Harder, Faster
The 8th album from April Wine, 2nd with the 3 guitar line up, released in October. Featured the hits “Say Hello” and “I Like To Rock”, as well as live favorites “Before The Dawn” (by Brian Greenway) and an epic cover of King Crimson’s “21st Century Schizoid Man”. The first of their’s to crack the UK top 40 (#34), while hitting #25 in Canada and 64 in the US.
HARLEQUIN – Victim Of A Song
The debut from Winnipeg’s Harlequin. Those first 2 Harlequin albums were my favorites from the band’s short catalogue, both being more guitar heavy & rockin’. Cool Hugnosis cover art. Jack Douglas, legendary for his involvement with Alice Cooper and Aerosmith, among other mixes this and is listed as Executive Producer.Included 3 singles, “You Are The Light”, “Survive” and “Sweet Things In Life”, as well as the heavy ballad title track, a cover of Billy Squier’s “Who Knows (What A Love Can Do)”, and cool rocker “Shame Shame”. Great album!
TRIUMPH – Just A Game
One of the band’s top 3 albums (IMO) with “Hold On” , “Lay It On The Line”, “Movin’ On” and the title track. Cool gatefold cover, came complete with a board-game inside, designed by bassist Mike Levine. Their first big album in the US, with “Hold On” making the US top 40.
TEAZE – One Night Stands
Windsor’s Teaze – their 3rd and arguably their best studio album. Featured their best known song – “Heartless World”. Plenty of rockers here like “Young And Restless”, “Back In Action”, “Reach Out”. Produced by Myles Goodwyn, who does an outstanding job here. This album should have done it for them, but wasn’t to be.
SAGA – Images At Twilight
Saga’s 2nd album, and one of their best (that 5 album run from the debut on is their greatest peiod, IMO). Released in, it features “See Them Smile”, You’re Not Alone”, “Take It Or Leave”, and “It’s Time (Chapter Three)”, and “Hot To Cold”. Cover illustration by Tony Roberts, who also illustrated the next Saga LP cover, as well as covers by John Verity and Robin Trower.
FRANK MARINO & MAHOGANY RUSH – Tales Of The Unexpected
The 3rd album as Frank Marino & Mahogany Rush. This one coming in the spring of that year features the first side of studio tracks, and the 2nd side live tracks! Killer guitar throughout, classic tracks like “Sister Change”, “Down Down Down”, “Woman”, as well as great covers of “All Along The Watchtower” and “Norwegian Wood”. Cool coverart by Joseph Malec.
GODDO – An Act Of
One of Toronto’s other classic trios; this is Goddo’s 3rd album. Features the classic opener (and used for stage intro) “Anacanapanacana”, which leads in to one of the band’s best known songs “So Walked On”. Also here is the ballad “Chantal”, and favorites like “Work It Out” and “Sign On The Line”, Produced by Thomas Morley Turner (aka Greg Godovitz!).
STAMPEDERS – Ballsy
The last from this band for years to come. By this point the only original member left was Ronnie King, who added his brother on bass, and 2 guitar players. The band relocated to Toronto, signed to MCA and released this one album in August. This is hard / blues rock album, featuring covers of blues standard “Mojo”, as well as Chuck Berry’s “Bye Bye Johnny”. There’s also some solid driving rock here, such as “We’re Here To Rock And Roll” and “How Does He Do It”. Closing track “If You Really Want To” is another gem here.
WIRELESS – Positively Human Relatively Sane
The 2nd album from Toronto’s Wireless. Plenty of cool guitar rock on here beyond the single “I Know You Know”, such as “Goodnight Ladies”, “The Hard Way”, and “Right To Beg”. This band featured Canadian and Australian members. Marty Morin (ex Goddo drummer) sang lead on this one and the next album. Their only album to get a US release.
MAX WEBSTER – A Million Vacations
The 4th studio album from Max Webster (name of the band!). Included 3 singles, “Paradise Skies”, “A Million Vacations”, and “Let Go The Line”, as well as the UK-only single “Night Flights”. A unique sounding band, with lots of different tracks throughout this.
STREETHEART – Under Heaven Over Hell
A solid album, though not as outstanding as the debut, but featured hits “Hollywood”, and “Here Comes The Night”, as well as just solid likeable rock tunes in “Fight To Survive”, “Baby’s Got A Gun”, and “Dreaded Dotted Line”. Closing track “Storyteller” ( a good track) would be replaced on later prints with the band’s version of “Under My Thumb”.
BTO – Rock N Roll Nights
The 8th album from BTO, and the 2nd to include Jim Clench (bass, lead vocals – on 6 tracks), as Randy Bachman had left 2 years before. This is not a bad album at all! Regardless of no Randy here, there’s plenty of good songs, with a few outside penned ones, such as “Jamaica”, which was a hit single in Canada, and a lesser hit in the US. That was penned by Jim Vallance (who also produced this record) and sang by Clench. There was also another minor hit in Fred Turner’s “Heartaches”. The title track is favorite, and this album includes “Rock and Roll Hell”(Vallance), which would be later re-done by Kiss. The last BTO album until 1984.
PRIVATE EYE – Private Eye
A 4 piece featuring Hughie Leggat (ex A Foot In Coldwater) on lead vocals & guitar. This LP was split into a ‘Hard side’ and a ‘Soft side’. The band signed to Capitol, got released in Canada and the US, and had 3 singles, notably the excellent hit “Your Place Or Mine”, as well as the softer “Changes”. A good album that never really took off. Hughie and Gord (on guitar here) went off to release Illuminations, under the Leggat name.
PRISM – Armageddon
Released in the summer of that year, Armageddon would be the Vancouver band’s 3rd and biggest selling album. It boasted 5 singles, including the hits “Virginia”, “Night To Remember”, the epic title track, as well as an early Bryan Adams’ penned track “Jealousy”. Produced by Bruce Fairbairn, who’d produced the band’s previous albums (his first production credits, prior to huge success with Loverboy and others).
TROOPER – Flying Colors
The band’s 5th album, and one of their better ones. Featured 3 hit singles, favorite being “3 Dressed Up As A Nine”, as well as “Good Clean Fun”, and “Janine” (Top 10). Other good tracks included “Mr Big” and a cover of The Kinks “All Day And All Of The Night”. This album reached #11 in Canada. Cover design and illustration by James O’Mara, who did other covers for Trooper, as well as Prism, BTO, and Loverboy.
A follow up to my previous list of album covers featuring a band photo. Again, an actual photo, not a drawing or seperate photos of bandmembers. A lesser few known gems in here. If you’ve got any favorites that aren’t here, please put it in the comments.
