Southern California roots rockers Robert Jon and The Wreck have a new single out, described as “a soulful ode to the touring life.” Check out the video below, or listen to it digitally – “Hold On”
“’Hold On’ is a track that wrestles with the question of every touring musician of how long can you hold on to this crazy lifestyle of being on the road, away from loved ones and family,” comments Robert Jon. “The song was recorded at Village Studios in LA and started out as a soundcheck riff, with promise. It turned into a riff-based rock classic, with soaring vocals and ripping guitar lines.”
The release of “Hold On” follows the band’s prior single “Stone Cold Killer.” Accompanied by the band’s first foray into animation, the “Stone Cold Killer” music video was directed and animated in black and white by Marco Pavone, introducing a fresh visual narrative while maintaining the band’s authentic Southern Rock essence.
Robert Jon & The Wreck are touring extensively in 2023, bringing their new music to fans both in the United States and Europe. They are currently on a European tour, covering countries like Germany, the Netherlands, UK, France, Austria, and Switzerland. After wrapping up in Europe on October 8th, the band will head to the U.S. in November. They will start by supporting The Mavericks for four shows, followed by their own headline tour that will continue until December 10th and end the year with newly added shows supporting Blackberry Smoke.Recently, keyboardist Jake Abernathie joined the band as an official member as they continue to tour and record in the studio. Simply put, it is difficult to ignore when these talented musicians take the stage.
Music On CD have reissued the ARGENT box of the band’s first 5 essential albums. Well worth checking out, if you don’t have any Argent! Includes hits “Liar” (made famous by Three Dog Night), “Hold Your Head Up”, and “God Gave Rock n Roll To You” (covered by Kiss).
This great box set includes five original albums recorded between 1969 and 1974 by the great British Prog group Argent, created by Rod Argent after the demise of the Zombies, one of the most important and talented representatives of British scene. With masterpiece “Argent” with excellent guitar playing, “Ring Of Hands” with a more rock mood, “All Together Now”, “In Deep” and “Nexus”. The albums have been digitally remastered and packaged in album replicas (mini-sleeves), housed in a cardboard box. This is an essential!
DOKKEN has a brand new album out next week. The band was one of the best that came out of the LA ‘metal’ scene in the ’80s with hits like “Breaking The Chains”, “In My Dreams”, “Just Got Lucky”, and “Alone Again”. They definitely built an impressive catalogue of albums throughout the ’80s, but over the years the ‘original’ band members would come and go, and for the past several years vocalist / songwriter and namesake Don Dokken has been keeping the Dokken name alive (rightfully so). The rest of the band consists of guitarist Jon Levin (for some 20 years now), and the longtime rhythm section of BJ Zampa and Chris McCarvill. Heaven Comes Down was produced by Don Dokken and Bill Palmer, and mixed by Kevin Shirley (Iron Maiden, Aerosmith…). Don Dokken’s health issues over the past decade plus have been documented, and the guy’s taken criticism online on occasion over his voice in later years, but really the guy is 70, still out there, and listening to Heaven Comes Down – he can still write good songs and delivers them fine by me! In going back and checking out the band’s previous few albums, I would say this is much better. The songs and production suit Don’s voice well; he sounds good throughout this, not overdoing it, but still rockin’. Heaven Comes Down is not ‘metal’ (was Dokken ever really metal?), but it rocks, and offers a good range of songs, with a few surprises. “Fugitive” was the lead off single, and it’s the first track on the album, a great opener with Jon Levin’s guitar notes, and the band coming in, easily a favorite here. I also dig the 2nd single “Gypsy”, a cool story behind it, and well – gotta love the title (thinking of all the classic bands that have used the same title & idea — Deep Purple, Uriah Heep, Black Sabbath). There is a good mix of rockers and a few ballads here, with favorites being “Saving Grace”, “Lost In You”, and the ballad “Never Give Up”. Plenty of cool intros and hooks throughout this, with Jon Levin being outstanding on this. Heaven Comes Down closes with the most interesting and perhaps best non-rock Dokken tune ever – “Santa Fe”, a memorable acoustic ballad, biographical lyrics , as Don sings about packing up and moving on. Is it a sign that this is Dokken’s last album (as Don has suggested in interviews)? Let’s hope not, as Heaven Comes Down is a great return after a decade. Check it out!
MAGNUM have announced a new album, ‘Here Comes the Rain’, to be released January 12, 2024. There will be a new single & (lyric) video out on November 22! A European & UK tour will follow starting in April. *Check out the press info & tour dates below.
There are few great bands on our planet that can be infallibly identified within the first few bars of one of their songs. With unique melodic skill, tasteful instrumentation, an amazing balance of depth and catchiness, and, of course, that charismatic voice: MAGNUM are Magnum!
