BABE RUTH was one of those unique British progressive bands, originally lead by guitarist / writer Alan Shacklock, and featuring the vocals of Jenny Haan. Alan was a member of The Juniors in the ’60s, along with Mick Taylor and the Glasscock brothers. After The Juniors, the band evolved in to The Hi Numbers and The Favourite Sons. Shacklock went on to work with Chris Farlowe & The Thunderbirds before eventually forming Babe Ruth. Following the 3rd album Shacklock left (tho he contributed to Stealin’ Home). The band carried on with Bernie Marsden on guitar for 2 more albums, with the 5th and final album not including any original members! Bassist Dave Hewitt would go on to work with Whitford/St Holmes and Georgia Satellites, Haan recorded a solo single in ’79, while Shacklock went on to a lengthy career as a producer. The original band reformed decades later, even releasing a new album in 2009 (Que Pasa).
This 3 CD set features the band’s first 3 albums, on Harvest Records. The debut First Base is perhaps the band’s most easily recognizable, with the Roger Dean artwork, and classic like heavy rockin’ “Wells Fargo”, as well as their best known cut “The Mexican”, and favorites “Black Dog”, the ballad “The Runaways”, and a cover of Frank Zappa’s “King Kong”. *A few bonus tracks on this one, notably the pop-rock single “Ain’t That Livin'”.
The band followed that up with the album Amar Caballero, and it is quite different than the debut, as the band takes on more influences of soul, r & b, and Spanish music. There’s plenty of strings, flutes, congas, trumpets, sax…. Not overly rockin’, but a pretty interesting album. The cover (created by Hypnosis) features a photo of horses out in the desert (Poco anyone?). This disc features favorites “Gimme Some Leg” (which features a couple of heavy solos from Shacklock), and the funky “Doctor Love”. *Includes the bonus track “If Heaven’s On Beauty’s Side”, which was released as a single in ’74, and it’s the only real hard rock’ track here.
The band’s 3rd album was self-titled, featuring a slightly more interesting cover of bandmembers dressed as characters from another era. And this one is back on track, and the band’s hardest rockin’ with heavy hitters like “Dancer” and “Somebody’s Nobody” – which kicked off this album, as well as “Jack O’ Lantern”, and ‘ “Sad But Rich”. A couple of excellent covers included on this album – Curtis Mayfield’s “We People Darker Than Blue” the theme to “A Fistful Of Dollars” (by Italian composer Ennio Morricone), and Booker T Jones’ “Private Number” (which featured Shacklock sharing lead vocals) was issued as a single (single edit here as ‘bonus’ track). The heavy ballad “The Duchess Of Orleans” was the other single from this album. This last of the trio is the best of the era IMO, and it’s hard to believe it wasn’t a huge charting success for the band. Oh well….but you can check ’em out in this package!
*For more info, check out the press & bio info below…
• NEW 3CD CLAMSHELL BOXED SET OF THE ALBUMS AND SINGLES BY THE BAND BABE RUTH RECORDED FOR THE HARVEST LABEL BETWEEN 1972 AND 1975 • FEATURING THE ALBUMS ‘FIRST BASE’, ‘AMAR CABALLERO’ AND ‘BABE RUTH’. • NEWLY REMASTERED FROM THE ORIGINAL HARVEST MASTER TAPES WITH AN ILLUSTRATED BOOKLET FEATURING AN ESSAY
Babe Ruth was formed Iin Hatfield in 1970 by guitarist Alan Shacklock and featured vocalist Janita “Jenny” Haan, bassist Dave Hewitt and drummer Jeff Allen. Their unique brand of soulful Progressive Rock soon gained many admirers and in 1972 they signed a contract with EMI Records’ Progressive imprint, Harvest. By this time Jeff Allen had departed and Dick Powell joined on drums. The band’s line-up was also expanded by the arrival of keyboard player Dave Punshon. Babe Ruth stood out from many of their labelmates, partly due to Haan’s vocals and through the band’s ability to generate a soulful edge to their music. Their debut album, ‘First Base’ was issued in 1972 and featured the classic tracks ‘Wells Fargo’ and ‘The Mexican’ (later covered by Jellybean Benitez in 1984), which gained considerable air play in Canada (where the album gained Gold Disc status) and the USA, but the record inexplicably failed to match this success in the UK. The arrival of Chris Holmes on keyboards and new drummer Ed Spevock in 1974 saw them follow their debut with ‘Amar Caballero’, before the band’s final album for Harvest in 1975, the eponymous ‘Babe Ruth’ which was a hit in the USA and Canada and featured the band’s memorable cover of the theme from the film A Fistful Of Dollars and the Curtis Mayfield composition ‘We People Darker Than Blue’. Soon after the album’s release Alan Shacklock departed the band (to be replaced by Bernie Marsden) and Babe Ruth moved labels to Capitol Records.
