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ROBIN GEORGE – An Exclusive Interview

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British guitarist / songwriter Robin George may be better known to many for his vast list of big name collaborations, but his output as a solo artist is often overlooked, and over the global pandemic he’s been busy adding to his solo discography with a number of new albums, remastered and reworked recordings, and a few surprises. One of his latest is Wilderness, (which I’ve written about previously), and here Robin answers my questions (and tosses in some press feedback) about all his new releases as well as his influences, and what we can look forward to hearing in the near future. *For more info and ordering of Robin’s new releases go to http://www.robingeorge.co.uk

The last time we spoke was around the time of the Byron Band release.  You’ve been very busy since then, and in particular since the release of History in 2014. Since then there’s been plenty of releases. Can you start with the History release and your working relationship with Angel Air Records?  

HISTORY MUSICIANS
DAVE HOLLAND, PINO PALLADINO, PHIL LYNOTT, MEL COLLINS, MARK STANWAY, MO BIRCH, TERRY ROWLEY, DANIEL BOONE, PETE WRIGHT, ROBIN GEORGE.

Words From the much-missed Malcolm Dome:

As you’ll hear on the ‘History’ album, Robin George clearly deserves such accolades and plaudits, because the quality and individuality of the music here is simply remarkable. More so, as the tracks here, remastered as one would expect, have been left as they were at the time and represent a fulfilling exercise in the combination of power, song writing and intelligence. What this album underlines is how creative he was even in his formative years.

There are clearly some hidden gems . For instance, you’ll get to hear the original version of ‘Heartline’ a single through Bronze Records in April 1985. If you want to appreciate every nuance and aspect of what makes this a truly great pop rock song, then this is the prime representation.

History is not a nostalgia trip. It’s a lesson in music for everyone.

Angel Air was an unusual deal, a partnership really, 50%50, which was unheard of, but as all musos know there is no real music industry anymore, the internet has put paid to that!

I wanted my music to be heard somehow so I signed to them. They released 7 of my albums, and my loyal friends and followers seemed to like them!

I have to say as a label the packaging/Artwork was very good indeed, and the valid re-releases, of course. They were honest which is rare these days; they always settle their debts. So, it did work in a strange but true way… Angel Air kept my name out there to the faithfuls amongst you. Thanks chaps!

Dangerous Music 2 came out.  That is a collection of songs that you’d originally hoped to be the sequel to your debut album in 1984!? Can you tell me a bit about this album – where the tracks come from and who’s all on it? 

Dangerous Music 2 was going to be the follow up to DM, produced with Gus Dudgeon at the fab Manor Studio, owned by R Branson, who popped in occasionally while driving his kid around to get him to sleep? Then recording continued at Maison Rouge Studio in London for backing vocals etc.

I remember I was adding guitar to my track ‘Streetwise’ when Quo burst in performing their famed guitar dance. Later I went into the pool room for a chat to find Rick & Francis gently lifting Bonnie of The Pointer Sisters, who was with me, off the pool table and placing her on a sofa… without waking her. Gentlemen indeed!

Dave Holland started the sessions as the drummer, but his commitment to Judas Priest meant he had to bail out.

Charlie has played on my last 7 albums, he is the best melodic rock drummer I ‘ve had the honor and pleasure of knowing and working with… he brings my songs to life, no less!

The superb Pino Paladino was playing bass, no way to be his talent could be wasted, so I prog’d a drum machine as a stop gap. Then Gus called in Elton’s drummer the fantastic Charlie Morgan, and the rest is history.

Adrian Lee played keys and was a big influence on the sound of the trax. Chris Thompson Daniel Boone and 3 girls sang backing vocals: Bonnie Pointer, the singer from a major power ad back then and a great session singer… I joined in with the girls of course! The master recording of them was lost somehow which is why I don’t remember all their names. Sorry, girls. So, I never heard them again, but they are always fab in my memory!!

Rogue Angels was issued in 2018, and if I’m correct – your first solo album of new material in 10 years[?]  Now, this album was just you and Charlie Morgan[?]   

 I think Steven Reid’s words say it all! Better than I could! :

Angel Air Music [Release date 18.05.18] George, Robin: Rogue Angels

Recent times have seen Robin George both reappraise his incredible back catalogue and release an impressive stream of new albums. Rogue Angels is his latest set of fresh recordings and for a man long known for high profile collaborations (Robert Plant, Phil Lynott, Glenn Hughes etc), there’s a certain irony that this almost purely solo effort is undoubtedly one of his best. Having worked together regularly throughout their careers, drummer Charlie Morgan is once again the man behind Robin’s beat, the kind of telepathic bond that only time can build hugely benefiting a set of songs that positively burst with vim and vigour. With Robin handling everything else, the cohesive and ‘band’ nature of Rogue Angels really has to be experienced to be fully appreciated; the fire that burns bright from the very second “Wild Eyed Beauty Queen” comes into being completely knocking you sideways with the pure energy it possesses.

That Robin is arguably best known for bothering the charts in the 80s, and his ability to write songs that show other artists at their best, it’s often forgotten that he’s a heck of a guitarist, and with his foot thoroughly stamped on the distortion pedal, the irresistible little guitar runs that add colour and intrigue to “Dangerous Daisy” and the album’s title track (which, if I’m not mistaken, cleverly nods towards George’s biggest hit, “Heartline”) instantly snag the ear and won’t let go. A second look over the shoulder arrives in the shape of “Go Down Fighting 2018”, Robin’s debut single given a meaty reworking here and thriving in this updated form. Throughout, Robin refers lyrically to his long held ethos of LovePower & Peace, the theme of love conquering all and having the power to bring about peace, if we’d only let it, revisited numerous times across these songs and lending them an uplifting quality in the process. Something which comes across again and again in the crafted layers that are used to accentuate the insistent vocals. However, when you feel the obvious love and joy that the likes of “Dancing Shoes Again”, “Rush” and “Surreal Dream” have all been created with, then the same ethos also comes across in the hook laden music and, dare I say it, some of the best guitar solos Robin has ever pulled from his fretboard.

Over a vast and varied career Robin George has created a hugely eclectic body of work, but with the hard rocking, blues edged energy of Rogue Angels it really feels like this singer, guitarist and songwriter is making music that completely satisfies his creative need. Surely it’s no coincidence that it also comes across as one of the most impressive albums he’s put his name to.


With Rogue Angels and Wilderness [and going forward] what’s changed in your approach to writing and recording over the years?  Listening to these albums, there’s lots of great guitar, groove, rock, a bit of funk, blues…

Even some soul with Ruby Turner! I was writing solo songs from around 14 for bands I formed, then later started co-writing with guys and gals I was producing. David Byron, Phil Lynott, John Wetton, Robert Plant, Ruby Turner, Marshall Law, Vix Fuzzbox, Pete Haycock, Pete Goalby and many more. I really enjoyed all those collaborations, but now, I write solo again, suits me these days.