SLADE – In Flame
This one features the classic shot of SLADE by rock British photographer and art director Gered Mankowitz. Mankowitz did a lot of work with Slade, as well as the Rolling Stones, the Strawbs and various other throughout the 60s, 70s and 80s. In Flame was from 1974, when Slade were at their peak in the UK (not so much over here). There’s a bit of info on this pic at his website – https://mankowitz.com/galleries/the-70s-gallery/page/1/?view=carousel&start=1156
ALICE COOPER – Easy Action
One of the album covers that inspired me to do such lists. This being Alice Cooper’s (the band) 2nd album. From 1970, with the band photographed from the back – on the front cover, with the photo of the band from the front – on the back. There’s also black and white shots of bandmembers on the inner gatefold. According to Discogs, Easy Action was the first album cover to feature the photography of Lorrie Sullivan, who went on to work with numerous bands and covers, including Grand Funk, Jo Jo Gunne, Joe Walsh, Tommy Bolin…. Cool packaging for the time, and being on a smaller label.
APRIL WINE – Stand Back
This album was big in Canada, in 1975. April Wine’s 4th studio album. The band (new line up) posed around a canon. The canon would become part of the band’s stage show for that tour, a tour which became the highest grossing tour in Canada by a Canuck band back then. Photos by Graham Fowler, who worked alongside Bob Lemme on many Aquarius Records’ covers.
YESTERDAY & TODAY – Struck Down
The 2nd album by LA’s Yesterday & Today, which would be shortened to Y & T by the next album. Struck Down features a cool band shot on front, framed, and individual band member photos on the back. From 1978. Lacking some credits on the album sleeve (if anyone knows who took this photo?)
WIRELESS – Positively Human, Relatively Sane
The 2nd of 3 albums from Canadian band WIRELESS, released in 1979. This is a great cover, with the band in straight jackets on the front. The back features individual live shots. Cover designed by Paul Hodgson, who also did Max Webster’s A Million Vacations, cover photo by John J Wood.
The band’s 2nd album, from 1974, and 2nd to feature a shot of the band on the cover. This one was improved – the cover and the music. With Jack Douglas brought in to produce, Get Your Wings would be the band’s breakout album, with multiple singles, and regarded by many fans as their best . The band photo on a black cover, and that early logo designed by their former guitarist Raymond Tabano, made for a pretty decent cover. https://www.goldminemag.com/features/aerosmith-explored-many-album-cover-options-with-designer-ernie-cefalu
MOTORHEAD – Ace Of Spades
MOTORHEAD’s 5th album, released in 1980, and titled after what would become their most famous song. This one, art directed by Martin Poole, who was also designing covers for URIAH HEEP and MANFRED MANN’s EARTHBAND that same year, featured a band photo taken by Alan Ballard. The band appearing in some desert scenery, with leather and hats, like outlaws. But the shot was taken in England, and below is a link to the story about it. Back cover features a photo of the band sitting around a table.
The debut from New York’s TWISTER SISTER, in 1982. The band all dressed up in make up, rags, leather, etc… I’m sure this cover shot taken by legendary photographers Fin Costello drew lots of attention. Design (outfits, make up…) by Dee Snider’s wife Suzette, who would go on to design most of their album sleeves afterwards. When Under The Blade was remixed & reissued in ’85, it used a different photo on the front (same shoot), and changed the lettering type and color.
YES – The Yes Album
The 3rd YES album, the first to feature Steve Howe, and the one to feature the band on the front prior to Roger Dean getting invovled and doing the artwork for most of their covers onward. Cover photo of the band, looks to be in a closet or something, green lighting, a nice gatefold, designed by Jon Goodchild, with cover photo taken by Phil Franks and more photos by Barry Wentzell.
HEAD FIRST was Uriah Heep‘s 15th studio album, and second from the new ’80s line-up of Mick Box, Lee Kerslake, John Sinclair, Bob Daisley, and Peter Goalby, This album would be an excellent follow up to 1982’s comeback album Abominog, an album that has gotten a lot of attention over the last few years with a few podcasters and rock journalists championing it, and Head First came before the controversial Equator album, the 3rd Goalby era album, which is often cited as a low point in the band’s catalogue. Where as Abominog consisted of many outside written songs, and Equator featured 0 cover songs, Head First, again produced by Ashley Howe (Abominog), featured just 3 carefully chosen covers, presumably to give the album a more commercial appeal. Two of these covers would be the albums singles, and all 3 covers feature on side 1. Neither made much of an impact on the charts, and neither would remain in the live show beyond the tour for this album.
For me, Head First is divided with side one and side two each having a different purpose. Side one features those more commercial songs, which could or would become singles, more pop oriented, while side 2 was the heavier, more hard rock Heep approach, which likely appealed to longtime fans more.
The album opens with “The Other Side Of Midnight“, which is a rocker, but with a pop/commercial appeal. A solid riff, a memorable solo, modern keyboards, and a great vocal. Strangely not issued as a single, but one song from this album And the Goalby era that would return to the live set over the years. It did get some radio airplay in the US at the time too. Next up is the first cover and single, “Stay On Top“, penned by Scottish singer/songwriter Tom Jackson. It’s got a very different feel to it, kinda like a dance tune. Not one I’m crazy about, although live versions of this certainly make it a bit more of a rock tune. Track 3 is another cover and other single – it’s Bryan Adams’ “Lonely Nights“. A very good song, and Heep do a standout job on it, and Goalby loved this song. The problem was “Lonely Nights” had been a huge hit in North America, especially in Canada, about a year and a half prior to, so hard to see it as anyone else’s song, as the Adams’ version was all over the radio here for so long. Next up is the band composition “Sweet Talk“, a good pop-rock song, with plenty of keyboards, and an effect (or filter?) on Goalby’s voice in the beginning, giving the effect that he’s singing over the phone. I like this one, with Mick Box’s guitar here adds a lot of weight to it, This song, and the next one, both would have been interesting singles. The first side closes with “Love Is Blind“, an upbeat number written by Joey Carbone and Richie Zito, and first given to American actor John O’Banion to record for his first solo album in 1981, as Carbone and Zito wrote most of, played on, and produced O’Banion’s album. Again, I really like this song, a shame it only became another album track.