Wells Fargo The Runaways King Kong Black Dog The Mexican (Interpolating Per Qualche Dollaro in Piu) Joker Bonus tracks Wells Fargo (single version) Theme from A Few Dollars More (B-side of single) Ain’t That Livin’ (A-side of single) We Are Holding On (B-side of single)
Lady Broken Cloud Gimmie Some Leg Baby Pride Cool Jerk We Are Holding On Doctor Love Amar Caballero a) El Caballero de la Reina Isabella b) Hombre de la Guitarra c) El Testament De ‘Amelia Bonus track If Heaven’s On Beauty’s Side (A-side of single)
Dancer Somebody’s Nobody A Fistful Of Dollars We People Darker Than Blue Jack O’Lantern Private Number Turquoise Sad But Rich The Duchess of Orleans Bonus track Private Number (single version
Newly expanded and 45th anniversary edition of the first Golden Earring Live album. Remastered from the original IBC Studios master tapes. Featuring 5 bonus tracks, including 3 previously unreleased recordings from the concert in Brugge in March 1977, Including a 30-page booklet with a new essay, memorabilia, and photos Founded in 1961 by George Kooymans and Rinus Gerritsen, Dutch rock band Golden Earring (or Golden Earrings, until 1969) started off as a beatband, experimented as a psychedelic quartet and finally became a heavy rock group. Their ninth album Moontan (1973) hit the international album charts and is the band’s most successful album in the United States, being the only Golden Earring album to be certified Gold by the RIAA, alongside the classic single “Radar Love”, that reached #10 on the Cash Box Top 100 and #13 in Billboard in the United States.
Live is the band’s first live (double) album released in 1977. With it’s long, spun-out versions of classic Golden Earring songs, this record is vastly different from other live registrations by the band. It’s also one of only three albums featuring guitarist Eelco Gelling as a band member, adding a new dimension to the band’s sound. Furthermore, this album emphasizes Golden Earring’s strong rhythm section on swinging songs like “Mad Love’s Comin’” and “Radar Love”. Live celebrates its 45th anniversary in 2022 and has been being remastered for the first time from the original IBC Studios master tapes. It includes three bonus tracks recorded during the concert in March 1977 in Brugge and the double A-sided single “Radar Love/Just Like Vince Taylor” which was issued to promote the album and features edit versions of the respectable album tracks. In addition, a DVD entitled Golden Earring Live features four tracks filmed at the IJsselhallen in Zwolle on 28th August 1977, which were broadcasted on Dutch television four weeks later. This footage has been restored and remastered from the original 16 mm film reels. The 2LP edition of Live (remastered & expanded) has been released by Music On Vinyl on 10th June 2022. This 2CD+DVD edition of Live is the second volume in a special series of remastered & expanded albums by Golden Earring, overseen by Red Bullet catalogue and band archivist Woute Bessels.
TRACKLISTING 2CD: Original album version remastered plus bonus tracks CD1-
Candy’s Going Bad 5.06 She Flies On Strange Wings 8.09 Mad Love’s Comin’ 9.49 Eight Miles High 10.06 Vanilla Queen 11.42 To The Hilt 6.40 Fightin’ Windmills 8.50 Con Man 9.20
Radar Love 11.16 / Just Like Vince Taylor 6.24 BONUS TRACKS: Fightin’ Windmills (Brugge 1977) 7.50 / Eight Miles High (Brugge 1977) 9.13 / I Need Love (Brugge 1977) 6.45 / Radar Love (single version) 4.46 / Just Like Vince Taylor (single version) 4.00
DVD: Golden Earring Live
Mad Love’s Comin’ / Leather / Radar Love / Just Like Vince Taylor
Live (remastered & expanded) was released by Red Bullet Productions on 29th July 2022 and is available through all renowned worldwide music dealers and online shops
“DEUCE” SOPHOMORE ALBUM 50TH ANNIVERSARY EDITION BOX SET
SET FOR RELEASE SEPTEMBER 30, 2022 ALL FORMATS AVAILABLE TO PRE-ORDER HERE
4CD DELUXE BOX SET, 2CD, LIMITED EDITION 3LP, LIMITED EDITION 1LP COLOURED VINYL (D2C), DELUXE DIGITAL HD AND DELUXE DIGITAL STANDARD
Formats: 4CD / 2CD / 3LP / 1LP Colour (D2C) / Digital HD & SD Release Date: September 30, 2022 Label: UMC
To celebrate the 50th anniversary of Rory Gallagher’s“Deuce” sophomore solo album from 1971, a deluxe CD boxset will be released by UMC on Friday September 30th. The album is available to pre-order fromhttps://RoryGallagher.lnk.to/Deuce_50.
The extensive celebratory release digs deep into the Rory Gallagher Archives and will include a new mix of the original album, twenty-eight previously unreleased alternate takes, a six-song 1972 BBC Radio ‘In Concert’, and seven Radio Bremen radio session tracks. The package will contain a 64-page hardback book with a foreword by Johnny Marr of The Smiths, unseen images by the late Mick Rock, essays, and memorabilia from the album recording. The 2CD and 3LP will be cut down versions from the deluxe box and there will be a special D2C 1LP of the “BBC In Concert – Live at The Paris Theatre, 13 January 1972.”
“There was one day when I was playing along with the Deuce album which was a complete turning point for me as a guitar player.”
Released in November 1971, just six months after his eponymous solo debut, Rory Gallagher’s second album, Deuce, was the summation of all that he’d promised in the wake of Taste’s collapse. Rory wanted to capture the feeling of a live performance, so he would look to record immediately after live concerts while keeping production to a minimum.
He chose Tangerine Studios, a small reggae studio, in Dalston in East London, due it’s history with legendary producer Joe Meek. With Gerry McAvoy on bass guitar and Wilgar Campbell on drums, the album was engineered by Robin Sylvester and produced by Rory. Deucefeatures many Rory highlights, from the blistering Crest Of A Wave to the Celtic-infused I’m Not Awake Yet.
When asked “How does it feel to be the best guitarist in the world,” Jimi replied: “I don’t know, why don’t you go and ask Rory Gallagher.”