Re-recording, I followed technology at it’s best, then went back to real talented musicians… far more satisfying and much more fun and inspiration.

Can you talk a bit about some of your early influences as a guitar player and what’s sort of influenced your sound and style to where you are today?  

Peter Green, Johnny Winter, all old blues players, Clapton with the Beatles, Gary Moore, Neil Schon, Joe Walsh et al were all great for me. Since my early days I don’t listen to much music, if I wanna hear some I make it 😉 What comes out is how I play today, using my Marshall combo amp & BC Rich, and Washburn, Suzuki and Yamaha acoustic guitars.

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On Wilderness there seems to be a lot of poetry and storytelling. Can you tell me a bit about what inspires your lyrics – where ideas come from ? 

Thanks for noticing, I am being named a ‘Rock Poet’ which is gratifying indeed!

I really care about my lyrics and the messages I share with my friends.

Inspiration arrives out of the blue then I have a vast bunch of words which I slice away at until they resemble a song, Then I improve on what I have until it is a song… then I record it.

My inspiration is mostly from real life, I can hear a phrase or line in conversation that sparks an idea which lights a fire in me.

I don’t know how I do it, but I’m truly grateful for the gift of creativity.

You have a fairly unique vocal sound / style, and the only way I can describe it is sort of like Marc Bolan, fairly quieter , but not really soft. Can you tell me a bit about your vocal approach or influences? 

I never wanted to be a singer, I was a guitar player who sang a bit, but over the years I found only I could sing most of what I wrote, the way I heard it, so here I am, a song writing guitar player who sings a bit.

I have no real influences. The singers I admired were in a different league from me which I could never aspire to. Again, how I sound is what comes out.

I do think Marc was a great pop star though. I was asked to be Bolan 2 if I’d write more poppy songs, but not for me! He was a one off.

During the pandemic you’ve recorded 4 new albums, starting with Wilderness – can you give me a few lines on each of these releases – what each is about, in which order they were done, when did you come up with the ideas, and who else played on them? 

Robin has used Rockdown to nurture and finish some fantastic music, all of which is now available from Damage Control Music in Robin’s Online Store @ www.robingeorge.co.uk, and includes contributions from no less than Phil Lynott, John Wetton, Robert Plant, Sean Harris, Ruby Turner, David Byron, Glenn Hughes, Vix Fuzzbox, Pete Goalby & Pete Haycock to name just a few, Artist credits are also on site.

Robin says,

‘I’ve just remastered the Charity album LovePower and Peace that escaped about ten years ago; It’s now called RockinG LovePower with many new tracks, including a Rock Bangra Flamenco track with the major Bollywood star vocalist Mangel Singh! All Re-mastered & 2021 mixes.

I’m calling it a ‘sharing’ album because… My idea is that we retail at our cost price  (£5), then y’all who buy choose to support the causes closest to your hearts.

This is freedom of helping. I hope it works, If you can’t donate now, enjoy the music from these awesome musicians ‘till you can my friends. Then do please donate… every penny counts!’

Robin George should certainly be garnering applause as the musician who made the most of lockdown (by some long, album issuing way).

Hot on the heels of earlier 2021 releases Wilderness and Heartlines come the dovetailing pairing of Feed the Wolf and Surreal Six String; the former is the latest full length studio album from Robin George while the latter is his first fully instrumental offering (much as Heartlines was his first all acoustic release).

That his distinct and individualistic Dangerous Music sound and style is still alive and well is evident from tracks such as opener ‘Momma Sister Daughter’ (Bolan vocality meets guitaredged Robin George rock and roll), the muscly and, again, Bolan-esque (an oft-cited and valid comparison) title track and ‘Savage Song,’ a gritty, fast-paced number on which Mr George isn’t exactly hanging about.

‘Savage Song’ also highlights a major Robin George trait, that of reinventing & rerecording some of his older songs to suit his current state of musical mind (some may recall ‘Savage Song’ as a highlight of Damage Control, a supergroup of sorts featuring George, raspythroated Quireboys front man Spike, Chris Slade and the late Pete Way).

Other Feed The Wolf highlights include ‘Funky Rock Groove’ (which does exactly what it says on the tin), the bluesy sway of ‘Love is Blind’ (featuring some tasty guitar licks from Robin George), the edgy but melodic ‘Castles in the Sky’ (whose origins go back to the History of the Wolverhampton born musician) and the quirkier ‘Painful Kiss,’ originally from the album of the same name.

The album ends on the similarly quirky and very catchy ‘Early Daze,’ a looking-back and ‘If I knew then’ styled nod to more carefree and innocent times (a shorter acoustic version also sits on Heartlines).

Surreal Six String is a collection of primarily reworked numbers from across Robin George’s career and catalogue, instrumental-ised with the lyric-melody line played on guitar in effective and, on some of the tracks, quite expressive style.

Opener ‘Go Down Fighting’ was Robin George’s first major single release in 1983 but here is based on his later rocked up version; it therefore works well as a feisty instrumental.

It’s also nice to see a place for the atmospheric, tempo shifting instrumental ‘Charlotte Starlight,’ which goes back to the History album, and ‘Love Power & Peace’ (featuring Hammond fills from the late Ken Hensley and melodic guitar play from Robin George) from the all-star charity album of that name.

You’ll also find instrumental versions of Wolf numbers ‘Painful Kiss’ and ‘Love is Blind’ as well as re-workings of the more rock and roll styled ‘Dancing Shoes’ (from the Rogue Angels album) and a shorter take of the blues swaggering ‘Freedom,’ from last year’s BitterSweet HeartBeat album.

Other highlights include ‘Brandy Bottle Blues’ (another with a self-explanatory title), which features a couple of bars of blues blasting sax from Mel Collins, and album closer ‘Oxygen.’ Originally a love song, ‘Oxygen’ works equally well as an expressive guitar workout in instrumental clothing.     

So another brace of 2021 releases from a man who clearly wasn’t twiddling thumbs during lockdown/s.

Further proof of that ever-busy schedule?

Robin George has also released a fully remastered version of the Asia 2 Marquee gig from

1986 (of which he was an integral part), a Robin George & Dangerous Music Euro Tour Live CD, a RoxStar Legends compilation and a remastered retooling of the Love Power & Peace album as Rocking LovePower.

He is now looking at reissuing some Damage Control music and achieving an official release for the album he recorded with Glenn Hughes in 1989 (previously issued under decidedly dodgy and awful audio quality circumstances). 

No wonder he lives in Spain – he clearly needs, and deserves, the siestas.

Ross Muir , FabricationsHQ 

Feed The Wolf & Surreal Six String, along with all other aforementioned releases, can be purchased on CD direct from the artist’s website: http://www.robingeorge.co.uk/

You also issued 4 CDs of remasters and edits….  [again] can you tell me a bit about each of these? 