The same can be said of their latest studio album ‘Here Comes The Rain’, which will be out on Steamhammer/SPV January 12th, 2024 on CD + DVD, double vinyl LP, as a box set and for digital download, proving once again that classic rock music could hardly sound more atmospheric. The band surrounding frontman Bob Catley and guitarist/songwriter Tony Clarkin is set to release two lead singles – “Blue Tango” on November 22, 2023 and “The Seventh Darkness” on January 3, 2024. Additionally, a tour has been scheduled to kick off in early April 2024.
The album’s highly inspired artwork is once more designed by the great Rodney Matthews, who has already created a number of MAGNUM sleeves to support the band’s atmospherically dense music. Says Tony Clarkin: “The back cover features a kind of avian battalion in attack mode, which I think is a great allegory!”
Apart from MAGNUM’s typical trademarks, ‘Here Comes The Rain’ also holds a number of thoroughly pleasant surprises. First single, “Blue Tango”, is a real riff-rock number that makes you want to move your feet while “The Seventh Darkness”, is filled with awesome brass sections courtesy of guest musicians Chris ‘BeeBe’ Aldridge (saxophone) and Nick Dewhurst (trumpet), which lend the song brilliance and shape.
There is no doubt about it: ‘Here Comes The Rain’ sees the MAGNUM line-up consisting of Catley, Clarkin, keyboardist Rick Benton, bassist Dennis Ward and drummer Lee Morris, once again succeed in creating an outstanding, colorful, varied and inspired new studio album. “Everyone played their part without me dictating anything,” Clarkin enthuses, “everyone just instinctively played what their inspiration told them.” It’s a good thing that these superb musicians can rely on their intuition!
‘Here Comes the Rain’ Track List: 1. Run into the Shadows 2. Here Comes the Rain 3. Some Kind of Treachery 4. After the Silence 5. Blue Tango 6. The Day He Lied 7. The Seventh Darkness 8. Broken City 9. I Wanna Live 10. Borderline ‘
Here Comes The Rain’ will be released on January 12th, 2024 through SPV/Steamhammer in the following configurations: > CD+DVD (‘Live At KK’s Steel Mill’) DigiPak > CD Jewel Case Version > Limited Box Set > 2LP Gatefold, 140 g, solid baby blue vinyl, printed inner sleeves > Download / Streaming > Exclusive CD/LP Bundles with a shirt only at the Steamhammer shop HERE > 2LP Gatefold exclusive colored edition only at the Napalm shop HERE
URIAH HEEP’s sixth studio album since their inception in 1970, was released in September of 1973.Sweet Freedom marked a change in direction for the band following the favorites – Demons And Wizards and The Magician’s Birthday, both released in 1972, both including fantasy themes and Roger Dean artwork. But following the band’s Live album released earlier in 1973, the band spoke of the unwanted attention that the previous 2 albums drew in based on the song titles and lyrical topics, and that they’d be steering clear of that on their next album. The band’s contract with Mercury Records was also up and they were signed to Warner Brothers in North America. Warners was a bigger label, and had loads of the big name heavy acts at the time, so Heep would make a fine addition to their roster. With Sweet Freedom the band began a more mainstream approach. This new album came in a brightly colored cover featuring the band on the front in a sunset, and a tri-fold sleeve to include individual photos,lyrics and credits (gone would be Ken Hensley’s liner notes). Cover and photos by Fin Costello.
Sweet Freedom featured the single “Stealin'”, penned by Ken Hensley. Although it be de-railed from being a massive hit single due to radio stations, at the time, not playing it because of the line “I done the rancher’s daughter”, it would go on to be a huge favorite amongst fans, and a live favorite regularly for decades to come. Based on a story Hensley claimed was pure imagination, it is one of the best examples of David Byron interpreting his words so convincingly. And add in Gary Thain’s bass (intro) and Mick Box’s brilliant solo, “Stealin'” is Heep at their best. But there’s 7 other cuts here, and they’re all classic Heep. “Dreamer”, penned by Box & Thain is a solid rocker that opens the album, telling the tale of a fan who hangs around the band, the feel-good short rocker “One Day”, and title track round out the first side.
“If I Had The Time”, opens side 2 with Hensley using more keyboards, giving this a more prog & psych feel. He would later in life disagree with some of his own lyrics here, commenting that he wouldn’t do things the same given the chance ‘if I had the time to re-live my life’. “Seven Stars”, another Hensley tune based on a dream would be the album’s 2nd single. The last 2 tracks tho’ are huge favorites – the acoustic “Circus”, another penned by Box & Thain would’ve made an excellent single (much more so than “Seven Stars”, IMO). Heck, I would suggest between Gary Thain’s songwriting contributions and playing throughout, that Sweet Freedom would be his best record with Heep. The album closes with the Hensley & Byron epic “Pilgrim”. It’s a theatrical heavy rocker, with some cool changes, and a great vocal. Clocking in at over 7 minutes, about as long as post-’72 Heep would get, as they abandon the longer pieces as they moved to a more mainstream approach (the band’s next few albums would feature more shorter tunes).