Now side 2 is the ‘Heep ‘eavy’ side. It opens with John Sinclair (and Frank Ricotti on percussion) mainly, on the instrumental “Roll Overture“. Heep didn’t have many instrumentals, and this was an excellent dramatic piece that the band would use as their conert intro. I wonder why this wasn’t used to open the album!? As “Roll-Overture” ends, the fast heavy riff to “Red Lights” comes crashing in, and this is more like it. It’s a fast paced, hard rocker, complete with the Heep harmony ‘Ahhs’, and a standout solo from Mick Box. “Rollin The Rock” is a bit lighter, with the first minute plus being just vocal and keyboard before the band comes in. Still though it keeps the rock end of this side up,. Bryan Adams had a song titled “Straight From The Heart”, and funny enough, Heep have “Straight Through The Heart” here, another heavy pop rocker, on par with “The Other Side Of Midnight”. Head First closes with the heaviest track here, and fan favorite, “Weekend Warriors“, this one is heavy on the guitar, and heavy on the bass. A great rocker/anthem. I’ve often wondered if this one originated from Bon Daisley and Lee Kerslake, as it leans towards that more ‘metal’ feel the 2 had been such a huge part of on the first 2 Ozzy (Blizzard of Ozz) albums.
There were a few B-sides and outtakes of interest, “Playing For Time” was another heavier rock song, the B-side to “Stay On Top”, and this would’ve added a good bit of classic Heep to the album, with John Sinclair’s Hammond organ throughout this song. There were a few live tracks issued on the remastered CDs, which begs the question – where’s the live album from this period? And there is the instrumental demo of “Searchin”, another song originally from Peter Goalby’s ‘Destiny’ project. Presumably for lack of time, as Heep never finished it; “Searching” could’ve been another excellent track.
The Head First title, again came from Bob Daisley, and the album art, directed by Martin Poole, has an interesting cover of the desert landscape with the guillotine, lizard, by British artist Peter Goodfellow.. Interesting as that desert cover would turn up on a few other artists’ covers, notably Led Zeppelin’s 2003 DVD release. The title Head First would also be used before and after (see my post about the album’s sharing this title, elsewhere). The album came in a single sleeve, with individual band member photos by Fin Costello on the back.
Inside of Stay On Top double 7 inch single
Unfortunately, Uriah Heep’s Head First did not build on the comeback strength of Abominog, as it only hit Billboard Album chart at #159, but did get as high as #35 on Billboard’s Rock Chart, and the UK charts at #46, though it did crack the Top 20 in Norway. By the time the album was released Bob Daisley had left to return to writing and playing with Ozzy, and Trevor Bolder rejoined Heep from Wishbone Ash. Bolder had been on one studio album with Wishbone Ash, Twin Barrels Burning, also produced by Ashley Howe. Heep’s American label had decided the album’s fate before it’s release, with changes at the label taking on other new releases, and passing over Head First from the beginning. Bronze label and Heep were also at odds, with Heep soon being without a label, and Bronze going under not long after. The band’s move to Portrait (CBS) for their next album wouldn’t turn out as hoped, with Portrait having problems as well (see Aldo Nova). However, Head First remains a solid Uriah Heep and a solid 80s rock album, with plenty of overlooked gems. Check it out.
HEAD FIRST – Uriah Heep – Mercury/ Poi yGram 812 313-1 M-1 – Producer: Ashley Howe – List: 8.98 – Bar Coded Only two members of the original Uriah Heep – guitarist/vocalist Mick Box and drummer Lee Kerslake – appear on “Head First,” the follow-up to last year’s demonic “Abomingog.” But that shouldn’t dissuade the headbanging fans of the heavy metal quintet, as they return to crunch out yet another dose of hard -edged rock’n’ roll. Best cut here is the majestic instrumental “Roll -Overture,” which has classical overtones … believe it or not. Other than that oddity, the LP abounds with loud metallurgy anthems about love (“Straight Through The Heart,” “Love Is Blind”) and the art of macho posturing (“Weekend Warriors”). (Cash-Box-1983-05-28)
Canadian band TEAZE returned a few years ago, and more recently released a brilliant live album, followed by an excellent studio album. But, the band which had some 46 years between their new Rev Your Engines and 1980’s ill fated Body Shots, is still unknown to many of those outside Canada. During the band’s 5 year run of 4 studio albums (and one live one), Teaze received plenty of press, with opening slots on tours by other Canadian acts like April Wine and Triumph. They had a hit single, but it wasn’t a song that necessarily represented the band’s 2 guitar hard-rock sound. So, in those near 40 years that the band was gone, classic rock radio may have not been as kind as their catalogue deserves. So, consider this list for those who know little to 0 about Teaze; those that I’ve mentioned them to, who aren’t familiar. This is Teaze classics for those who do know the band’s albums, so if you’re new to them (or curious), check it out.
Most recently the band has also launched their brand new website, which is being taken care of by new drummer Jim Bonventre. So, anything you need to know and want to discover about this Canadian band can be found there. Pay the website a visit, check out their history, discography, download a new(er) track, and sign up!
The first track on the band’s debut album from 1976. Written by guitarist Mark Bradac. A fast paced, guitar rocker, an anthem, and an obvious opening cut to set the tone for the album. Also featured as the opener on the band’s Tour Of Japan album.
Boys Night Out
Also from the Teaze album, written by Bradac and drummer Mike Kozak. Another rocker and anthem celebrating the ‘boys night out’. An easily likeable and memorable song, which was released as the single in Canada. This was re-recorded for the band’sBody Shotsalbum a few years later. Pre-dated the Toronto hit “Girls Night Out” by 7 years. Honestly, it was difficult cutting it down to 2 songs from the debut, this album rocks pretty solid right to the end. Classic ’70s guitar rock, and a good place to start if you’re curious about this band. “Boys Night Out” appeared on the 1985 UK release Heavy Metal America (w/ “Back In Action”), as well as 2LP Castle Communications release Metal Killers Kollection, Volume 2, in 1986.
Sweet Misery
From Teaze’s 2nd album, On The Loose, in ear;y ’78. “Sweet Misery” would become the band’s lone charting single, but … The song written by guitarist Chuck Price and Mike Kozak, was a country flavored ballad, which was unlike Anything the band had done. It probably confused fans and record buyers back then, and even the band steered clear of playing it live, as it had nothing to do with their 2 guitar, energetic rock reputation. In retrospect, maybe not a wise decision. Still a great song. The band did eventually play it (when they reunited), and even re-recorded by the band for their new album Rev Your Engines. “Sweet Misery” would be included on K-Tel’s Hot Ones collection from ’77.