Early in Rockdown I realized the vaults contained some pure gold music with fantastic musicians and I thought, now’s the opportune time to get to work on them. So I did! All fascinating to work on but bittersweet at times because they were all my friends and I loved all. I know they all recorded with me because they wanted people to hear our music… and that’s the sweet part.

You also have a Live Asia release that you were on. Can you recall that show and how it came about and how well you got on with John, Geoff, Carl… Phil Manzanera was on that as well….

The gigs were for Nordoff Robbin, a charity close to John’s heart. They were a great group of guys. All well cool and in the groove. We got on great which I think shows in the Asia 2 Marquee gig video. John and I were introduced by Bryan Lane, Asia manager, and we hit it off straight away. John took me to his house and amazingly for me, had my single ‘Go Down Fighting’ on his deck… and he played it! John had rented a country house for the summer, and we spent lots of quality time writing, talking, practising, and planning for the gigs. We did 3 nights, JB’s Dudley and 2 at the Marquee London. Great nights indeed! John asked me to join Asia but previous commitments prevented me. Wrong timing or what!

Later he came to my Wolves studio and we recorded ‘Wasted Time’ which features on both

‘Roxstar Legends and RockinG LovePower’… far too good a track to waste! Plus, last time I spoke to John, he said he loved it, so it’s gotta be heard!

 So, aside from promoting all these new releases, what else do you have in the works or things you’d like to do down the road? 

A bit of time off I hope 😉. I’m writing new songs at the moment, so, ‘Only Time Will Tell’!

Any projects involving people you’ve collaborated in the past still in the vaults? 

Yep, the Glenn Hughes album ‘ Sweet Revenge’ is being remastered for the near future. It was bootlegged at appalling quality, don’t buy it; this is the real thing my friends!

Links:

http://www.robingeorge.co.uk

https://www.facebook.com/RobinGeorgeMusic/

https://getreadytorock.me.uk/blog/2020/07/album-review-robin-george-bittersweet-heartbeat/

Robin George-Dangerous Music II

https://www.youtube.com/user/damagecontrolmusic

*Photos of Robin: Fiona Bond

KJ, 12/’21

 

WONDERWORLD Pays Tribute To Ken Hensley as LIVE FIRE on New Album

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WONDERWORLD is the name of the power trio consisting of Roberto Tiranti, Ken Ingwersen, and Tom Fossheim. From 2013 until last year the band played alongside Ken Hensley, as his LIVE FIRE band (including 2013’s Trouble album and 2019’s Live In Russia). During that time the band also doubled as their own heavy rock outfit releasing 3 albums under the Wonderworld name. So, it is most fitting that Wonderworld’s 4th album pays homage to their former mentor and band leader via a newly recorded collection of songs they performed as part of Ken’s support band, under the name Live Fire!

The album consists of 12 tracks – 6 Heep tracks, 5 from Ken’s later albums, and 1 instrumental opener to the album. It is essentially songs that the band (Live Fire) would’ve performed the most while with Ken Hensley. There are the Heep standards like “Gypsy”, “Easy Livin”, “July Morning”, “Circle Of Hands”, “Look At Yourself”, the first video “Sunrise”…. and despite Ken’s absence [there is a guest keyboard player on various tracks]. These are not simply tired ol’ rehashes, as the band really does an exceptional job performing,. Lots of energy. Both [singer] Tiranti and [guitarist / producer] Ken [Jr] Ingwersen sing and play with a lot of emotion and it shows throughout this album. I love this version of “Look At Yourself”, and how the band work out the ending here. Digging this version of “Gypsy” as well. [*There is No “Lady In Black” on this album! 🙂 ]

For me though the highlights are the post Heep tracks, notably “The Last Dance”, “Ready To Die”, and “The Curse” — 2 of the best songs Ken Hensley wrote in the last 2 decades. I will always hail Ken’s original take of “The Last Dance” as the best [with his own vocal], however Roberto pulls off a strong performance of it that I will gladly take. “Ready To Die”, from the Trouble album is also a favorite here; tho it lacks a bit of the weight without Ken’s Hammond organ, I think Roberto gives a better vocal here, and the band still delivers it with power; a great track for the heavy hitting drumming of Tom Fossheim here. And lastly – “The Curse” – what made this song so great the first time was the interplay from the 2 Ken’s during the 2nd half – the instrumental section of the song. So the keyboards take a different approach here, but Ken Ingwersen plays this so well, as his guitar stands out even more here, definitely the highlight of the album for me! The disc ends with “The Longest Night”, another track I think Hensley really liked from his latter days, and it is the only track here to feature him, as it’s a duet between Ken and Roberto. (not sure where Ken’s vocal came from – an alternate take from ’13?] , but it sounds great.

Cover art nicely done by Ken Ingwersen, which follows nicely in suit with the other Wonderworld covers.

*You can sign up for this CD release [4 days left!], as well as get other Wonderworld albums [LP & CD] here : https://www.indiegogo.com/projects/wonderworld-live-fire?fbclid=IwAR1D_-RHSAGxbaXX0Vi-fxrswh4fscpryy8263g_9dUX6TQaU_zLSkstBA8#/

wonderworld-informationDownload
wonderworld-info-band-membersDownload

KJ, 11/21

NESTOR – Album Success & Live Dates

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Press Release:

The success story continues for NESTOR, consisting of five childhood friends from the small town of Falköping, Sweden, who chose to restart the band they once formed back in 1989, that’s been lying dormant for just over three decades.

Their debut full-length album Kids In A Ghost Town was released on October 22 and reached first place on the Swedish Hard Rock Album Chart as well as an honorable second place on the list for Physical Album Sales. The album has been unanimously acclaimed by rock press and media, both at home in Sweden and abroad in Europe, the UK, and the US, where many have mentioned it as a given candidate for Album Of The Year.

Their music has already reached close to 1,5 million streams on Spotify and more than 500 000 views on YouTube of their music videos, among them the one for the single “Tomorrow” – an epic ballad duet with 80s icon Samantha Fox, that together with the videos for the two prior singles “On The Run” and “1989” showcase the band’s love for the 80s and all its attributes, with a sense of detail that is hard to match.
With their live debut accomplished in conjunction with their album release at a sold-out gig in Stockholm, where the only real complaint was that the crowd wanted more, NESTOR have several upcoming live performances, both at the big arenas in Sweden and on the trustworthy summer rock festivals.

NesTOUR DATES 2021-22:Nov 20 – Keep It True Rising, Würtzburg, GermanyDec 10 – Scandinavium, Gothenburg, Sweden (w/ Takida)Dec 11- Hovet, Stockholm, Sweden (w/ Takida)Dec 17 – Malmö Arena, Malmö, Sweden (w/ Takida)Feb 4 – Vulkan Arena, Oslo, Norway (w/ H.E.A.T)Feb 5 – Berns, Stockholm, Sweden (w/ H.E.A.T)Feb 18 – Amager Bio, Copenhagen, Denmark (w/ H.E.A.T)Feb 19 – Trädgår’n, Gothenburg, Sweden (w/ H.E.A.T)Feb 26 Folkets Hus, Blomstermåla (w/ H.E.A.T)June 4 – Atlas Rock, Gävle, SwedenJune 11 – Sweden Rock Festival, Sölvesborg, SwedenAug 3 – Sabaton Open Air, Falun, Sweden
Many more dates to be added.