Sweet Freedom was another big charting album for the band in many countries, notably in Canada where it reached top 10. Odd that I never hear anything from it on Canadian classic rock radio, tho “Stealin'” still gets played on many American stations (like Buffalo’s 97 Rock). Sweet Freedom was also the first album Heep recorded outside of the UK (for tax reasons), at France’s Chateau D’Herouville, which was a popular studio at the time. They would stumble a bit with the next album which they also recorded out of country, in Germany. Sweet Freedom though is essential Uriah Heep listening from the band’s golden era.
*Leave a comment and let me know where Sweet Freedom sits amongst your favorite Uriah Heep albums.
*Songs from Sweet Freedom can be heard live on the release of the band’s 1973 King Biscuit Flower Hour, as well as a decent audience bootleg from the band’s show in Buffalo, New York, a few weeks prior to the album’s release. Aside from “Stealin'”, a few other tracks have been brought back to the live show on occasion, so live versions of “Sweet Freedom”, “Circus”, and “Seven Stars” exist with Bernie Shaw & Phil Lanzon. Ken Hensley also released an early take of “If I Had The Time” on his 1993 compilation of outtakes From Time To Time.
URIAH HEEP, “SWEET FREEDOM.” Uriah’s first album for the Brothers Warner is loaded with explosively driving rock that should leap to the top of the charts. “Stealin’ ” looks like a giant hit single and Ken Hensley and Gary Thain have written a heap of solid tunes, including “One Day,” “If I Had Time,” “Pilgrim” and “Seven Stars.” Warner Bros. BS 2724 (Record World, 09-29-1973)
SWEET FREEDOM-Uriah Heep-Warner Brothers-BS 2724 On their debut for their new label, Uriah Heep comes on stronger than ever and look ready to storm American shores as they have in their native England. Spearheaded by their current single release, “Stealin’,” this Heep disk is a very powerful demonstration of what the group is capable of delivering and one which should impress the masses upon first listening. Along with the single is the power driving title track and “Dreamer” other Heep compositions that score heavily, and only do more to increase their already high level of respectability. If you’ve been waiting for the vehicle to really get this group on their way, the wait is over. “Sweet Freedom” is here. (CashBox, 09-23-1973)
The follow up to GOLDEN EARRING‘s breakthrough album in North America (Moontan from 1973), was Switch, released in March of ’75. With the success of Moontan, and particularly the hit “Radar Love” in North America, the Dutch band toured more in the US and Canada, and a follow-up album would’ve been highly anticipated. Switch was the band’s 10th album, and would be given a big promotional push (see below) from MCA, likely with big expectations. As the title Switch – Golden Earring would make a few switches, including adding a keyboard player, a couple of guest players, and in direction with a more pop and experimental record. Keyboard player Robert Jan Stips was listed as a bandmember, having left Dutch prog band Supersister, and guests Eelco Geiling (slide guitar) and Bertus Borgers (sax) – both of whom guested on Moontan, as well as George Kooymans solo project ‘Jojo‘.
While Moontan featured the classic cover photo by Ronnie Hertz in a gatefold sleeve, Switch came in a single sleeve with cover featuring a drawing of wooden puppet on a string in distress (with a few strings broken), done by Corstiaan de Vries – who was best known for his portraits, and had worked on costumes and sets in the Rotterdam ballet. I think it’s a great cover, with a white backing, lyrics and band pics inserted. Songs for Switch would be mainly shorter and more varied, almost as if the band was really looking for a hit single. Things start out promising with the “Intro”, with synths soaring overtop, kinda reminiscent of more progressive bands like Pink Floyd or Eloy; this couples with the upbeat largely instrumental rock of “Plus Minus Absurdio”, with the words being repeated in the song. “Love Is A Rodeo” kicks off with a classic riff from George Kooymans, and this this track is a cool rocker; dig the backing vocals on the chorus, and the organ and keyboards throughout this one. Would’ve made a fine single. Perhaps the album’s best known cuts would be the singles – “The Switch”, and “Kill Me (Ce Soir)”, both very different to anything the band had done before. “Kill Me” told the tale of an activist rock star’s assassination – “Vick Timms…a vague tribute to Jim Morrison”. Interesting that the single is titled “Ce Soir”, while the album track is titled “Kill Me (Ce Soir)”, great vocals from Barry Hay. The title track dealt with various things that can be switched, and is one of my favorite here, with various changes, and use of piano, synths, and George Kooymans’ solos that highlight this recording (unfortunately, much of this was chopped off for the single edit). I gotta say I kind of prefer a few of the live recorded versions out there from the ensuing tour.