– Jimi Hendrix
“There are a million guys who sound like Stevie Ray Vaughan, but I never heard anybody who could really pull off sounding like Rory Gallagher.”
” As soon as I heard Cradle Rock, I was hooked. I thought, ‘This is what I want to be when I grow up.”
– Joe Bonamassa
“I really liked Rory, he was fine guitarist and singer and lovely man”
– Jimmy Page
“He was just a magician, he’s one of the very few people of that time who could make his guitar do anything it seemed. It just seemed to be magic. I remember looking at that battered Stratocaster and thinking how does that come out of there?”
– Brian May
“The man who changed my musical life was Rory Gallagher, I picked up a guitar because of him.”
– Johnny Marr
“A beautiful man and an amazing guitar player. He was a very sensitive man and a great musician.”
– The Edge
“An amazing player, very spirited … he had a particular sound using that Stratocaster and he really got it because of the brute force in the way that he played, he just had such a passion about it.”
– Joe Satriani
FORMATS / TRACK LIST
4 CD BOX SET
Used to Be – 50th Anniversary Edition I’m Not Awake Yet – 50th Anniversary Edition Don’t Know Where I’m Going – 50th Anniversary Edition Maybe I Will – 50th Anniversary Edition Whole Lot of People – 50th Anniversary Edition In Your Town – 50th Anniversary Edition Should’ve Learnt My Lesson – 50th Anniversary Edition There’s a Light – 50th Anniversary Edition Out of My Mind – 50th Anniversary Edition Crest of a Wave – 50th Anniversary Edition
Used to Be – Alternate Take 1 Used to Be –Alternate Take 2 I’m Not Awake Yet – Alternate Take 1 Don’t Know Where I’m Going – Alternate Take 1 Maybe I Will – Alternate Take 1 Maybe I Will – Alternate Take 2 Maybe I Will – Alternate Take 3 Maybe I Will – Alternate Take 4 Maybe I Will – Alternate Take 5 Whole Lot of People – Electric Alternate Take 1 Whole Lot of People – 6 String Acoustic Alternate Take 1 Whole Lot Of People – Deuce Album Session / Alternative Acoustic Take / 1971 * Whole Lot of People – 12 String Acoustic Alternate Take 1 In Your Town – Alternate Take 1 In Your Town – Alternate Take 2 In Your Town – Alternate Take 3
In Your Town – Alternate Take 4 Should’ve Learnt My Lesson – Deuce Album Session / Alternative Acoustic Take / 1971* Should’ve Learnt My Lesson – Deuce Album Session Outtake / 1971* Should’ve Learnt My Lesson – Alternate Take 2 Should’ve Learnt My Lesson – Alternate Take 3 There’s A Light – Alternate Take 1 There’s A Light – Alternate Take 2 There’s A Light – Alternate Take 3 Out of My Mind – Alternate Take 1 Out of My Mind – Alternate Take 2 Out of My Mind – Alternate Take 3 Crest of a Wave – Alternate Take 1 Crest of a Wave – Alternate Take 2 Don’t Know Where I’m Going – Home Demo Maybe I Will – Home Demo Should’ve Learnt My Lesson – Home Demo
Should’ve Learnt My Lesson – Radio Bremen 21/12/1971 Crest of a Wave – Radio Bremen 21/12/1971 I Could’ve Had Religion – Radio Bremen 21/12/1971 For The Last Time – Radio Bremen 21/12/1971 Messin’ With The Kid – Radio Bremen 21/12/1971 Don’t Know Where I’mGoing – Radio Bremen 21/12/1971 Pistol Slapper Blues – Radio Bremen 21/12/1971 Used To Be – BBC In Concert – Live at The Paris Theatre, 13 January 1972 Should’ve Learnt My Lesson – BBC In Concert – Live at The Paris Theatre, 13 January 1972 Out Of My Mind – BBC In Concert – Live at The Paris Theatre, 13 January 1972 I Could’ve Had Religion – BBC In Concert – Live at The Paris Theatre, 13 January 1972 Crest Of A Wave – BBC In Concert – Live at The Paris Theatre, 13 January 1972 Messin’ With The Kid – BBC In Concert – Live at The Paris Theatre, 13 January 1972
Used to Be – 50th Anniversary Edition I’m Not Awake Yet – 50th Anniversary Edition Don’t Know Where I’m Going – 50th Anniversary Edition Maybe I Will – 50th Anniversary Edition Whole Lot of People – 50th Anniversary Edition In Your Town – 50th Anniversary Edition Should’ve Learnt My Lesson – 50th Anniversary Edition There’s a Light – 50th Anniversary Edition Out of My Mind – 50th Anniversary Edition Crest of a Wave – 50th Anniversary Edition
Used to Be – Alternate Take 1 I’m Not Awake Yet – Alternate Take 1 Maybe I Will – Alternate Take 1 Whole Lot of People – 12 String Acoustic Alternate Take 1 In Your Town – Alternate Take 3 Should’ve Learnt My Lesson – Alternate Take 3 There’s A Light –Alternate Take 1 Out of My Mind – Alternate Take 3 Crest of a Wave – Alternate Take 2 Should’ve Learnt My Lesson – Radio Bremen 21/12/1971 Crest of a Wave – Radio Bremen 21/12/1971 I Could’ve Had Religion – Radio Bremen 21/12/1971 For The Last Time – Radio Bremen 21/12/1971 Messin’ With The Kid – Radio Bremen 21/12/1971 Don’t Know Where I’m Going – Radio Bremen 21/12/1971 Pistol Slapper Blues – Radio Bremen 21/12/1971
Used to Be – 50th Anniversary Edition I’m Not Awake Yet – 50th Anniversary Edition Don’t Know Where I’m Going – 50th Anniversary Edition Maybe I Will – 50th Anniversary Edition Whole Lot of People – 50th Anniversary Edition