On The Loose
The title track to their 1978 album. This one, which opened side 2, written by Mark Bradac and singer/bass player Brian Danter, is another hard edged high energy rocker. These guys wrote plenty of easily likeable and memorable choruses, as is this here. Love the sound on these early albums, not too polished, just cool raw late ’70s guitar rock.
Heartless World
Prior to 1979’s One Night Stands, Teaze had released Tour Of Japan album, their first live album, and more importantly, signed to Capitol Records to finally get their records released in the US. Capitol US had signed April Wine in ’78, breaking them in to the US market with “Roller”. One Night Stands came out in March of ’79, and was produced by Myles Goodwyn (April Wine). And everything about this is a step up – from the songs, performances, and production, even the front cover and packaging. I think by and large this is considered the band’s best work, and it’s tuff to pick a few songs from it, but the most obvious choice is the band’s epic “Heartless World”. This one, written by Bradac and Kozak starts off with acoustic guitar, then vocal, before the band kicks in. There’s a number of changes here, as well as a bit of keyboards, piano, sax, and the band’s heavy gallop, but more so, it has Brian Danter’s vocals, and his finest vocal in the band’s entire catalogue. There is nothing else like it in the band’s 70s catalogue, and how it did not become of a hit (it was a single) or remain an FM radio staple is baffling. “Heartless World” would feature in 2 films, Twists Of Terror (1997 Canadian), and Metalhead (2014, Iceland). The song was also covered by Canuck band Unleash The Archers in 2019.
Young And Reckless
Also from One Night Stands, “Young And Reckless”. A bit of funk-rocker., love the bass, and the shift between chorus and verse. This one’s very easily likeable. Written by Bradac, Danter, & Kozak. Would’ve made a nice single, but was used as the B-side to the 2nd single, and ballad “Loose Change“.
Touch The Wind
The closing track on One Night Stands. Written by Brian Danter. Again, featuring acoustic guitar, and build up. Features a cool instrumental section, with an extended heavy solo, softens up (bass and drums mainly), but speeds up before eventually building up and dropping back into acoustic guitar. This one has such a cool late night ’70 rock feel, with a Blackmore guitar tone in the solo. Oddly, makes me think of the April Wine cut “Silver Dollar”, a similar vibe. Classic track!
Sure Thing
Well, despite One Night Stands sounding so good, it didn’t put Teaze on top, and unfortunately Myles Goodwyn was not recalled to produce the follow up, Body Shots, from 1980. Whether is was the label and/or producer Nick Blagona, Body Shots was a step back, and sideways. There’s some good songs here, the bandmembers will tell you some of their best, but it’s largely marred by the production in some attempt to make the Teaze sound a bit more pop or new wave or something. The standout track here, for me is “Sure Thing”, credited to Danter, Bradac, and Kozak (as are all the song here). It’s another funk rockier tune, much in the style of “Young And Restless”.
Rev Your Engines
So most bands that might make a new album 45 years after their last one (kidding, who does that!?), might make an album that is a shadow of their former self, but nope Teaze comes out with Rev Your Engines, an album that can arguably be called their best album. The band now features guitarist/keyboardist/producer Chuck Lambrick (who’s been playing with Teaze since 2019), and drummer Jim Bonventre. The album kicks off with this rocker, geared for the stage, written by Bradac, Lambrick, and J.J. Garrisi. An excellent song to get things going, cool guitar blends in the solo….
Man Of Vision
The first single from Rev Your Engines, the first brand new Teaze song since 1980, and what could one expect!? Well, “Man Of Vision” is another featuring acoustic guitar, build up, to the chorus, with harmonies…. Just put this one in the same class as “Heartless World”. Musically epic, it says something lyrically, and is a powerful song. Penned by guitarists Mark Bradac and Charles Hambrick, with vocal from Brian Danter, who still sounds as powerful as he did in 1980.
I could’ve picked more from this album, but these 2 tracks are the most obvious, IMO.
I Believe In Youis the follow-up release to 2024’s I Am Myself, a new collection of never-before-heard demo recordings by Liverpool’s TomEvans, bassist and co-lead singer of the iconic power pop group Badfinger. It will be released as a limited-edition CD by Y&T Music and available on all streaming platforms on October 30, 2026..
Like his Badfinger bandmate Pete Ham, Tom Evans was a prolific songwriter; he gave the quartet many of their greatest “deep cuts,” including “Money,” “It’s Over,” “Believe Me” and “Blind Owl.” Evans and Ham co-wrote “Without You,” which went to No. 1 for both Harry Nilsson and Mariah Carey, and is considered by many to be one of the greatest pop ballads of all time.
He sang lead on “Come And Get It,” Badfinger’s smash hit debut, written and produced by Paul McCartney; his soaring tenor voice made “Maybe Tomorrow,” recorded for the Beatles’ Apple Records when they were still calling themselves The Iveys, an international sensation.
Among the 20 tracks on I Believe In You, six went on to be recorded by Badfinger: “Money,” “When I Say,” “Blind Owl,” “Queen Of Darkness,” “Lost Inside Your Love” and “Sail Away”. Another song, “Get To You” went on to be released by The Dodgers in 1976 as the B-side of their debut single, “Don’t Let Me Be Wrong.”
Performed mainly on acoustic guitar plus some on electric guitar or piano, with some assistance on guitar and backing vocals from Badfinger/Dodgers member, Bob Jackson, the album showcases Tommy’s growing maturity as a serious songwriter and lyricist during the 1970s spanning the middle period of his musical career between 1970-1977.
I Believe In You came to be after an exhaustive 2 year search for previously unheard songs and demo versions of well known Tom Evans tracks for Badfinger and The Dodgers. The recordings were once again compiled & edited by Tom Brennan, and restored & mastered by Kevin McElligott.
Marianne Evans shared photos from her personal collection for the 12-page booklet included with this new collection and Tim Boyle took the front cover photo. Released with the full support and cooperation of the Evans Estate, I Believe In You is a limited edition of 1200 CDs.
Earlier in 2026, Y&T Music issued Miniskirts And Rainbows, their 2nd collection of unreleased demo recordings by The Iveys, which included Tom Evans on rhythm guitar and vocals.