NESTOR embraces influences from the 80s in their nostalgic rock, with tongues-in-cheek and a lot of heart along with great passion. The album Kids In A Ghost Town is produced by Tobias Gustavsson, mixed by Sebastian Forslund (The Night Flight Orchestra), and mastered by Thomas “Plec” Johansson at The Panic Room.

NESTOR ARE: Jonny Wemmenstedt (guitar) Mattias Carlsson (drums) Tobias Gustavsson (vocals) Marcus Åblad (bass) Martin Frejinger (keyboards)

11/’21

ROBIN GEORGE – Wilderness

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Robin George – Wilderness

Released early this year, Wilderness was the first album recorded as the world went in to the Co-vid pandemic, and Robin would follow it up with 3 more albums since! He’s also edited and remastered 4 other releases during this time, so the man has been very busy! (All 8 releases available at his website). But going back a bit, British guitarist / songwriter / producer Robin George spent much of his career being more known for the names he had collaborated with early in his career – David Byron, Phil Lynott, Robert Plant, Glenn Hughes, Roy Wood,….. plus he had a huge hit in the 80s with “Heartline” from his 1984 debut album Dangerous Music. He remained busy, but his next solo album wasn’t until 2001’s Rock Of Ageist. Wilderness is the follow up to 2018 album Rogue Angels, and it’s a good rock album, with lots of great guitar work & mixes, lots of blues and groove throughout this album. There’s a great feel to the songs via Robin’s playing and the drumming of the legendary Charlie Morgan [Elton John] . For me the album starts out rockin’ with “Eyeball Kid”, and just gets better, with favorite tracks like “Deadwood”, “Freedom”, the title track, and “Belief”. Love the heavy riff that intros the outstanding “Cocoon”, as well. Robin’s vocals are kinda in that Marc Bolan style, which suits his songs, and there’s plenty of smooth backing vocals which add to the overall atmosphere, especially on the acoustic based tracks “Belief”, “Bittersweet Heartbeat” and “Rainbow Ridge”. Lots of stories told throughout these songs, with Robin being a poet and storyteller. Am looking forward to hearing more of his ‘rockdown’ albums that followed this.

*Wilderness comes with a 12 page booklet of poetry and words.

*for more info & ordering check out http://www.robingeorge.co.uk

nd visit – http://www.facebook.com/robingeorgemusic

KJ, 11/’21

Six Silver Suns – As Archons Fall

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Well, something very different….hard rockin’, but plenty of ’70s influences, some prog, some pop, and a lot of imagination – musically and lyrically. Check out tracks like “Children Of The Stars”, “Vultures Of Nevermore”, “To The Unknown”, “A Night Upon My Shoulders’, and epic piece ” Sweet Promethean”. Great songs and productions, plenty of acoustic guitars, vocal harmonies, cool guitar breaks, and synths. The bio compares these guys to one of my favorite bands – Blue Oyster Cult, which is what caught my attention. Like BOC, very crafted songs, and not really ‘heavy’ in the metal sense at all. Very good cover of “California Dreamin”, with great harmonies. Awesome cover album cover art to boot!

SIX SILVER SUNS is a recent addition to the Finnish rock field, but the band’s members are all well known musicians. Janne Mannonen on the drums is known from Finnish legendary band, YUP. Vocalist Markku Kuikka has been heard on many of heavy and hard rock albums. Guitarists Toni Bite and Harri Petjakko, bass player Teo Lehto and keyboardist Sammy Tabermann have released dozens of records with several bands. Helena Haaparanta is heard as a background singer.
 
Six Silver Suns has emerged from the desire to wander back to the golden years of rock and pop music: the 70s and the 80s. The band’s inspiration comes from progressive rock, goes towards Blue Öyster Cult, and combines all with the catchy tunes and melodies from AOR and Hard Rock scene.
 
Their first release is entitled “As Archons Fall”. The album includes ten versatile songs which have beautiful harmonies and melodies all the way. “As Archons Fall” is a fantastic journey to the Six Silver Suns Universe, where any song can lead a listener into different kind of cosmic soundscapes. You cannot underline just one song only because “As Archons Fall” is an entire experience for the listener. There is also pleasant cover song, The Mamas and the Papas – “California Dreamin`”. The album’s opening song – “Lord of the Southern Tower” lead you into distant worlds and tune you in to following songs. Until you have reached the song “A Night upon My Shoulders”, you will understand the whole. Of course there is some pieces to pick up as a enjoyable moments as you like. 


 
“Six Silver Suns has two main composers, and both have a strong vision. On my other band YUP, I felt I did not have much to offer as a composer, while now I feel like I’m more on my own field, musically. When Toni and I started to write music for Six Silver Sun, we soon realized we work really well together, even though our tastes in music are quite different”,  explains Janne Mannonen.
 
“Six Silver Suns has given me a chance to sing in a completely new musical environment. Our goal has been to take influence from the 70s and it was surprisingly easy to find that natural groove. We all have been playing in quite different type of bands, but all that experience came together nicely in Six Silver Suns, and – at least to my ears – we sound good! ” Vocalist Markku Kuikka says.
 
“This record is an awesome and casual journey into the world of rock music where there are no rules. Imagination and the freedom to compose without frames was a key element of this record for myself. I think this record will be a joy for many people for a long time to come”, explains Toni Bite


 
Line up: Markku Kuikka-vocals, Toni Bite-guitar, Janne Mannonen-drums, Harri Petjakko-guitar, Teo Lehto-bass, Sammy Taberman-keyboards.

Track list: 01 Lord of the Southern Tower, 02 To the Unknown, 03 Children of the Stars, 04 Fading by Light, 05 Sweet Promethean, 06
Cosmic Bitter Blues, 07 The Stranger, 08 Vultures of Nevermore, 09 Edge of Forever, 10 A Night upon My Shoulders, 11 California
dreamin` (The Mamas and the Papas cover)

https://www.facebook.com/sixsilversuns/

KJ, 10/’21

The Story Behind The Album Cover : A Foot In Coldwater’s All Around Us

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A Foot in Coldwater A Foot In Coldwater Blues For You Demo YouTube

Canada’s A FOOT IN COLDWATER released 4 albums in the ’70s, had a couple of hit singles here, then split after the 4th, but reunited on a few occasions. The Toronto band included Alex Machin [lead vocals], Hughie Leggat [bass], Bob Horne [keyboards], Danny Taylor[drums], and Paul Naumann [guitars]. The band’s first 2 albums were released in Canada on Daffodill Records, though the debut was also issued in Australia and New Zealand. But it was the band’s 3rd album All Around Us in 1974 that finally saw the band signed to Elektra Records and get released in the US and the UK. The album included 5 tracks taken from the band’s first 2 albums (notably the hits “(Make Me Do) Anything You Want” and “(Isn’t Love Unkind) In My Life”) , as well as new songs. Legendary British producer John Anthony (Queen, Van Der Graaf Generator, Genesis, Roxy Music…) was brought in to co-produce (along with Francis W.H. Davies;, also co-engineering was Mike Stone), with the album being recorded in Toronto and London [UK], and American artist John Van Hamersveld was tasked with the album’s cover art. The logo featured on the cover would be re-used elsewhere on CD compilations and concert shirts (I picked up 1 of each when I saw the band in 2011). *The album cover in Canada would be silver, while the US version would be white with the added ‘Or’ to the title.