In Your Town – 50th Anniversary Edition Should’ve Learnt My Lesson – 50th Anniversary Edition There’s a Light – 50th Anniversary Edition Out of My Mind – 50th Anniversary Edition Crest of a Wave – 50th Anniversary Edition
Used to Be – Alternate Take 1 I’m Not Awake Yet – Alternate Take 1 Maybe I Will – Alternate Take 1 Whole Lot of People – 12 string acoustic Alternate Take 1
In Your Town – Alternate Take 3 Should’ve Learnt My Lesson – Alternate Take 3 There’s A Light – Alternate Take 1 Out of My Mind – Alternate Take 3
Crest of a Wave – Alternate Take 2 Crest of a Wave – Radio Bremen 21/12/1971 Don’t Know Where I’m Going – Radio Bremen 21/12/1971 I Could’ve Had Religion – Radio Bremen 21/12/1971
Should’ve Learnt My Lesson – Radio Bremen 21/12/1971 For The Last Time – Radio Bremen 21/12/1971 Messin’ With The Kid – Radio Bremen 21/12/1971 Pistol Slapper Blues – Radio Bremen 21/12/1971
1 LP COLOUR (D2C)
Used To Be – BBC In Concert – Live at The Paris Theatre, 13 January 1972 Should’ve Learnt My Lesson – BBC In Concert – Live at The Paris Theatre, 13 January 1972 Out Of My Mind – BBC In Concert – Live at The Paris Theatre, 13 January 1972
I Could’ve Had Religion – BBC In Concert – Live at The Paris Theatre, 13 January 1972 Crest Of A Wave – BBC In Concert – Live at The Paris Theatre, 13 January 1972 Messin’ With The Kid – BBC In Concert – Live at The Paris Theatre, 13 January 1972
This is an album I picked up in the early-mid ’80s on one of my trips around Toronto with my Uncle Jim, who lived in Rexdale. He knew where all the shops were, and on a few occasions we’d go up and down Yonge Street, and then off to various other shops within walking distance. So, at that time you could still pick up albums you weren’t familiar with for a dollar or 2, a small gamble but I picked up a lot of gems this way. I had the first Crazy World Of Arthur Brown LP (via my uncle, from a few years earlier), so I was a wee bit familiar with Arthur Brown, but judging by the cover and titles Dance With Arthur Brown would be something very different.
This was Brown’s first post-Kingdom Come album, and although it could still be deemed experimental, Dance With seems a bit more radio accessible for the time, as if Arthur was attempting to get in to the mainstream. It featured 11 tracks, a pair of covers, and a few that would’ve made interesting singles. In fact there were 3 singles. Now signed to Gull Records (part of the Motown group) may be a sign of Arthur’s new direction, with elements of soul, r & b, gospel, all can be found on this album. Gull also released the first few Judas Priest albums during this era. Dance With was preceded by a single in late ’74 – “Gypsies” bw/ “Dance”. The A-side was a non-LP track, penned by Naaman (anyone?). A shame this one is not on youtube, though Arthur Brown’s re-recording of it is, as he re-did the song for his 2007 album The Voice Of Love (as The Amazing World Of Arthur Brown). The single was produced by Brown, himself, but the album would be produced by the legendary Rodger Bain who was better known for the heavier bands he produced like Black Sabbath and Budgie. Dance With featured a number of players, notably guitarist Andy Dalby (from Kingdom Come), and keyboardist Pete Solley (ex Paladin, Snafu), as well as a few backing singers – Fuzzy, Stevie, and Mutt! Stevie was Stevie Lange who later appeared with a number of acts in the 70s , notably The Sweet, Graham Bonnet and Elton John, while Mutt (Lange) went on to produce tons of bands over the next few decades, notably AC/DC, Def Leppard, and Foreigner. Anyway,…. Dance With Arthur Brown came out in May of ’75, it received mixed reviews (of the few I could find), Although there’s no face-paint, costumes, or cosmic cover art, the cover is a bit humorous with 2 torn photos of Brown dancing with a female partner in formal wear (from a different era), while the back cover includes all the songwriting and performance credits, and a regular photo of Brown and lyrics to just 3 songs.
Gull released 2 further singles, in a few countries – “We’ve Got To Get Out Of This Place” b/w the non-LP track “Here I Am” in July of ’75, and then “Out Of Time” b/w “The Lord Will Find A Way” (penned by bass player Lee Robinson). The 2nd single seemed to only be issued in New Zealand and Australia. I actually like both of these covers, as the production seems lively, but find it odd that the album’s 2 covers were the only singles, as there were a few others that would’ve made excellent choices, such as “Helen With The Sun” and the title track (as a A side!). And I hear saxophone on “Out Of Time”, but don’t see it in the credits…(!?) The rest of the album includes a few styles, such as “Crazy” with it’s cabaret approach, “Soul Garden” with it’s reggae beat, and closing “Is There Nothing Beyond God?”, which – with it’s 1 line repeated throughout is kind of a chant put to some decent guitar, bass and drums.