I BELIEVE IN YOU track listing: 1. I Believe In You (version 2) 2. Try To See Eye To Eye 3. Don’t Let it Go 4. Friday Night 5. It’ll Be Alright 6. Money (original demo) 7. When I Say (original demo) 8. Blind Owl (demo version 2) 9. Queen Of Darkness (demo version 2) 10. So Far 11. I’m Gonna Love You 12. Till You Came Along 13. A Dream Come True 14. Fade Away 15. Lost Inside Your Love (demo version) 16. Sail Away (demo version) 17. Get To You (demo version) 18. Twenty-Four Reasons 19. Has Anybody Seen Her 20. I Believe In You (version 1)
Recently looking in to my favorite HURRICANE album, Liquifury, from 2000. This was the last Hurricane album, (the 80s band) that featured singer Kelly Hansen (later of FOREIGNER, now of DEAD DAISIES). Among the guitar players and songwriters on that album was Sean Manning. I knew little about Manning, but was aware he also had an association with QUIET RIOT (see 1993’s Terrified album). I also found The Exiles, and in checking this out, discovered the band’s lone album from 1996 has more recently been given a 30th Anniversary reissue. The Exiles was a project released by Manning, and (singer) Paul Rafferty. both British, who had relocated at some point to the US. Rafferty had been the original singer in BONHAM, though before the band released anything. The original 10 track CD release of The Exiles was produced by Neil Giraldo (Pat Benatar), and included members of Benatar;s band, as well as White Lion, Foreigner and Santana.
With this 30th Anniversary reissue, THE EXILES – Turning Time spearheaded by Manning, 5 recently unreleased tracks were discovered, mixed, and included. Now, if you like your classic British blues influenced rock, like FREE, BAD COMPANY, LED ZEPPELIN, and even pre-hair metal WHITESNAKE. Turning Time will seem like a long lost album you need to have. It is in that style, feel, and class, and it’s genuine, without coming off as another Zeppelin clone act. Highlights include “Rainmaker”, with it’s acoustic intro and heavy rock feel, the more laid back “Ain’t No Fool”, the ballad “Woman Let It Shine”, which really reminds of The Alllman Brothers (especially with the harmonies), and the rockin’ “Tearing Up A Storm”. There’s lots to get in to here, with different tracks, plenty of acoustics, harmonies, organ, …Check out the 3 videos and links below.
THE EXILES have released the music video for the track ‘I’m The (One’ from their album ‘Turning Time”, available now on Bad Reputation Records.
The first single “Rainmaker” recently entered the top 10 on 97 Underground radio, debuting at #4.
Lead Guitarist Sean Manning talks about the song “I’m The One”, “I was really into Jimmy’s Outrider solo album when I initially wrote this riff. I love the Telecaster—such a raw and honest guitar. Paul came up with the chorus, which really finishes it off, and I added the heavy Les Paul onto the new track here in Dallas at Empire Studios….And it sounds like I nicked some early Bernie Marsden rhythm work for the chorus.”
Well overdue, EUROPE’s brand new album comes 9 years after Walk The Earth. I really got reintroduced to the band with 2015’s War Of Kings, an outstanding record that made me want to go back and pick up all the albums since their reunion, so after 2 great albums, 9 years is a pretty lengthy break. So, was Come This Madness worth such a wait!? I think so. Musically heavier than it’s precdecessor, lyrically a bit deeper in places, as the band take on a few topics in the state of the world these days, as well as hope.
Certainly songs like “One On One”, “Scandinavian Eyes”, “In A Different World”, and the ballad “This Time Of Year” all stand out for me and sit comfortably among the band’s best. But really a very strong album, that I’m sure someone else could easily pick a few different favorites. John Norum stands out more here via his solos, and riffs on this record than the previous few, there’s a few classic intros from Mic Michaeli , and Joey Tempest, who’s voice hasn;t lost anything over the years. Again, for those who never got past Europe in their 80s pop-rock era, this is an excellent guitar driven, classic rock album, with latter day Europe filling the void of bands like Thin Lizzy and Gary Moore. Ends on a high note with “Nothing Can Follow This”.
*See below for the videos from this album, as well as press info, links…..
Europe’s new studio album Come This Madness signals a powerful new chapter for one of rock’s most enduring acts. Across songs like ‘One on One’, ‘The Cult of Ignorance’, and the title track ‘Come This Madness’, the band channel tension, truth, and raw energy into a record that feels both deeply personal and globally resonant.
Come This Madness was recorded at RMV Studio, the Stockholm-based recording facility founded by Benny Andersson and Ludvig Andersson. The album features special guest appearances from Tobias Forge (Ghost) and Mikael Åkerfeldt (Opeth) and was produced by acclaimed producer Tom Dalgety (Ghost, Rammstein, Pixies, The Cult, Opeth), who became a true creative force throughout the process, deeply embedded in the band’s writing and recording, shaping the album’s sound from the ground up. To bring the project to its final stage and complete their vision, the band turned to one of rock’s most respected recording and mixing legends Mike Fraser (AC/DC, Van Halen, Metallica, The Cult, Loverboy) to mix the record.
With Come This Madness, Europe deliver a landmark record that finds them fully realised and present, confronting the realities of the modern world with conviction and creativity. Building on the momentum surrounding the album’s release, the band will also embark on an extensive run of live dates, including numerous festival appearances and a major tour to celebrate the 40th anniversary of The Final Countdown. Kicking off in Glasgow on September 30th, The Final Countdown 40th Anniversary Tour promises to unite the legacy that defined them with the renewed energy, driving them forward today.
Come This Madness album artwork by Storm Studios (Pink Floyd, Led Zeppelin…).
Track listing: One on One The Cult of Ignorance Come This Madness This Time of Year In a Different World Scandinavian Eyes Takin’ It Back In the Absence of Grace The Angels Must Have Flown The Devil’s Back Nothing Can Follow Thi
Come This Madnesswill be available on vinyl, CD and digital formats. Pre-orders can be placed Here
EUROPE are: Joey Tempest – Lead Vocals John Norum – Guitars John Levén – Bass Mic Michaeli – Keyboards Ian Haugland – Drums
Canadian drummer Paul Marangoni played with a number of acts in the 80s and 90s, notable Canuck acts like Coney Hatch, The Works, Kim Mitchell, and FM. The latter is currently preparing for a 50th anniversary show in November, with Marangoni behind the drums. Hopefully this 50th anniversary show will lead to more. Paul relocated to California decades ago, and played on a number of albums with guitarist Alex Masi, such as the 2001 Masi album, Eternal Struggle, and 2 albums of fusion instrumentals / covers under the name ‘The Trio Of Stridence’ (more on these in another post), and worked with former Alias frontman Freddy Curci (Zion).
This was a pretty casual disussion with Paul, and a lot of fun; we talked about the upcoming FM reunion show, a few other things he’s done since being in California, and what he’s listening to these days. Enjoy the read, and please check out all the links at the end.