Below is John’s words about the about cover for All Around Us, as well as info on his career before and after….

John Van Hamersveld’s background …

In 1967-68 I was a rock concert promotor for my company called Pinnacle Production, putting concerts on for a year. My partners and I booked and heard 43 bands twin a night on a Ltexlancing sound system. I was losing my hearing in the process. (Pinnacle Dance Concerts, which was founded in 1967 by Sepp Donahower, Marc Chase and John Van Hamersveld. Pinnacle promoted the early shows of the Grateful Dead, Jimi Hendrix, Janis Joplin, Traffic, Cream, The Jeff Beck Group with Rod Stewart and Pink Floyd. The Single Wing Turquoise Bird Light Show did many of the multimedia light shows at the Pinnacle Concerts.)
… I was in the business for 17 years 1967 to 1984, and when the business went digital, I left the industry to work in Surf Subculture, and the re-entry of The Endless Summer Poster into the culture in the 80s.

On getting A Foot In Coldwater assignment…

Elektra Records had their office up the alley from Willoughby street where my studio was at the corner of Las Cienega Boulevard. There was the art director Glenn Christensen who was given 30 to 40 album cover projects to design every 90 days. He had to pick photographs and designs to get the order together. So he called me and gave me the Foot In Coldwater LP cover.
(Glenn Christensen: US art director, graphic designer & photographer for Buddah Records, Elektra/Asylum Records, and 20th Century Fox Records. Glenn Christensen may have made the photograph, the photographer not credited)

Glen gave me the album cover because the group’s manager by contract didn’t with the art director doing the cover and campaign, the manager wanted control.

Familiar with or meet the band beforehand?

 The politics of the company people at Elektra Records was the art director to guide the will. I don’t think Glenn introduced me.

Creating the band’s logo for the cover….

I presented the idea of a logo as the cover like a lot of bands used in the promotes. The title words were weak. So I thought a logo-like image would be more dominant in the Record Store, and they would hang the promotional logo around the store. 

The wings: meaning… High Flying. Arranging the title words was being abstract in typography. The logo would be the visual trick for the promotion, visually simple, could be on the drum kit, ads, t’shirt, etc. The group didn’t photograph well, no style! They needed style, so the logo became the style.


All that JVH did on All Around Us…

Created the design of the front and back.

The most famous album cover worked on.

Exile On Main Street, by The Rolling Stones!

Other famous and favorite ones John worked on…

The Endless Summer soundtrack album from the movie 1965. The Beatles, MMT album 1967, The Jefferson Airplane, Crown of Creation 1968, Bob Dylan’s, soundtrack album Pat Garrett and Billy The Kid 1972, The Skeletons from the Closet: The Best of the Grateful Dead 1974, Steve Miller’s The Joker 1976, and Fly Like an Eagle 1978, Blondie’s Eat to the Beat 1979, Kiss, Hotter Than Hell 1974, The Doors, American Prayer, Jim Morrison’s Poetry album 1978. Claudia Lennear album cover Phew !, 1973 … to name a few.

Other art John has done over the years, and places people can view his work…

https://post-future.comhttps://www.youtube.com/watch?v=ZPGTmCh5IIUhttps://www.musicconnection.com/art-john-van-hamersveld-era-cool/https://pleasekillme.com/john-van-hamersveld/https://www.antiquesandthearts.com/the-era-of-cool-the-art-of-john-van-hamersveld/https://www.goldminemag.com/articles/the-rolling-stones-exile-on-main-street-and-the-artwork-by-john-van-hamersveldhttps://www.kcet.org/shows/artbound/john-van-hamersveld-and-the-poster-revolution

https://thealmanac.net/life-culture/art-exhibition-features-album-cover-designer-for-beatles-rolling-stones/article_9c232660-a286-11e9-916c-5b488c76a152.html

A Foot In Coldwater’s first album and All Around Us have recently been reissued on colored vinyl- https://shop.unidiscmusic.com/search?type=article%2Cpage%2Cproduct&q=a+foot+in+coldwater

https://www.facebook.com/groups/73281166822

http://www.afootincoldwater.com

http://www.alexmachin.ca

KJ, 10/’21

MAGNUM – The Monster Roars Album Announcement

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The new Magnum album will be titled The Monster Roars, and will be to be released January 14 of next year. The single “I Won’t Let You Down” will be released (+video) on November 12 (less than a month away). And a tour will begin in March of 2022.

Fans of British rock band Magnum will have to wait just a little longer before they finally get their hands on the much-anticipated new studio album. Titled ‘THE MONSTER ROARS’ it will be released  January 14, 2022.

But there will be new music from the band this year: guitarist Tony Clarkin, singer Bob Catley and their comrades in arms Rick Benton (keyboards), Dennis Ward (bass) and Lee Morris (drums) have already announced a couple of singles: With the forthcoming ‘I Won’t Let You Down’ (including lyric video), out on November 12, 2021, Magnum present a typically deep melodic mid tempo song featuring a memorable chorus with stylish string accompaniment for added lustre. This will be followed five weeks later, on December 17, 2021, by a second pre-release track, ‘No Steppin’ Stones’, also including a lyric video.

‘THE MONSTER ROARS’ features twelve new songs in total, with a few little surprises thrown in! On top of the regular disc, Magnum are releasing a limited box set with three extra bonus tracks, including a new version of ‘Days Of No Trust’, the opener of the 1988 album classic ‘Wings Of Heaven’, a new remastered version of ‘Sweets For My Sweet’, the very first single of their career from 1975, and a previously unreleased track from the same era. And from March 2022, the band will finally be returning to Europe for a major tour (see below for dates).