Both Dance With Arthur Brown and it’s follow up Chisholm In My Bosom (which I don’t have.. yet) seem scarce (and pricey) on CD. Both were released together in 1995 on See For Miles Records (UK), in ’95, and since then only in Japan. A proper release of both of these albums – complete with bonus tracks, would be nice after so many years, and while Arthur Brown is getting long overdue press and praise with the release of the Eternal Messenger (An Anthology) CD box last year And his brilliant new album Long Long Road.
Mirage is the 2nd album released by the partnership of George Kooymans (Golden Earring) and American singer/guitarist/songwriter Frank Carillo. This album was recorded over a number of years, prior to Kooymans ALS diagnosis that has left him unable to play and forcing his band Golden Earring to retire. However, this collection of songs will come as a nice surprise to Kooyman’s fans who assumed they’d not hear anything new from the legendary Dutch guitarist (as well as singer/songwriter). Mirage is also a follow up the duo’s 2010 album On Location. I haven’t got or heard the entire On Location disc (and judging by the availability and prices online – won’t be getting it anytime soon). Frank Carillo has been active releasing music since the late ’60s, his earliest bands being Hot Soup, as well as Doc Holliday along with Bob Mayo. Carillo would also play on the first few Peter Frampton solo albums, (Mayo would play with Frampton for decades).
Anyway, back to Mirage…. Golden Earring fans may know of Frank Carillo from his involvement on the band’s 2003 album Millbrook, USA. and 2012’s Tits N Ass , where he played slide guitar and had a few co-writing credits. Mirage features 11 tracks, 9 of which were co-written by Kooymans & Carillo, and recorded at a few studios in the USA and the Netherlands.
For the most part Mirage is a collection of largely acoustic based, roots rock, a bit of blues, and a bit of a country feel on many tracks as well. The lead off (and) title track is easily likeable, a smooth acoustic based country flavored tune highlighted by slide guitar and lead vocals from George, as well as vocals from Casey Kooymans, along backing vocals from Frank, who also adds piano, and there’s a bit of banjo provided by Paul Orofino. There’s a few good upbeat cuts like “If I Go There”, “Den Of Thieves” and “Crystal Cracking”, which is probably the most ‘classic rock’ track here, with it’s slide guitar and hammond organ, and Frank’s vocals.
The best picks for me tho’ are a few of the ballads, particularly “I Wish You Were Still Here”, which is just a very memorable song – if there was a hit single from this album, this would be it. As well the short “Christmas In Gaza” stands out as well. Mirage also features the light country rock tune “Ticket To Heaven” written by Eddie Seville, this one includes violin. The ‘bonus’ track here is “Seasons”, which is just George and John Sonneveld (who programs the drums and bass, adds flute and hammond organ) . It is a song George wrote decades ago and gave to Dutch band Earth & Fire, who had their first hit with it in 1969.
Lots of excellent lead vocals and shared vocals here that go so well together, great productions, and a few guests – such as Rinus Gerritsen on couple of tracks. Would be curious to know if Kooymans and Carillo might have anything left in the can. For Golden Earring fans that won’t be expecting anything further from the band Mirage is definitely something you’ll want to pick up.
Very Heepy Very Purple XIIIis the latest in Avi Rosenfeld’s series of original hard rock influenced by …..Uriah Heep and Deep Purple! Rosenfeld, born in 1980, is from Netany, Israel and has 63 albums to his credit (tho he says it may be 64 by the time I publish this article!). The 2 bands that Avi sites as his favorites are obviously noticeable throughout this album – there’s harmonies, Hammond organ, various keyboards, and plenty of hooks and solos sounding like Blackmore was his major guitar influence. But there’s more than just a Heep/Purple combo thing going on here -lead off track “Icarus Dream” starts off with a symphonic rock keys and piano before the riff [band] kick in, which sounds fairly Iron Maiden, but the song quickly progresses with harmonies, lead vocals, some Hammond organ in the mix, … a good lead off track. There’s bits of blues, symphonic rock, even a bit of an Indian inspired intro on the non-lyric track “Nigun”. Fave cuts include “Silver Shines” [gotta love when the Blackmore-type solo kicks in and it all speeds up], the fast paced “Knights Of The Castle” [Rainbow?], and “Marching To Nowhere”.
Avi Rosenfeld writes all the music & lyrics here, and works with a number of players and different singers on this album, presumably through online connections. He also plays some great guitar throughout. Cool album artwork, as it seems to be with all of Avi’s releases. Very Heep Very Purple – sounds like an interesting series I’ll need to check out further. Avi notes of the album – “Heavy Metal is the cure for these crazy times that we live in. This is another chapter in the Very Heepy Very Purple saga with influences from times where music at its best and played from the heart. From times where people actually had patience to listen and waited for the cool guitar solo, or even to the end of the song. From times where you could hold up the cover art and imagine the sounds and feelings. Times where every power chord made you move, and every note had a meaning..”
Legendary guitarist Steve Hackett is pleased to announce, ‘Genesis Revisited Live: Seconds Out & More’, the visual document of his 2021 UK tour celebrating the classic Genesis live album. Set for release on the 2nd September 2022 (with vinyl following on the 25th November), it sees Steve and his band perform ‘Seconds Out’ in full & in sequence, as well as a selection of solo material including tracks from his most recent studio album ‘Surrender of Silence’.
Steve comments: “I’m so happy to release my Seconds Out & More show… A spectacular night with a band on fire tearing into that magic music combining the true spirit of Genesis with a fresh virtuosic approach and an extraordinary sound under amazing lights. This show is a feast for both ears and eyes. The best of so many worlds!”