I was going through those CDs you gave me (The Trio Of Stridence, Jazz Martyrs), and you did a lot of writing on them and a lot of producing them, so it’s kind of a…
Well, I think I wrote two songs on all those CDs. I arranged everything though, definitely.
Yeah, they’re very different. The Trio Of Stridence. I like that; I love the cover of “Red”. The other stuff is kind of straight up jazz. I put it on at one point, there is a Chuck Mangione song, and I was like, Wow, what is this?
Yeah, it’s too bad Chuck died. I was hoping he would hear my version, because my version is in seven as opposed to four.
Going back to when you were in the band FM (late 80s-early 90s), how long did that whole period last?
Not long, like two or three years. I can’t even remember. I really should have kept a diary. That was like 35 years ago or something. It’s scary to even say that number.
And you guys did recordings?
We were working on new music, but it was never recorded.
So, at what point did you relocate to LA?
January of 2000.
So you were still around then, in Toronto and that for much of the 90s then?
Yeah, definitely.
What else were you doing then? I have this on cassette (hold up The Works cassette).
Wow. Not much. I was just playing in a bunch of cover bands and I was doing the Genesis Tribute. Actually, at one point, we had a Yes Tribute, which Cameron Hawkins was playing bass and singing in. But we only did a few shows. And Phil Naro was singing in that band. I had a recording of a live gig we did at the Tralf in Buffalo. It was really good, but for some reason, that ended too. I don’t know what happened there. That was a good band. I love playing that stuff.
I saw Phil about 20 years ago, 15 years ago. He was playing in a club in Toronto, like an upstairs somewhere. It was him, Don Mancuso. I think his son. And so they’re doing a lot of Yes stuff.
I can’t believe he’s gone. Everyone’s dying, man. Holy cow.
Last time I saw him, he was doing an acoustic guitar duo, at a small place somewhere in Toronto. They were just doing acoustic tunes, the two of them. Would have been around 2007, 2006, (something like that).
There’s been other versions of FM. I saw them in ‘94 when they did the reunion tour, and there’s a few other things since then, live albums and the studio album from 2015… You weren’t involved in any of those. So how did this new line-up kind of come together?
Well, I kept in touch with Cam over the years because I was going up to Toronto like three or four times a year while my parents were still alive. And we’d get together now and then. And a couple of years ago, I was up there. And before I went up, I contacted him. I said, Hey, let’s get together for lunch. And he told me he was thinking of doing some shows to coincide with the release of this new documentary about Nash the Slash. And he said, It’s been 50 years. And I said, Well, if you need a drummer. I’m totally down. So that was when it started. So, the two of us were sending files back and forth on the tunes to work on. So he would have my drumming to along with. And then he set about to find someone to play mandolin and violin. It took a while.
I assume Ben Mink is not around anymore (locally)
Ben Mink is out in British Columbia. So, if for some reason this turns into doing a lot of shows, and if we ever end up on the West Coast, I’m sure we’ll get Ben Mink to sit on a bunch of tunes because I love Ben Mink’s playing.
Is the show going to focus mainly on the Black Noise stuff? Or is it going to be…
Yeah, it’s just going to be Black Noise and maybe a couple of other tunes. Some of the hits or other tunes.
When I saw them in 94, they put out that from it, but I always wonder, they called the FM Archives Volume One, there was no volume two.
(lol) Yeah, I don’t know what happened there. I got that too somewhere. They were kind of screwed over by labels all the time.
Other than Black Noise, what might you play or what do you like out of that catalog?
I really like Surveillance a lot. That was my favorite record. And then off of City of Fear, there’s one tune off there we’re probably going to play, “Surface to Air”. We’ll probably play that. We’ll probably do “Shapes of Things”; that got a lot of airplay. And that’s it. We’ll be extending solo sections and stuff like that, so it’ll be a lot of fun.
I don’t see much of Cameron Hawkins online, so I don’t… I never know what he’s up to.
Right. He said he’s going to probably put up an Instagram account one of these days. That was the plan, to do that and start promoting, but without any promotion, the show sold out in like three days.
Wow. So…
And there’s talk about, hopefully a show at the El Mocambo in January. And then if these shows go well, we’ll see where it goes next. We’ll probably stick to Canada for the time being, especially now that this arrangement in the US and Canada has kind of gotten pretty messy.
I wonder if the band ever actually played outside of Canada in that whole period of the late 70s, early 80s.
I’m not sure. I know they did a lot of shows with Rush.
And there’s some people that have posted some of those shows online pretty wild. It’s funny how fast they played a lot of those tunes.
I think it was Con-test that must have been the album that was current when I saw them. And then they did Tonight, which is funny because I watched an interview with Nash where he did not like that album. He mentions that they brought in a “hair guitar guy”.
Simon! (lol) Apparently Simon is now doing pyrotechnics for Katy Perry or something.
Really?
Yeah. That’s what Barry Connors was telling me.
He’s not playing?
I’m not sure. He was a good guitarist.
I know he did those albums with Andy Curran, post- Coney Hatch.
Yeah. He was the one that got me the FM gig. Because I was hanging out with him and Andy, and Simon said, We need a drummer for these shows coming up. And I said, Dude, I know all that shit. I grew up listening to FM. So, I jammed with them and got the gig.
What else are you doing? Are you playing a lot live?
No, I moved to Indio three years ago, and I can’t find players around here to do anything. I was working on doing more Trio Of Stridence stuff or some jazz stuff; working on my own and then sending files to people either in Europe or in LA. I love doing stuff with Alex (Masi), and before I left LA, me and Alex, we were thinking of doing a Jeff Beck Tribute thing after Jeff Beck died. We rehearsed a bit. I put together a little promo video. I sent it to a bunch of booking agents. No one was interested. It was too bad. It would have been cool.
I saw him over at Artpark (Lewiston, NY). the last time through here.
Yeah, I love Jeff Beck. And, like I said, I was working on writing some stuff, working on my own thing, and then the FM thing happened. So, I’ve just been focused on that since then. Rehearsing all the old FM stuff and working on making sure it’s going to sound good.
Do you know these other guys that are playing with you guys?
No, I’ve never met them, Kevin (Breit) and Hugh (Marsh). Actually, I did a recording with someone in the ‘80s that Hugh Marsh played violin on, but we weren’t in the room at the same time.
I imagine Cameron found them somehow(?)
We were trying to reach him through social media. Couldn’t do it. And then I was having lunch with Andy, and he said, Well, let me talk to Alex Lifeson, he’s a good friend of Hugh. So, he got Hugh’s email from Alex Lifeson. And that’s how we got in touch with Hugh.