Side 2 features the reggae influenced “Tons Of Time”; a good tune and interesting, with a few changes, and a very cool synth & guitar break. This one was released as a single in some territories as well. “Daddy’s Gonna Save My Soul” a tale of a rich kid who’s tycoon father is going to save him. Also memorable for Bertus Borgers’ epic sax solo. Another favorite here is “Troubles & Hassles”, another rocker, with some lighter piano moments and a killer solo. Switch ends with “Lonesome DJ”, a story of a disc jockey reaching out to an ex girlfriend, hoping she’s still tuned in. The first part of the song (w/ George Kooymans’ lead vocal) is a ballad based on piano and lighter guitar, with a good vocal & harmony blend. The song’s 2nd movement rocks, featuring more piano and Hammond organ coming to the end; musically this part of the song reminds me of “Monster” by Steppenwolf (anyone else?). This is another that I think would’ve made a fine single, and perhaps one that would still get air-play. What I really like about this album is the overall sound and production; with the keyboards giving it a much more modern sound and the album sounding ahead of it’s time and still fresh. Although I enjoy the whole album, I think it lacked that epic follow up single to “Radar Love”. Most of this album would feature in the band’s live show at various times over the next year + , including the B-side “Lucky Number” (see the few live recordings on Youtube), but nothing from Switch would wind up on the band’s classic Live album!
In the band’s homeland, Switch topped the charts, but in North America it didn’t measure up to Moontan, just breaking the Top 100 in Canada (#79), and not even breaking the US Billboard’s top 100. The band would continue to change with their next few albums, and this most adventurous and enjoyable record seems to get mixed reviews by fans. A shame Switch wasn’t huge for Golden Earring over hear, despite it’s differences and lack of success, I think it makes for essential ’70s rock listening. As a ‘newer’ fan to Golden Earring, I’d like to hear what longtime fans thought of this album at the time and where it ranks amongst the band’s many studio recordings.
Major MCA Push For Earring HOLLYWOOD – Rick Frio, MCA vice president of marketing, has announced a promotion and sales campaign to coincide with the March release of Golden Earring’s track/MCA LP “Switch” and with the Dutch rock group’s concert tour of the U.S. set for spring. MCA has prepared radio spots for airing in key markets. In addition, print ads will appear in all major trade and consumer publications to tie in with Golden Earring’s American tour dates. T-shirts, iron-ons, stickers and posters are also being prepared. In-store and window displays will be shipped to key dealers and a billboard on Sunset Blvd. will announce the release of Golden Earring’s LP, “Switch.” Golden Earring is set to begin their 21/2 month -long tour April 3. The band will headline concerts in 21 cities. (CashBox News, )3-08-75)
New Earring Single HOLLYWOOD – Rick Frio, MCA vice president of marketing, has announced that a single, “Ce Soir,” by recording group Golden Earring, will be released in February, prior to the release of Golden Earring’s second Track/MCA LP, “Switch.” Golden Earring’s first Track/MCA album, “Moontan,” was certified gold by the R.I.A.A. in 1974. (CashBox, 02-22-75)
New Earring Single LOS ANGELES – MCA Records is rush – releasing the single, “Switch,” from Golden Earring’s album of the same name. Shipping date is set for May 7. Golden Earring is currently on tour in the United States to support their album. The Dutch group is selling out in many areas requiring the addition of second shows. (CashBox, 05-03-75)
GOLDEN EARRING – Switch. Track Super 2406 117. Production: Golden Earring – Currently touring in Britain, Golden Earring is a very accomplished band, and this album will go a long way towards proving to executive producer Freddy Haayen that they are in line for public recognition in Britain. A single from the album, Kill Me (Ce Soir) has been lifted as a single, and the company are hoping it will give them their second hit in the UK. following on from Radar Love. Production work is superb, and adds weight to an excitingly programmed collection. (Music Week, May 3, 1975)
GOLDEN EARRING, “SWITCH.” Dutch delights further their Track tradition on this second label release, as Barry Hay’s onstage eroticism grabs hold of vinyl too. The selections are heavy metal movers spiced with the quintet’s dramatic flavor, as the exciting “Love Is a Rodeo,” “Troubles & Hassles” and “Kill Me (Ce Soir)” tunefully testify. Track/MCA-2139 (Record World, 03-22-75).
SWITCH – Golden Earring – MCA MCA -2139 – Producers: Golden Earring Another smash disc from this heavy metal band from Holland. Tight vocal harmonies and excellent musicianship highlight this follow-up to their first top album. Heavy FM airplay is un – doubtable for this one. Of the eight selections on this record we especially like “Intro/Plus Minus Absurdio,” “The Switch,” and the current single “Kill Me (Ce Soir).” We predict to be hearing a lot of this group in the future. (CashBox, 03-22-75)
British band TRAPEZE were perhaps best known as the band that featured musicians who went on to big bands, notably Glenn Hughes (Deep Purple), Mel Galley (the band’s leader & mainstay – Whitesnake), Dave Holland (Judas Priest), and (later) Peter Goalby (Uriah Heep). Throughout the ’70s TRAPEZE released 6 studio albums, with various line-ups, but the band has seen a resurgence over the last decade or so with the release of archive live releases, CD box sets and compilations. But now we await the release of previously unreleased material from the ’70s on ‘Lost Tapes Vol 1’. 14 tracks from various line-ups of Trapeze later next month, on various formats. *For more info, check out the press release below….