‘Genesis Revisited Live: Seconds Out & More’ will be available as Limited 2CD + Blu-ray & Limited 2CD + DVD, both including 5.1 surround sound, behind the scenes documentary & promo videos. Steve Hackett and his band comprise Roger King, Rob Townsend, Jonas Reingold, Nad Sylvan & Craig Blundell, and they were joined by Amanda Lehmann as special guest on the night.
Steve Hackett & his band have just completed a run of shows in New Zealand and Australia, and will continue their ‘Seconds Out & More’ tour in Japan, Europe and North America throughout the rest of year. In September and October 2022, they will present their ‘Foxtrot at Fifty’ 25-date tour in the UK. For the full list of dates and to buy tickets go to HackettSongs.com.
About Steve Hackett
Steve Hackett joined Genesis at the beginning of 1971 and gained an international reputation as the guitarist in the band’s classic line-up alongside Peter Gabriel, Tony Banks, Mike Rutherford and Phil Collins. Hackett’s intricate guitar work was a key element of Genesis’ albums from Nursery Cryme (1971) to Wind And Wuthering (1977) including the classic Selling England By The Pound.
After leaving Genesis at the end of 1977, Hackett’s solo career, which now spans more than 30 albums, has demonstrated his extraordinary versatility with both electric and acoustic guitar. Hackett is renowned as both an immensely talented and innovative rock musician and a virtuoso classical guitarist and composer and this was recognised in 2010 when he was inducted into the Rock Hall Of Fame. He has also worked alongside Steve Howe of YES in the supergroup GTR.
Hackett’s compositions take influences from many genres, including jazz, classical and blues. For his later studio works The Night Siren (2017) and At The Edge Of Light (2019) Hackett has explored the influences of world music. Recent tours have seen Hackett celebrate his time with Genesis including a spectacular 2018 tour in which he realised a long-held ambition to perform the works of Genesis live with his band and an orchestra.
The lockdown enforced by the 2020 global pandemic has proven to be a particularly creative period for Hackett. He began by releasing Selling England by the Pound & Spectral Mornings: Live at Hammersmith, a live recording of 2019’s hugely successful tour celebrating that Genesis classic together with the 40th anniversary of one of his most-loved solo albums. Lockdown also gave Hackett the opportunity to write and record two new studio albums, the UK Classical Chart hit Under A Mediterranean Sky and the forthcoming Surrender of Silence.
The new album from New York area band LIPS TURN BLUE features an eye catching cover created by artist Martin Kornick, aka Man In The Mountain. Martin has designed numerous album covers over the past 2 decades, notably for prog artists like Neal Morse, Mike Portnoy, Keith Emerson, and Kinetic Element. Admittedly, when I looked in to Martin’s work intending just to inquire about the LTB cover, I found a lot more of his work that I couldn’t avoid asking about! In this interview Martin details how he created the LTB cover, as well as a few others, such as those by John Wetton & District 97 and Keith Emerson, as well as his lengthy working relationship with Neal Morse. He also shares his background in the business and future plans. I’ve included images of some of Martin’s covers as well as pics of him with a few of those he’s worked for (all provided by Martin). *For more on his work as an artist, and various projects check out Martin’s site – http://www.maninthemountain.com (see more links below)
Can you give me a bit of background as to how you started in doing album covers (aside from your other works)?
I got my start doing album covers thanks to Neal Morse back when he was in Spock’s Beard – the ’90’s era progressive rock band that I was quite smitten with upon discovery. Floored really. I couldn’t believe the interweaving keyboards and lush prog arrangements I was hearing spinning “The Doorway” on my stereo. I quickly became obsessed with the band. I distinctly remember getting their newest album Day For Night and being entranced by the cover art by German artist Thomas Ewerhard, which had a strong Pink Floyd Hipgnosis vibe to it. As I examined it further it struck me that Thomas was using a lot of Photoshop techniques that I was already experimenting with in my personal art. I thought, “I can do that! How can I do something like that for Spock’s Beard? I must find a way!”
Shorty after I was thrilled to see Spock’s Beard were playing at Martyrs’, a Chicago area nightclub. It was such a magical night, as anyone who was anyone in the Chicago prog scene was there in attendance. I truly made several long-lasting friendships with people I met there that night. But what then happened is at the start of the show, Neal Morse ran out on stage with a video camera, then leaned over and gave me (randomly) the camera to continue filming the show. And honestly, I am the most insane prog fan/bootleg collector you could ever give a video camera too. Haha! After the show, I had to somehow get a copy of this concert video. So, I contacted Neal by email to ask for a copy, and we hit off a friendship talking about old Genesis and Gentle Giant Bootlegs. We even traded a few things. During our correspondence over the next few months, I mentioned to Neal that I was a graphic artist and hit him up if needed any art for a CD project. Nothing became of it until one more time I asked and by chance he was working on a fan club CD. He asked me to shoot him some ideas for it. And I ended up working for Neal for the next 20 years. How is that for fate? And of course, led to doing artwork for other bands as well.