Wow. So that was like more recent?
Yeah, that was like last December.
That’s interesting, all the connections with all the Toronto bands. I like picking up some of the late 70s Canadian stuff. I picked up the first Hunt album.
Wow. I remember seeing them at the Gasworks….
And you posted something recently about a band called Teaze.
Yeah, I saw them last week.
I remember them being big at some point, and I remember the logo. The logo looked cool, and the name was cool, but I didn’t know much about the band. And when you posted that stuff, I was reading something, and I said, Holy shit, these guys are Canadian! I didn’t know that.
(Talk ensues about Teaze, their comeback, and Canadian rock festivals)
It seems like most of these Canadian bands, especially from the last few decades, they tend to play a bunch of festivals. Three or four times a year, there’ll be a festival in Alberta or Newfoundland or Quebec, and then they all get together.
I hear about these things from Barry. Do you remember the band Alias with Freddy Curci?
Yeah, I’ve got that somewhere.
I recorded with Freddy a few years ago, and I was actually… I got together with him about a year ago, and I told him, I think it’s time you should go out on the road again, get the band going. He considered it. I haven’t talked to him in a while, but I think that would be good, too.
I find the connections with the Canadian band interesting. There’s so many… It’s kind of like the British bands where you have some of those connections between Whitesnake and Deep Purple and Rainbow, all those bands.
That’s right.
But, I mean you look at Helix and Honeymoon Suite and a few others. It’s almost like they (occasionally) share members.
Actually, I remember I auditioned for Helix when I was 17. I drove out to….they were playing a gig somewhere in London, I think. I played some tunes with them. And it went well, but they said, You’re just too young. We can’t take the chance. Yeah, I was a fan of Helix.
And their drummer and the guitarist were twins. Brian Doerner was the drummer, and he recommended me for a gig. I didn’t even know he knew me. And then me and a guitarist named Lawrence Falcomer flew down to LA to try putting a band together with Brad Gillis and Mark Free. So, for a week, we rehearsed and wrote some music. And the guy that was paying for it all was the producer from Night Ranger. And at the end of the week, he told us what the deal would be where he was going to take 50 or 60% of all proceeds from the songwriting. And we just couldn’t come to terms with it. Nothing ever happened of it.
(Talk about Brad Gillis being on Rick Hughes album).
What are you listening to these days? Is it mostly jazz type stuff?
Let me see what’s on my phone here (lol)
You know what I got recently, Genesis The Lamb Lies Down box set. And it has a live concert that they did in L.A., and the live concert is amazing! I don’t know if they touched up a bunch of stuff, but it sounds better than the studio record. It’s amazing.
I haven’t got that.
It’s actually all on YouTube, too. Simon Phillips’ latest record, I got that. That’s more of a fusion thing. Pat Metheny’s latest; I’m on the fence with that. A guitarist named Nir Felder. I really like his stuff. It’s kind of a fusion-y kind of thing. I probably listen to mostly jazz lately. I got the Jethro Tull Bursting Out re-release. That’s pretty good. Yeah, mostly jazz stuff.
You mentioned Genesis. Have you picked up any of the Steve Hackett live albums where he recreates each of the albums?
No, I haven’t. I saw Steve Hackett in Toronto. It was probably 1978 or 79 at the O’Keefe Center. That was amazing. love Steve Hackett. Speaking of Steve Hackett, You’ve heard of this Cruise to the Edge thing!? (No) It’s a cruise out of Miami, and it’s a bunch of progressive rock bands for like a week, and Steve Hackett is the headliner. I think Kevin Labrie is playing with the keyboard player from Dream Theater. Check it out, CruiseToTheEdge.com. Anyway, I figure it’s all progressive rock, and they leave port in April, so I sent an email to them, see if maybe I can get FM on the gig. But I never heard back from anyone as far as who to contact about booking, so maybe we’ll try to get the next year. They do it every year, apparently.
That’d be quite the slot to get on.
(Talk ensues a bit about Genesis, Phil Collins, Paul – “He was my favorite.”)
Any other Canadian bands you were really into?
Kim Mitchell, Saga, FM. I was a huge Rush fan from the beginning. I can’t really think and differentiate which ones were Canadian. I mean, going downtown and seeing stuff at the Gasworks. Dave Bendeth, he was kind of doing like a Jeff Beck thing, that was cool.
Well, did you keep your vinyl over the years or did you get rid of it?
I sold a bunch of it. Since I moved to California, it’s been like 26 years now. I’ve moved 11 times. So, you just keep throwing stuff away every time.
At one point, when we sold my parents’ house in Toronto, I had all my albums there, so we had to get rid of stuff. So, I took them all downtown to some vinyl place and sold them all and whatever they didn’t want to buy, I gave to friends of mine who were collecting vinyl. So, I don’t have any more vinyl.
(Further chat about records, Unidisc, Wireless – “I remember seeing them open for Rush, they were really good too.”)
BOSTON’s debut album has become a staple of FM radio over the past 50 years, and not just with 1 or 2 songs. The album written and recorded largely by guitarist Tom Scholz, along with singer Brad Delp, with Scholz and John Boylan producing.
Now, I know many may pass over this as an album they’ve overheard, especially with the album’s biggest hit “More Than A Feeling”. But there is no denying this album’s huge sound and impact at the time. And, if you’re a classic rock fan, you don’t know just 1 of the 3 hit singles – you probably know most of the album, as most of it (if not all) occasionally still gets FM radio play, somewhere. The hit singles “More Than A Feeling“, “Piece Of Mind” and “Long Time” are all featured on side one, with “Long Time” being part of the epic piece, accompanied with the instrumental “Foreplay”, rivalling anything Deep Purple or Uriah Heep had done. There is also the classics on side two, most notably “Smokin‘”and “Rock & Roll Band“. Then there’s no less impressive string of songs on that side – “Something About You“, and the softer “Hitch A Ride” and the closing ballad “Let Me Take Me You Home Tonight“. These guys mixed and layered melodic guitars (acoustic and electric), along with vocal harmonies in the choruses, and organ on many tracks.
Boston became the biggest selling debut album at that time. It’s since sold over 20 million copies worldwide. This album has become one of the most recognizeable albums in classic rock, not just with it’s distinctive sound, but with a number of songs from it appearing in lots of movies and TV shows over the years. The album’s cover is also outstanding, IMO, despite it’s artist once calling it “mediocre”; it is easily recognizeable with the upside down guitar, appearing to resemble a spaceship. The upside down guitar theme and logo would become part of the band’s subsequent album covers. Boston is absolute essential ’70s rock listening. The band’s follow up, Don’t Look Back, did not sell nearly many copies, but it was an excellent follow up.