When rock band Trapeze called it a day, they left behind them a series of now classic albums. Their influence on other groups has been immense; individual members themselves going on to join heavy weight rock acts such as Deep Purple, Whitesnake, Judas Priest & Uriah Heep. But their story’s not over, as TRAPEZE – LOST TAPES VOL. 1 will soon reveal!
These are tracks recorded on tour, and either side of album releases; great songs that were stockpiled just never released as the various line-ups hit the ground running, playing live relentlessly; honing their craft while rarely seeing home.
However, guitarist Mel Galley did take those tapes to his elder brother Tom’s house. There, they – as co-writers of many of the band’s best-known songs – would review them, making various decisions that felt right at the time. Mel also had the foresight, to leave them with Tom for safekeeping, so they didn’t get lost.
“One of Mel’s last wishes, before he passed away, was that I’d get together with Trapeze manager Tony Perry and put all these things together,” said Tom Galley, who went onto produce the celebrated Phenomena album series, “And that’s what we’ve done!”
LOST TAPES VOL. 1 is an opportunity to hear Trapeze with all the primal energy of young men stretching out; demonstrating there was even more untapped potential between the musicians involved than had hitherto been imagined.
Smashing the doors open across America by pioneering a heavy funk rock sound that would later be taken up by The Red Hot Chilli Peppers, Extreme and others, back in the 70s Glenn Hughes (Vocals, bass), Mel Galley (Guitar, vocals) & Dave Holland (Drums) barely had time to catch their breath while stepping into studios to lay down several unique songs that you’ll find on this collection, as well as tracks later recorded at Garage Studios in the UK during their 90s reformation.
Strident hard rocker ‘Breakdown’ comes from that latter period. “This features Glenn singing – His voice is one of the wonders of the world!” Tom remarked, and it truly is, the song sounding immensely fresh and contemporary even today. From the same period, with ‘Don’t Let Them Push You’, it’s a case of “More cowbell!” and Mel’s guitar weaving tirelessly with him also taking lead vocals.
On the trio’s older tracks, with songs like ‘Bad Kid From School’ and ‘Enough Is Enough’, it’s their classic sound you’ll relish hearing afresh. “I was able to get that funky heavy rock sound out of those old tapes – And that’s what I call the Trapeze style!” With various co-writing tracks from that period recovered, Tom also noted how ‘Catching Up On You’ had ”started off as an instrumental but they decided to add vocals.”
These tracks embrace both powder-kegged bravado performances as well as the band’s more nuanced emotional side – With nothing off limits as the musicians involved can be heard exploring their potential both collectively and as individuals. Powerful with deft time changes, tinged with subtly or bleeding out ferociously; belting rockers find them surging forward as one only for a propulsive rhythmic heartbeat to take hold over which solos soar.
Initially a five-piece patronized by The Moody Blues, even as that line-up fractured, Galley, Holland and original keyboard player Terry Rowley went into 10cc’s recording studios and some of those songs will also see the light of day for the very first time on this record. “Destiny’ and ‘Lights Of Tokyo’ were songs that were overlooked and never ended up on an album,” recalled Tom. Important pathfinders on the band’s journey they pre-empt the heavier rock & progressive sounds that the band would find acclaim with, beginning with 1970’s Medusa album.
Following Hughes’ joining Deep Purple, Mel Galley took the helm; both singing and playing guitar, while bringing in bass player Pete Wright and second guitarist Rob Kendrick. This was their 1974 Billboard charting Hot Wire era, finding them particularly prolific laying down tracks in studios like Island in the years either side. ‘Going Home’ is a fiery arena-ready alternative rendition of that album’s classic pinpointing exactly why The Rolling Stones had Trapeze open for them back then.
From a little later we get ‘So In Love’. ”If you listen to ‘Chances’ on the second self-titled Trapeze album; it’s So In Love with different lyrics, sung by Glenn, and Mel sings this, ”we’re told of a more melodic number. Likewise, ‘Lover finds the guitarist in particularly good form on vocals. Blending funk rock with a little soul, this so should have been a single, back in those days when music crossed the airwaves without fear of genre-boundaries, and only good taste mattered.