Growing up – what were some of your favorite bands, albums, and album cover artists? [Any artists influence your own work? ]
Looking back at my youth, I did have an affinity for bands that had cool artwork and graphics. I easily fell for KISS who were the most graphic art-oriented band ever, from the face paint, the photos, to the album art. KISS were super easy to the draw, and I even made my own KISS comic books. I had a sort of musical awakening when I went to see the movie The Song Remains The Same and watched Jimmy Page make all these otherworldly sounds with a cello bow, while he turned into a wizard and drew an electric rainbow across the sky. My tastes then shifted to Led Zeppelin and bands like RUSH and Styx who also explored more cinematic musical landscapes and science fiction. RUSH used all that dystopian Hugh Syme artwork like A Farewell To Kings, Permanent Waves – two of my all-time favs. Bands like Judas Priest started attracting me because they were operatic in style and had gothic album art like a Sad Wings of Destiny and Sin After Sin. Plus the logos… AC/CD, Van Halen, Def Leppard, Styx, Judas Priest, all of them… which sharpened my skills by duplicating the logos all over my high school desk. They didn’t understand, that WAS my schooling!
After graduating high school in 1981, instead of listening to the popular music of the times, the hair metal and MTV, I fell in love with older music from the ’60’s and all the ’70’s progressive rock music like YES, ELP, Pink Floyd, Genesis, and Rick Wakeman. And certainly, that artwork delved deeper artistically into fantasy, science fiction, and mind-altering photo manipulation from Hipgnosis. Off the top of my head, artwork for albums like Wish You Were Here, Yessongs, The Myth & Legends of King Arthur, ELP’s Trilogy and Brain Salad Surgery… were among my favorites. It’s a world I’ve been in artistically ever since. Roger Dean made a huge impression on me, and I started covering my apartment walls with his work. All of this was my school, my formative training
You’ve done a lot of covers for Neal Morse, as well as Transatlantic and Mike Portnoy. – can you tell me a bit about where ideas come from and how much collaboration [or input] there is from the musical artists when designing a cover?
Typically, there is little “idea” input from the musicians, but not in every case. I usually draw from the album title and maybe some lyrics. Sometimes I’m given the raw music to get a feel of what the music sounds like. I’ll listen to it over and over while creating images in my mind. No matter what I am fed at the start, my artwork is always developed organically in a stream of consciousness. I do not create my art in a formally trained manner, as I do not make sketches or roughs. I hit the digital canvas and go where it takes me. I keep fishing about until I see something good forming, and then tighten it up to a viable well developed idea that I can present to the client.
Collaborating with Neal Morse was fantastic, he has a certain aura about him, that’s hard to explain, it’s a unique energy. We had such a great symbiotic relationship in that we could read each well for any project that came before us. Neal allowed me tons of freedom, letting me develop ideas, but sometimes he suggested ideas too. With Neal becoming a Christian artist, I had to work within a more spiritual mindset, which could take me out of my comfort zone. God spinning the Earth on the cover of Momentum was an idea Neal suggested after he didn’t feel my attempts were hitting it. But how I created the cover from that suggestion, was all from my imagination. So, when talking about collaboration, to me it’s more about listening to the artists and their needs, rather than shooting ideas at each other or watching me every step of the way. It’s important to be responsive with artists and very reliable professionally. At the end of the day, you need to deliver on time, and not have a plethora of errors coming from the printing plant, that’s when you’ll get a call to do more.
Working for Mike Portnoy is always so fun. He’s hilarious and has an M family like I do (all names starting with an M), so we M’s get on great. Seeing my artwork end up on his drumhead is surreal to say the least. Mike is a terrific guy, who is inspiring to work with because he continues to be excited like a child when working on his music projects. He cares a lot about his fans.
One cover of your’s I really like is the Keith Emerson Band album from 2008. Any recall on creating that and working with Keith?
Thank you, that’s nice to hear. Yeah, how much room do you have in this interview? Let’s just say Keith Emerson was extremely excited about this release. He saw it as a return to form after not having any significant output for years. His desire was to have the type of cover artwork he loved from the ’70’s. Detailed enough to keep you looking at a vinyl copy for years. That’s what attracted Keith to my work. I do recall having a bit of a false start on ideas for the album which Keith was initially planning on calling “Ganton 7” about a distant planet. He did however let me do my thing, with Keith explaining that “there was a cow’s arse on the cover of a Pink Floyd album, so anything is possible.” – That’s a direct quote. Marc Bonilla was also involved with the album art, and I had many long conversations with Marc on development.
Eventually, Keith liked a piece I had already completed that was displayed on MySpace (of all places) depicting a Mellotron rusting in the desert under a red sky. Keith suggested changing the Mellotron to a Hammond B3, feeling this image represented the state of his music career, but also somehow wanting to show it as a rebirth. Along with Marc, we batted around a few ideas until I came up with igniting the organ on fire. That was the moment – I had nailed it! If you look closely, the fire is restoring the organ to its former glory. Keith pointed out to me that the opening section of the track “Miles Away” is based on my cover art. He had the art hanging in the studio. If you look at the cover while playing that intro, the synergy is strikingly clear. Keith was an amazing person to work for, with an unarming humbleness that made you feel comfortable to even disagree with him. He also had no problems calling me on the phone to discuss the album, which is rare – most everyone sticks to email. Nothing can top getting an unlisted phone call, picking it up and hearing in a British accent, “Hello Martin, this is Keith!” I miss him so much.
As a fan of the late John Wetton, can you recall working with him in creating the cover for the live album with District 97? [They are from Chicago!?] Also, were you at that show and have any favorite albums with JW?