Tracklisting:
1. The Monster Roars 3:57 / 2. Remember 5:05 / 3. All You Believe In 5:01 / 4. I Won’t Let You Down 3:57 / 5. The Present Not The Past 5:27 / 6. No Steppin’ Stones 3:57 / 7. That Freedom Word 4:52 / 8. Your Blood Is Violence 6:44 / 9. Walk The Silent Hours 4:51 / 10. The Day After The Night Before 4:23 / 11. Come Holy Men 5:01 / 12. Can’t Buy Yourself Heaven 5:00 “The Monster Roars” will be released on January 14th, 2022 through SPV/ Steamhammer in the following configurations:

=> CD DigiPak => Limited Box Set=> 2LP Gatefold, 140 g, red vinyl, printed inner sleeves=> Download / StreamingPre-Order Link: https://smarturl.it/MagnumTheMonster => Exclusive CD/LP Bundle with a shirt only at the Steamhammer shopPre-Order Link: https://shop.steamhammer.de/artists/magnum/store 
=> 2LP Gatefold exclusive coloured edition only at the Napalm shop
Pre-Order Link: https://napalmrecords.com/english/magnum  
=> Exclusive 2LP Gatefold exclusive coloured edition only for the UK
Pre-Order Link: https://www.plastichead.com/item.aspx?catno=244105 
Next

Regarding the album’s cover art and title, which generated plenty of fan discussion online, Tony Clarkin posted –

“We actually did have a conversation with Rodney regarding the cover, and an exchange of ideas. Following this we set up a photoshoot that was originally intended to become a part of his artwork. Shortly after this Rodney called me very apologetic that he didn’t think he’d have time to do the cover as he was too busy with a children’s animation project he is doing ‘Yendor’ http://yendorsadventures.com/. But we loved the end result of the photoshoot so much we had decided to use it as the cover on its own instead, with no embellishment. We thought it was much more powerful that way. Plus we didn’t want to end up with some sort of poor imitation of Rodney’s work but rather go with something completely different instead. The monster is inspired by the lyrics of the title track and is a creature from a child’s nightmare. The monster was created by Kelly O’Dell, played by Martin Brennan and photographed by Rob Barrow. Rodney wants fans to know that he wishes the band all the best with ‘The Monster Roars’ and looks forward to working with them again in the future. In the meantime Magnum fans might like to know that Rodney’s 2022 calendar, featuring a couple of familiar images (Foundation box set cover and Magnum II), is now available to pre-order at: https://www.rodneymatthewsstudios.com/collections/calendars

10/’21

ASIA – Archive Interviews with Geoff Downes and John Wetton

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Geoff Downes: “The Drama Of Yes & The Heat Of The Moment” - Alchemical Records

With the release of 2 ASIA box sets in 2021, I’d thought I’d tidy up and re-share these interviews I did years ago – one with John Wetton [2008] and one with Geoff Downes [2012]. Earlier this year BMG released The Reunion Albums slipbox [5CDs], and next month will release The Official Live Bootlegs : Volume 1. Next March marks the 40th Anniversary of the band’s debut album, let’s hope there’s something special being planned for release. RIP John.

ASIA Rises Again With Phoenix

This interview was done via email in 2008, following the release of Asia’s first comeback album Phoenix.  For whatever reason, it did not all appear as I’d written it, so here is the complete thing.   I’d originally sent questions for John Wetton and Geoff Downes, but only ever heard back from John.  

What was the catalyst and, I guess – major reason or criteria for the original line-up of Asia to reunite? And was it with the understanding that it would have to be a long term commitment [w/ new recordings] – as opposed to just a one-off tour?

It really started with ‘Rock of faith’,  a solo album from 2002,where Geoff and I wrote a song “I’ve come to take you home”, for the first time in many years.   From that came the Icon project,  and so on to Asia.  

Over the years the reunion rumor had come up several times.  How much had you guys kept in touch or had you sort of kept ‘tabs’ on each other over the years?  AND, How well did the initial reunion shows go? Did they meet or exceed expectations?   What have been some of the highlight concerts in the past 2 years?

Extremely well,  and by the time we were halfway thru out 17-date US tour,  we had an offer for Japan,  and the UK.

On Phoenix John & Geoff resume as the band’s main songwriters.  How easy was it to pick up your songwriting partnership after so many years?
 
As I explained in the first question,  the ice had been broken,  and we were used to working again with each other.  The spark was still there.

With John & Geoff doing most of the writing, how is an Asia song [well, on Phoenix and the next album] generally put together?   And what sort of input do Carl and Steve have? 

Carl is not really a writer, and Steve tends to write on his own, but Geoff and myself enjoy the process of writing as a partnership.

    
How was the atmosphere and feeling – being together as the original Asia band again in the studio and on stage?  

Much better than the first time around!   We enjoyed ourselves,  and banished some ghosts from the proceedings.

Phoenix is a great album, but it was more of a ‘grower’ from me because “Never Again” is such a powerful lead off rock track, but then the album really varies and includes more acoustic and softer songs.  Did you guys have any idea what you wanted the album to sound like – or be a heavier or lighter album?

We just wanted it to be a representation of us 25 years on from our first outing. there are nods to our past, but the music is exactly what you get when you put those 4 musicians back on stage or in a studio. My one regret is that we didn’t have Mike Stone around to complete the circle,  but that was not possible, as Mike is sadly no longer with us.
    
Never Again is a very uplifting and memorable song.   Can you tell me what inspired that one musically and lyrically?  

It’s virtually the Ten commandments.   About never wanting to be judgmental, murderous or have evil intent.  It’s musically quite hard-hitting.   With the guitar intro, and powerful chorus, it is reminiscent of ‘Heat of the Moment’, but it was not intentionally so, and I think that is ok.
‘Parallel Worlds / Vortex / Deya’ is quite a melodic – progressive centerpiece to the album. Was this originally written as one song or separate pieces?   Can you tell me how this song developed in to such an epic?

Yes,they all come from different periods. Deya was written in 1976,in Deya, Mallorca, Spain.   Parallel Worlds was written in the Seneca Hotel, Niagara Falls, and was originally titled, ‘Sitting on top of the World’.  Geoff wrote ‘Vortex’ quite recently.

How have the new songs been received live? Does there seem to be any fan favorites or faves that you guys enjoy performing?

Yes,’Never Again’,  and ‘An Extraordinary Life’ go down very well in the live set.

Geoff and John are currently working on a new Icon album.   How is that going?   And is there any separation between Icon and Asia songs when writing?   [I mean, any difference in what you’re writing or intending the songs for?]
   
We’re quite a long way into the record now,  on overdubs – vocals, keyboards, etc.   Should be finished by December sometime.


    
You’re also going on tour as Icon.   How are these shows?   Any different approaches to an Icon performance?

Yes, it’s very different from Asia.   We have a cello (Hugh McDowell),  and will have a female vocalist (Icon has duets).
   
When might we see another Asia studio album?  Do you guys have any definite or tentative plans?

No plans as yet, but why not?   We waited over 20 years for Phoenix, we don’t need to put out 2 records in 12 months.

As the original Asia was a fairly short-lived, straight to the top band in the early 80s. Do you guys feel you have something to prove to critics since reuniting?

Only to ourselves, and on a personal level, not musical.

Any solo albums in the future?

Yes, 2009 should see another solo record.

You were friends with David Byron for years; have you had a chance to check out the new Byron Band release from Damage Control Music [Robin George]??  Any contact with Ken Hensley or other Heep alumni since your own comeback?  