When Kendrick joined Budgie, Pete Goalby came forward and stepped up to the mic; oozing impressive vocal charisma and allowing Galley a chance to ease his voice. From that late ’70s golden patch we get the mainstream appeal of ‘You’ve Got It’ and ‘Who Do You Run To’ while on ‘Cool Water’ it’s slick, funky with a blues rock edge that’s sat somewhere in between The James Gang and Little Feat in their prime. “Mel wrote and sang on an original version, but this is a version with him and Pete both singing. It also had Terry Rowley on keyboards,” recalled Tom, noting the ongoing bonds between former members, before astutely noting in conclusion:
“This collection of recordings show not only how good the various line-ups were, but capture the passion and excitement of the creation of the songs themselves.”
Never a band who stood still. These recordings are often paths less taken. Had time, circumstances and other opportunities not proved otherwise we can only imagine what heights Trapeze would have reached… As listeners will discover, LOST TAPES VOL. 1, features Trapeze songs as classy as any on their previous rock album releases, with some likely to become classics still!
TRACK LISTING: Cool Water Lover Breakdown Don’t Let Them Push You Destiny Lights Of Tokyo So In Love Bad Kid From School Catching Up On You Do You Understand Enough Is Enough You’ve Got It Who Do You Run To Going Home
Steve Hackett, who is currently on tour in North America will see the reissue of albums on vinyl for the first time. As well, UK tour dates for next year’s celebration of the classic The Lamb Lies Down On Broadway album have been posted. * For more info, check out the press releases below….
Legendary guitarist Steve Hackett & InsideOutMusic will continue their reissue series with the first ever vinyl editions of his 2003 album ‘To Watch The Storms’ & the 2006 album ‘Wild Orchids’. Both will arrive on the 8th December as Gatefold 180g 2LP’s on black and colored editions, and have been mastered specially for the format, and they can be pre-ordered here:https://stevehackett.lnk.to/Re-issues2023
Steve comments of these releases: “I’m delighted to announce the release of both To Watch The Storms and Wild Orchids on vinyl for the first time! I’ve always been proud of these albums and it feels great to give them another lease of life.”
‘To Watch The Storms’ was Steve’s 16th studio album, and features his live band at the time, including Roger King, Gary O’Toole, Rob Townsend & Terry Gregory. It also featured his brother John Hackett, and ex-King Crimson member Ian McDonald.
‘Wild Orchids’ was Steve’s 18th studio album, and also featured Roger King, Gary O’Toole, Rob Townsend & John Hackett, as well as The Underworld Orchestra who added glorious string and brass flourishes to the sound. The record also includes a cover of Bob Dylan’s ‘Man In The Long Black Coat’, and a re-recorded version of ‘Air Conditioned Nightmare’, originally released on his 1981 album ‘Cured’.
Steve Hackett & band continue their busy touring schedule with a 16-date recently announced Genesis Greats, Lamb Highlights and Solo UK Tour in October 2024, they are currently touring in North America. For the full list of dates, head to: http://hackettsongs.com/tour.html
Steve Hackett announces the dates for his 2024 UK tour: Steve Hackett – Genesis Greats, Lamb Highlights & Solo. The tour takes in 15 dates across the UK culminating with a visit to London’s Royal Albert Hall on Wednesday 23rd October. To mark the 50th anniversary of The Lamb Lies Down On Broadway, Hackett is including a selection of highlights from this iconic Genesis album. Tickets are on sale at – https://myticket.co.uk/artists/steve-hackett
Steve Hackett’s timeless guitar-work was woven throughout Genesis’ classic 70’s catalogue of albums. In recent years he and his outstanding touring line-up of Roger King (keyboards), Nad Sylvan (vocals), Jonas Reingold (bass, backing vocals), Rob Townsend (saxophone, flutes, additional keyboards) and Craig Blundell (drums) have brought many of these albums back to the concert hall to great acclaim. Special guest, Amanda Lehmann will be joining the whole of the UK tour on guitar and vocals. Many fans have also been asking for more tracks from The Lamb to be included. What better way to celebrate half-a-century of this remarkable album than to include a selection of Lamb Highlights alongside some of Hackett’s finest solo work and unmissable Genesis Greats.
“I’m hugely looking forward to the 2024 UK tour,” says Steve Hackett, “including ‘The Lamb Lies Down on Broadway’ favourites as well as other iconic Genesis numbers along with solo gems. It’ll also be exciting to return to the wonderful Royal Albert Hall!”
Canadian writer Martin Popoff has a new book celebrating 50 years of KISS, out shortly. The hardcover book is 192 pages, including lots of rare photos, and comes from Motorbooks, the same guys who published Gary Graff’s awesome Alice Cooper at 75, earlier this year. *For more info see press info below or visit Martin’s website!
With this beautifully produced book, relive the extraordinary history of the of the hottest band in the land through 50 milestone events.