*see below for Press items from that time, and various related links
BOSTON in the press:
BOSTON -Epic PE34188. This highly touted New England group more than lives up to its billing as being able to rock in heaviest metal style while remaining warm and fluid. The uniqueness would appear to emanate from Tom Scholz, an MIT mechanical engineer in product development for Polar- oid who played a mean local guitar in bar bands by night. Scholz was chief engineer and co- producer of this album, which grew at least partially from some phenomenal demo tapes he made in his own home studio. Lead singer Brad Delp and his many overdubs vocalize with a lot more feeling and beauty than the often perfunctory singing often found in even big -name hard rock groups. Scholz and Delp individually wrote all the songs on the album too, again with much more melody and imagination than one usually expects to find on a heavy metal outing. An unusually auspicious debut in an era of particularly high standards for new rock groups. Best cuts: “More Than A Feeling,” “Let Me Take You Home Tonight,” “Smokin’.” Dealers: This is a particular autumn push group for Epic. (Billboard, 09/11/79)
BOSTON — Epic PE 34188 — Producers: John Boylan, Tom Scholz — List: 6.98 Not many hard rock bands show even a smidgeon of the concern for pleasing melody lines and supporting harmonics that are the hallmarks of the Boston sound. An extremely impressive debut effort, “Boston” demonstrates all the essential in- gredients for first rate rock ’n’ roll — glassshattering vocals, molten guitar lines and just enough use of keyboards to make the whole package interesting. Don’t be surprised if you hear a majority of the cuts from this LP on the FMprogressive airwaves. In fact, tunes like the autobiographical “Rock & Roll Band” will also be warmly received by the pop programmers. Boston is a very promising group.(CashBox, 09/04/76)
BOSTON -More Than A Feeling (3:25); producers: John Boylan and Tom Scholz; writer: T. Scholz; publisher: Pure Songs, BMI. Epic 8 -50266 (CBS). Electric guitar-dominated rocker is made commercial with an accessible beat and hand- clap backup and smooth, soaring vocals. (Billboard, 08/28/76)
BOSTON -Long Time (3:03); producer John Boylan. writer Tom Scholz. publisher Blackwood. BMI Columbia 850329 The group had a top 10 single its first time out and Mrs lollowup is comparably catchy in its combination of spacey electronic fills and soaring, lull bodied vocal har monies. (Billboard, 01/22/77)
John Sloman is ready to release his brand new 2-part (2CD) album Meridian Man‘. This will be issued in a very limited CD run (to start), direct from John, himself. Contact John via his Facebook page or email (johnsloman@yahoo.co.uk)
Meridian Man marks the end of an era for John Sloman, as the Welsh singer and multi-instrumentalist, has left London, after decades, back to Wales. Like John’s previous 8 solo albums, which were made in his home studio, in London, John performs all instruments, vocals, and choirs, as well as produces and mixes this. The 2 CD set will come with booklet, as well as cover design by Tuula Halén.
I will write more on Meridian Man later. My early impressions are that the 2 tracks making up this release, both well over 20 minutes, are quite the musical epic journeys. So much has gone in to the music, with each track given memorable intros, as welll as various changes, various instrumentation. and vocals. It is a lot to dig into, but the songs flow well, and one can play a number of times (as I did today), and get more into it with each listen. If you are a fan of John’s albums, particularly his latest 2, you will not be disappointed in this new one. Definitely John’s most ambitious album yet. At 69, John is one of those few artists whose voice has aged better, and as an artist seems to have a lot more interesting things to create.
*Read John’s description below the album cover.
Further to Meridian Man, John is aiming to release ‘Rock Heaven – The Soundtrack Album‘, in 2027, which is a companion to his 2025 novel ‘Rock Heaven‘, available on Amazon with his previous books. He’s also planning to release his 4th book, a novel – ‘Diary of Dimensionist‘ next year. also.
Meridian Man , John Sloman´s 11th solo album
MERIDIAN MAN– For many years I lived near Greenwich in South East London. The area was steeped in Britain’s history. The River Thames was walking distance away and on Saturday mornings I would run up the steps in Greenwich Park and gaze down in wonder at the Royal Naval buildings stretching along the river. From this elevated vantage point, I could turn to my left to admire the Royal Observatory situated on its own plateau, next to which was the traditional home of the Astronomer Royal. As much of a magnet for tourists the observatory undoubtedly is, the “prime” reason for people visiting the site is to stand on (and photograph) a metal strip set made of brass and stainless steel set in the ground known as the Prime Meridian (0 degrees longitude) from which all of time is measured.Meridian Man is a melding of myth and reality. Psychologists often refer to mythology to explain the underlying impulses of the human psyche. This is sometimes referred to as the “Heroes Journey”. The man I am versus the man I aspire to be. We all fall short of this. It is called being alive. But still we are inspired by stories of ancient myth and folklore. The story of Meridian Man is told over two CDs. CD 1 is The Myth. And CD 2 is The Man. The mythological Meridian Man (The Myth) is responsible for the sun’s movement across the sky and comes armed with a sword and is prepared to use it if necessary. He is a man of honour and duty. He knows great loneliness and sometimes wishes he could party. But to him, “Life is a meditation, practice and dedication, it’s just the way it’s got to be, there is no other way for me.” When a woman urges him to come away with her, he replies “But who would mind the sun when the day is done?” He is fundamental to our existence, yet nobody knows he exists. And that is just how he wants it to be. He is as mysterious as the meridians in Chinese medicine – or the arcane signs and symbols which adorn our reality. He knows all and sees all while at the same time being both unknowable and invisible. The human Meridian Man (The Man) is based on the three decades I spent living close to the Prime Meridian. Like my mythological counterpart, I too existed in anonymity while aspiring to something better both artistically and spiritually. For seventeen years, initially as a coping strategy for dealing with the stresses of the artistic life, I immersed myself in the world of Tai Chi, learning hand forms and that of sword, spear and sabre. I have spent much of my adult life in search of a deeper meaning to this existence of ours. And on the rare occasion, I have caught a glimpse of it only for it to vanish like tracks in the snow. But just as the mythological Meridian Man will continue to carry the sun across the sky, so I, the mortal Meridian Man will continue to search for a deeper meaning to this thing we call LIFE. (JS)