I still have contact with Kenny, and Mick from the band.   I was unaware of the Byron action.
    
You and Carl both had serious health issues in the past 2 years.  How has that affected your drive and desire to create new stuff?  And are you guys in to some new routines brought about by these health issues?

Only as far as exercise and diet, we still have the desire to play, and to create.

KJ,  July 2012

ASIA – new album XXX

XXX had received rave reviews, many hailing it as the best since that first album. Geoff Downes is the band’s keyboard player and major songwriter – having contributed to such classic Asia songs as “Heat of The Moment”, “Only Time Will Tell”, “Don’t Cry” and numerous others [along with John Wetton]. Prior to Asia, Geoff had been part of “The Buggles”, before joining Yes for the Drama LP in 1980, a band he rejoined in 2011.  In this interview Geoff discusses Asia’s ‘new’ reunion era, as well as the album XXX, as well as reflects on the band’s historic debut album.

What are the challenges and rewards this time around with the line-up of Asia? [What makes things easier and more rewarding, and what has changed that you need to work harder or differently at?].

Whenever we make a new album, it’s always a challenge. Not only to write the material, but also make sure we can do it justice in the live setting. The reward is knowing we have new music to play to people, not just relying on the early ‘classic’ material. Simply, nothing has really changed since we began the band. The main suspects are all still there – alive and well, thankfully!

First, just wanted to ask you – what have been some of the highlights since the band returned in 2006?

It’s been interesting to say the least. We all went into it not really with any great expectations or plans for the future. It seemed a nice path to take for all of us at the time and since then it’s been hugely enjoyable. That’s one of the main reasons that it’s still a going concern today.

Can you tell me a bit about some of tracks from ‘Phoenix” and “Omega”, such as “Never Again”, “An Extraordinary Life”, “I Believe” and “Finger On The Trigger”? [these being my favorites. Curious if you’d have any particular faves?]   “Finger On The Trigger” was first recorded with John Wetton, but re-worked for “Omega”.  Curious if there’s other tracks from “XXX” that may have been around for a while?

We wrote most of the material for these albums in dedicated writing periods before the start of the albums. Actually, with the exception of FOTT which had already recorded on the ICON CD Rubicon by John and myself. I think the record label saw it as being appropriate as an ASIA song. NA & AEL all written specifically with ASIA in mind. No actual full songs remain from these albums, but there are some interesting unused snippets of ideas.

You stuck with Mike Paxman as producer again, as opposed to producing yourselves. How was Mike to work with?

Mike did a great job with Omega, and provided us with a comfortable and relaxed environment in the studio. We felt he kept a very good balance between all the band members not only musically but also personally. We got to know him as a friend too, and so we had no hesitation in asking him back to help us make the XXX album.

The songs on XXX are mainly written by yourself and John Wetton. How did that work out, as [going back to the first album] – there was more band credits? [Might we hear more from Steve and Carl in the future?]

Certainly, historically a fair percentage of the band compositions have emanated from John and me. That’s not to say that that diminishes Steve’s contributions. Actually, Steve has 3 co-writes on this XXX, which is the same as he contributed on ASIA. But yeah, a full group composition might be interesting for the next album!

What is the ‘process’ of yourself and John writing together? Do either of you tend to come up with more of the words, or more of the melodies, etc… ? 

The music is usually jointly collated. It’s quite rare that any of our songs end up as being the whole of one our individual ideas. I think that’s the beauty of it and why it works so well, is, that weave together two of our ideas and come up with – well, something different. John does most of the lyrics, but I’ll throw in the odd title or line here and there. I think it’s important for John that HE believes in what he’s singing about.

Can you give me a few lines on your Asia bandmates? [Having worked them 30 years ago, and currently, and what’s changed in the way you all get along and work together]

The thing with this band is that we are all very different personalities. In the early days, this could at times cause conflict, or conversely work in a very positive fashion. Since we got back together we have focused collectively on the latter. There’s a very strong level of respect between the four of us, and the chemistry is still there. That’s what’s important.

The new album seems [IMO] a bit more upbeat/rockier. I love “tomorrow The World” [and that intro], “Face On The Bridge”, Bury Me In Willow”, “Judas” …  Can you give me a few lines about some of the songs – as to what inspired them or how they came about, lyrics, etc…?

We wanted to give the fans something a bit more upbeat this time. That’s not to say our previous albums have any less substance. It’s sometimes just how they turn out in terms of balance, but it’s not possible to second-guess this when you embark on a new album such as XXX. The songs are based on hope and inspiration. They are more spiritual without being religious. But bottom line is, it’s better to listen to music than talk about it to be honest.

I enjoyed “Phoenix” and “Omega”, but think this album is stronger all around. How happy are you guys with its outcome and how it stands up with previous Asia albums?

Honestly, we think it ranks up there with some of our best historical work. Having said that, some people will get more out of one album than another, so it’s all a matter of choice and personal taste really. I think we’re more proud of the fact that, we’re still here making fresh and inspiring new music 30 years on. That’s more than quite a lot of bands could say these days!

You’ve also done 2 videos for this album [Face On the Bridge and Faithful]. Might there be any further videos to promote any other tracks?

No, that’s it. Two’s enough!

You guys obviously have a lot of material to choose from for a live set. Curious how much of the new album will be featured, and what ‘staples’ are there from the previous 2 albums?

The set will be made up of all the ASIA albums that have featured the four original members. Of course there will be some of the signature songs from the first two 80’s albums, but we will also be incorporating material from the last three.

This year marks the 30th anniversary of the debut album. Reflecting back, what are your fondest memories of that period and what can fans expect [aside from the CD re-issue] to commemorate its release? Any chance there’ll be a live performance of that complete album?

There are many great memories to savour when that 1st album really took off, too many to mention. We had worked long and hard on that for a year prior to its release, so our efforts were thoroughly rewarded. It was an exciting time for us. So it might be appropriate to turn the clock back and play the whole of that album again, like we did on the first tour. But there again, a show is all about balance, and it’s important for us to feature the newer music as well.

Beyond Asia, what else are you working on these days? Any Yes projects, solo outings, … ?

Well yeah, aside from recording the new ASIA CD, I’ve been involved with a number of projects over the last year or two. Specifically, my return to YES which has been a real privilege, and great fun to be back involved with those guys again. But also, I’ve been working with singer/songwriter Chris Braide on an album, as well as a whole host of other projects, so it’s very busy times for me right now!

KJJ,  July 2012

LINKS:

https://asiaband.lnk.to/OLB1FA?fbclid=IwAR0odqihqVus8Ur7XyZqSpBITlkunXyI_OhjcwdXU73QrRUMcdlnYXHIhb0

https://asiaband.lnk.to/reunionalbumsFA?fbclid=IwAR1pv0tQ00d6wzPpD3HZis_BLN4l_ARsePUGf4fGLWlbncax6o_kW6kuI-k

https://johnwettonlegacy.co.uk/

https://www.facebook.com/groups/1377795682293955

Home Page

https://www.facebook.com/Geoffrey.Downes.Official

https://www.facebook.com/asiatheband

KJ, 10/’21

ASIA – Official Live Bootlegs: Volume 1, Box Set To Be Released.