Formed in New York City in 1973, Kiss became one of the most popular and best-selling bands in rock history with their inventive stage presence and heavy, hook-filled catalog, both ideally suited for packing hockey arenas and football stadiums. This richly illustrated book from prolific rock journalist Martin Popoff pays tribute to the band on the occasion of their 50th anniversary by curating and examining the 50 most significant milestones. This exquisite volume features:
Sturdy hardcover format
Stunning concert and candid offstage photography, much of it never before published
Images of memorabilia, including gig posters, 7-inch picture sleeves, ticket stubs, and more
Gatefold Kiss timeline
Popoff covers everything down through the decades:
The band’s formation on the New York club scene
Their fortuitous signing to the Casablanca label
Infamous TV appearances, including Kiss Meets the Phantom of the Park
The formation of the famous Kiss Army fan club
Mega tours undertaken in support of the LPs
Inter-band conflicts and personnel changes
The band’s 1980s “unmasking”
Innovative marketing such as comic books and the Kiss Convention
And, of course, each of the landmark studio LPs.
The result is an epic tribute to one of the most influential and admired bands in rock history—in a milestone year
Another Swedish band to check out more of. With a name like ‘Graveyard’, one might be expecting something heavier and darker, but nope, Graveyard is a retro hard-rock band with psych and blues influences. 6 is just a really good album of varied tunes, with a number of excellent lighter tunes in “No Way Out”, “Sad Song” and “Bright Lights”. Love the different guitar sounds, and use of Hammond organ on occasion (courtesy of Nils Dahl). Fave cut is the Pink Floyd-ish “Breathe In Breathe Out”. There’s also a few great rockin’ tunes in “Just A Drop” and “Twice” . Overall this album is more laid back, but delivered with lots of feeling, atmospheric, moody, classic rock. 9 cuts here, and each one is pretty interesting, and enjoyable. Love the album cover too! Available on different colored vinyl LP, plus CD, digital…. *For more info check out the bio/press release below, as well as the band’s 3 videos from ‘6‘, and various links.
Graveyard was formed in Gothenburg, Sweden in 2006 with a shared passion for hard rock, psychedelia and the eternal bedrock of blues which influenced their sound from the start.
Led by vocalist/guitarist Joakim Nilsson, they opened their account with their now seminal self-titled Tee Pee Recordings debut in 2007, showcasing fiery chemistry and some wildly imaginative songwriting. Subsequently snapped up by the mighty Nuclear Blast Records, the band’s rise to prominence was swift and irresistible.
In 2008, guitarist Jonatan Ramm expanded the ranks, joining Nilsson, bassist Rikard Edlund and drummer Axel Sjöberg for the recording of second album Hisingen Blues. A critical smash that more than lived up to the hype, it established Graveyard as rock’n’roll heavyweights. A thunderous, soul-stirring live band, with subtlety and swagger in equal amounts, they spent the next decade keeping fans of loose-limbed and earthy rock music in a near-constant state of rapture. From the rootsy clatter of 2012’s Lights Out to the magical, muscular grooves of 2018’s Peace (taking in the sepia-tinted folk doom of 2015’s Innocence & Decadence along the way), Graveyard have made some of the most vital and vivid heavy rock of the 21st century. All eyes and ears are on their next move.
“I mean, it’s an obvious story!” laughs Joakim Nilsson. “We had plans to start recording or writing an album before the pandemic started, but then everything shut down. Maybe we shut down too, you know? We couldn’t make any money from playing anymore, so everybody started getting jobs and stuff like that, and everything took a lot longer than was expected. During the recording we had a Covid scare and we had to cancel things for a while, so it all took a long while, but mostly because we didn’t have time. We were working and taking care of family, whatever was needed most.”
Fast forward to 2023. Graveyard have completed their latest full-length recording and memories of gloomy lockdown are fast fading. This band has evolved yet again, both in terms of personnel and on a profound musical level. Simply titled 6, the band’s sixth studio record may be instantly recognisable as the work of Nilsson and his comrades, but this is a very different kind of Graveyard album. The second record to feature a line-up of Nilsson, Ramm, bassist Truls Mörck and drummer Oskar Bergenheim, it is slower, more soulful, more introspective and a little darker than its predecessors. The new songs reflect the fragile aftermath of a ruinous global sickness, drawing more inspiration than ever from the blues in the process. But despite its melancholy overtones, 6 still sparks and flashes with many moments of riff-driven euphoria. Ultimately, Graveyard are operating on instinct alone.
”We only make the music that feels right at the time, when we’re making it,” says Nilsson. “I mean, the main thing was we wanted to make a more guitar-driven album. Peace was maybe more bass and rhythm-driven, but now we’ve got more of the guitar stuff, so you can hear that there are two of us! [Laughs]. We try to make the albums as different as possible, but we always do that and people often don’t hear it! Maybe for once people will hear we’ve made something different from what we normally do.”
“Since Peace was a little harder and rowdier, it felt like a good time to have some breathing space,” says Jonatan Ramm. “You can’t always choose what to write. You just work it out and see what feels the best. As always we didn’t know what it would sound like, but we trust Don, as we always do when we record with him. He was also producing, so if he had anything that he wanted to change, we gave it a try and we worked from there. I think the songs are built up really nicely on this one.”