District 97 is a Chicago area prog band that caught my attention with their 2010 debut album “Hybrid Child.” They had a youthful energy and a remarkably proficient singer, Leslie Hunt, that set them apart from most other prog acts at the time. Being local to Chicago, I thought I would introduce myself to the band’s founder & drummer Jonathan Schang and offer my design services. Jonathan was quick to take me up on that and hired me to design show posters and on-line promotions. Soon afterwards, John Wetton also became a fan of District 97 and started to collaborate with the band. A tour was then planned to have D97 play the music of King Crimson with none other than John Wetton on vocals. Because I was their tour poster guy, I was lucky enough to have the opportunity make the graphics to accompany the tour, which later turned into a live CD package. I can’t say I worked directly with Wetton, but was Cc’ed among conversations regarding the artwork. I do recall Wetton being indecisive about what photo of him we could use, insisting the CD color be red, and that the title of the album be changed from “One More Red Nightmare” to “One More Red Night.” Which probably was a good call! I didn’t catch the Chicago show that was recorded, but I caught them earlier up in Milwaukee. The CD is fantastic, don’t you think? I might say it’s my favorite Wetton album! I do love the first Asia album, Crimson’s Red, and Night After Night with UK is on top of my list. “Rendezvous 6:02” is my favorite song featuring John Wetton.
Your latest cover is the Lips Turn Blue cover, and its real eye catching. How did you wind up with this project? Were you familiar with any of the band?
Thank you! I was asked to do the project by the band’s manager, Bruce Pilato. Bruce and I have known each other for many years working with The Carl Palmer Band. I’ve designed many of Carl’s t-shirts and DVD covers, as well the “ELP Lives On” logo that Carl uses on the huge stage backdrop. When Bruce asked me about working on LTB, I was familiar with Phil Naro and the band Talas. The other players had strong resumes as well, so it sounded like a hot project to take on.
Where did the idea for the cover shot come from? Can you give us details on the photo and how you transformed it into the final piece of art [including the logo and the city scene in the girl’s glasses]?
I’m not sure who in the band came up with the idea, but Bruce described in detail what they were looking for. A beautiful female face, similar to those in the Robert Palmer video “Addicted to Love”, with a silver painted face and bright blue lips. That’s very descript. Selecting the particular model and just the right pose, with her hand on her chin, was entirely my call. People see a face, but it’s really about shapes working together in balance, and the selection and framing of those shapes is key to it’s strength. The city lights in the glasses were my way of adding some extra flash and depth to the image – putting the model in a place rather than just a flat image. The logo played off that, with neon lettering. With CD artwork now reduced to tiny icons on the internet, I needed to create a simple bold image to draw attention. The contrasting silver/blue color scheme worked well to that effect. Another interesting part of the development of the cover were instructions to put photos of all the band members at the bottom of the woman’s face. I did that, but then ending up having a disagreement over it. When I removed the band photos, Bruce argued that without them, people would think the woman is the recording artist on the CD. I reminded him that many male bands used a woman on the cover, like The Cars and Roxy Music. So, in that spirit, I guess I won out! I was also told Phil Naro approved the final artwork just before he passed, so that’s quite nice to think my artwork was among his last images on Earth.
Do you have any favorite tracks from the LTD album? and might we see you work on the next LTB cover?
All the tracks are consistently strong. “Pray For Tomorrow” is quite nice. And I love “Blood Moon”. Probably because it has a prog feel to it with prominent organ and synths, and I’m a synth player myself so I dig that. I’m certainly open to another LTB cover, but I think their current plans are for a tour.
Any upcoming album art you are working on [or will be] ?
I’m open for business. So, if Rick Wakeman or Peter Gabriel want to drop me a line, I’m ready and available! I appreciate you taking the time to talk with me, Kevin. There are many modern-day cover artists like myself that don’t get enough recognition because everyone seems fixated on the classic artist. So, good on you and Outsider-Rock for spending the time with me.
Singer/Songwriter Robert Tepper to release new single, album on July 30th
On Saturday July 30th, Robert Tepper will be releasing a new album entitled Feels Like Monday. Tepper, 72, will be sharing this release via Facebook Live, a first for the rock musician. Kendee Hughes of Kendee Hughes Productions will be overseeing the event.
“Robert will simultaneously release the music video for the single “Feels Like Monday,” and the album of the same name.” Kendee said. “It’ll be a virtual viewing party for his fans. Robert will perform live, answer some fan questions, and tell folks about what he’s got coming up.”
Robert will be supporting his new album Feels Like Monday with singer/songwriter/guitarist Chris Cameron and a small semi-acoustic ensemble. He is performing his hits along with new music in concerts and listening rooms across the US in 2022.
Robert Tepper is a singer/songwriter who lives in Los Angeles, CA. He is best known for the 1986 hit song “No Easy Way Out” as heard on the Rocky IV soundtrack, as well as the 1980 hit “Into the Night” that he penned with singer Benny Mardones. He also wrote and performed “Angel of the City” for Stallone‘s 1986 action film, Cobra, and wrote the Pat Benatar hit “Le Bel Age”, from 1986. His latest album is 2019’s Better Than The Rest.
The 2015 reunion concert of the original Alice Cooper band featuring Alice, Neal Smith, Dennis Dunaway, Michael Bruce along with Ryan Roxie filling in for the late Glenn Buxton is coming in various formats and most notably the film of the whole event to DVD & Blue-ray! There will be vinyl variants, as well as awesome new packaging for fans and collectors.
“Caught In a Dream” “Be My Lover” “I’m Eighteen” “Is It My Body” “No More Mr. Nice Guy” “Under My Wheels” “School’s Out” “Elected” “Desperado” (Intro Bonus Track)