From the shimmering slow-flow of opener Godnatt onwards, 6 is easily identifiable as the most striking, original album of Graveyard’s story so far. A gently lysergic blend of desolate guitars, simmering Hammond and lithe, nimble bass and drums, the Swedes demonstrate a lightness of touch that they have only hinted at in the past. Whether it’s the rootsy strut of Twice, the garage rock sturm ‘n’ twang of I Follow You, or Sad Song’s bleary, barroom blues, 6 is a restless but riveting affair. Meanwhile, while Graveyard may have stepped outside of their comfort zone this time around, a renewed collaboration with a dear old friend has also had a huge impact on the new songs’ freshness and verve. Master of knobs and faders on the band’s early works, Swedish producer Don Ahlsterberg returned to capture 6 in all its gritty, groovy glory.
“We worked with Don on your first three albums, and he’s back now on the sixth,” Nilsson explains. “We had other producers on the fourth and fifth records, but I’m happy he’s back for this one. We started recording 6 in an old studio in Sweden called Silence. It’s a rural, foresty sort of studio in one of the darkest parts of a county in Sweden called Värmland. It’s a really nice place, but we didn’t have everything written yet, so we were only there for a week. We started recording guitars and drums for three or four songs. Then we decided to use Don’s own personal studio here in Gothenburg. It was the most convenient choice!”
After dabbling momentarily with digital technology on their last album, Peace, Graveyard have reverted to their original ethos on 6. Captured using analogue equipment only, the new songs have the kind of raw and sometimes primitive edge that simply can’t be faked. From the drifting swamp gospel of Breathe In, Breathe Out, to … 6 sounds as old as the hills, but as fresh as the daisies that grow on them.
“I just like the feeling that you need a really good take,” says Nilsson. “It all felt too easy on ^. I just sang a song three times and the engineer cut the best parts from all the takes together. With tape, it feels more substantial and real. It’s important that you hear that it’s hard to play this stuff sometimes! Especially with singing, you need to hear the effort it takes. If you want a perfect album with everything recorded perfectly, Graveyard is not the band for you! [Laughs] We love the mistakes. If the feeling is right, then the music’s good.”
While the music on 6 veers from languorous blues to kaleidoscopic psych, Jonatan Ramm’s lyrics paint a more monochrome, melancholy picture. Although shrouded in metaphor and poetic misdirection, songs like Sad Song and Bright Lights bring a more intimate and emotionally supercharged feel to Graveyard’s sound, whether at full blast or smothered in restraint. These are elegant, organic anti-hymns; tinged with sadness and troubled by loss, but bathed in the sonorous, soothing tones of hope.
“I think the lyrics have a lot to do with the whole pandemic period and all the change that happened for everyone,” Ramm explains. “We worked hard and often on this album, but there were a lot of bumps in the road. Everybody got sick. We have kids and other jobs, so we all needed to put food on the table. It was a strange time and I guess a lot of the songs ended up in a certain mood. Twice is about a few aspects of human interaction, like when you realize that people can change a lot and not always for the better. Breathe In, Breathe Out is a song about hanging in there, when life is a struggle. Rampant Fields is about making mistakes and realizing that this is a rollercoaster ride and we’re just passing through. It’s always hard to explain lyrics, but this album is more about the feeling of the time.”
Armed with their darkest but most accessible album yet, Graveyard have weathered a few years of isolation and frustration and come back braver, bolder and more bluesy than ever. Reinvigorated and surfing on waves of inspiration, they are ready to take their new songs out on the road, where the real magic happens and the rock really rolls. For fans of the truly authentic, 6 is mandatory, medicinal listening. Now watch this thing grow.
“All, we can do is hope that people enjoy what we do and we’ll take it from there!” Ramm laughs. “You can never be certain of anything, but maybe this record will be more appreciated by people that haven’t heard us before or people who think we’re harder than we are. Maybe they’ve heard the name and they think we play some other kind of music! Hopefully we’ll reach out to even more people and we’ll grow as a band. I think there’s a bright future, if we continue to travel and play live. It feels good to be done with this record. Now we see what happens next!”
“Before everything stopped for the pandemic, we were kind of fed up with everything, so we needed this break!” concludes Nilsson. “But we’ve been out a little bit already and it feels good! Now we love doing it again and playing music together is fun now. It’s good to be out touring, so I’m looking forward to it. The ambition is high and we want to tour as much as we can. Everywhere!”
The band’s first record in five years, “6,” is easily identifiable as the most striking, original album of Graveyard’s story so far. A gently lysergic blend of desolate guitars, simmering Hammond and lithe, nimble bass and drums, the Swedes demonstrate a lightness of touch that they have only hinted at in the past.
Outsider Rock 