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The Official Live BootlegsVolume 1 Out on 26th November
12th October 2021: Multi-platinum selling English supergroup ASIA are to release a 10CD boxset The Official Live Bootlegs Volume 1 through BMG Records on 26th November 2021. There will also be a digital album featuring a selection of 24 tracks taken from the full boxset, out on the same day.

Pre-order it here:-https://asiaband.lnk.to/OLB1PR

When ASIA came out on the scene in 1982, they were a huge global success with their debut single “Heat Of The Moment” and debut album – which was #1 on the US Billboard charts for 9 weeks! The band was instantly dubbed a ‘supergroup’ based on the success and achievements of it’s band members – ASIA: Geoff Downes (The Buggles, YES, keyboards), Steve Howe (YES, solo, guitars), Carl Palmer (Emerson, Lake & Palmer, drums) and John Wetton (King Crimson, UK, Uriah Heep, bass/vocals).

Asia Discography - Progrography

The original foursome recorded just 2 albums, the self-titled debut, which also included the hits (“Only Time Will Tell” and “Sole Survivor”), followed by 1983’s Alpha (which featured the big hit “Don’t Cry”). Soon after John Wetton left the band, then returned, followed by Steve Howe’s departure (Howe went on to the successful GTR project, before resuming a solo career). The band carried on, making one further album with Mandy Meyer, and a few singles beyond that, before splitting up. Geoff Downes later formed a new version of the band (w/ John Payne), and Wetton went on to record a number of solo albums). The original line-up reunited in 2006, releasing Fantasia : Live In Tokyo (2007), and would release 3 further studio albums – Phoenix (2008), Omega (2010), and XXX (2012), before Howe left again (to focus on YES), and the band recorded just 1 further album in 2014 (Gravitas, with Sam Coulson), before the passing of John Wetton in 2017.

ASIA didn’t release an official Live album in their original line-up until the reunion happened, although there were radio shows and audience recordings out there from the ’80s, as well as now hard to find series From The Asia Archives in the early 2000s (which I might think included some of these shows came from?). So, this Volume 1 of the bands “official Bootleg” recordings will be easier to obtain and a nice addition to their catalogue for fans. The 5 shows in this slipcase box set include > 1982 (Buffalo, NY, USA), 1983 (Worcester, MA, USA), 2007 (São Paulo, Brazil), 2008 (Tokyo, Japan) and 2010 (London, UK), with all shows taking up 2 CDs each. *BMG also recently released a 5CD slip box of the ‘reunion’ albums. As one who has very little live Asia, I am looking forward to this.

Live Music: Asia in Cleveland, Ohio, 8/13/10 – Popdose

“This historical collection represents some of our finest and most defining live moments,” says Geoff Downes, “from the very first ASIA tour in 1982 and the Alpha tour the following year through three of our many ‘Reunion’ shows. It was such a privilege to take ASIA’s music to these different continents and feel the warmth and support from fans all over the world. We hope this brings back great memories and inspires others to appreciate the music of ASIA”. 

This the first time these recordings have been made officially available by ASIA and they are presented together in a superb collector’s edition boxset with original artwork by Roger Dean, who created all of ASIA’s album artwork.

ASIA THE OFFICIAL LIVE BOOTLEGS – VOLUME 1PRE-ORDER HERE: https://asiaband.lnk.to/OLB1PR

Website: https://originalasia.com/

Facebook – Original AsiaTwitter – @OriginalAsiaInstagram – asiatheband

KJ, Oct/’21

ALAN LANCASTER : RIP Original STATUS QUO Bass Player

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My friend and major STATUS QUO Fan Alex Gitlin looks at the career and highlights of the band’s founding bass player.

RIP Alan Lancaster, the original bass player of Status Quo, the British blues-boogie institution, and the irreplaceable 1/4 of the Frantic Four

He passed away from multiple sclerosis on 26th September 2021 in Sydney, Australia, aged 72.

During their incredible run between the first album in 1968, Picturesque Matchstickable – Messages from the Status Quo, and his somewhat acrimonious split from the band in the mid-80s (he’d relocated to Australia in 1977), he performed on 12 top 10 UK albums and 17 top 10 UK singles.

Alan’s last gig with Quo, prior to the reunion in the 21st century, was opening the Live Aid at the Wembley Stadium in London.

In 2013-14, the original Frantic Four reunited for one last fling, touring the UK, Germany, Holland, Belgium and France.  Each gig was greeted emotionally by fans who’d been waiting for this reunion since 1981, the year drummer John Coghlan departed.

Although by now there were signs of his debilitating disease beginning to show (at one point there were rumours of the pick being taped to his hand), he soldiered on with the “no time like the present” attitude, giving the fans exactly what they’d come for. His bass, alongside Coghlan’s drumming, was the locomotive engine that was the classic Quo rhythm section.

It was around 1970 when Quo had disposed of psychedelic frills and kaftans, replacing them with denim and growing their hair long. For the band’s third album, Ma Kelly’s Greasy Spoon, which tentatively pre-defined their to-be trademark sound, he wrote Daughter and Is it Really Me/Gotta Go Home.

The following year’s Dog of Two Head, the wheels were fully in motion, and here Alan contributed Umleitung (a co-write with keyboardist Roy Lynes), Something’s Going on in My Head, and Someone’s Learning.  This was also their last album for Pye, in 1972 Status Quo were signed to Vertigo.

On their breakthru 1972 Piledriver album, Alan co-wrote A Year with Bernie Frost and All The Reasons with Rick Parfitt.  He also sang lead on the cover of the Doors’ Roadhouse Blues, which became a live staple for the band.

On the 1973 stone-cold classic, Hello, the entire band wrote Roll Over Lay Down, UK No. 9 and top 10 in many countries in Europe; on Blue Eyed Lady, co-written by Alan and Rick Parfitt, the vocals were shared by Alan and Francis Rossi. And also he had a hand in writing Softer Ride (sung by Rossi).

On 1974’s Quo, he handled the lead vocals on four tracks, Backwater, Just Take Me, Drifting Away, and Don’t Think It Matters, and co-wrote six.

As the band was in the middle of a purple patch of hit singles and albums, 1975’s On The Level, considered by many as the finest in the band’s entire catalogue, he wrote Broken Man (also singing lead) and Over And Done.  And he handled the lead vocals on another cover, Chuck Berry’s Bye Bye Johnny, also a great live favorite.

1976’s Blue For You has Alan on lead vocals and writing contributions on the opener, Is There a Better Way, the seminal and bluesy title track, Rolling Home and Ease Your Mind.

By 1977, the tide was turning, Quo were a mainstay on the European rock circuit, selling out arenas in Germany, but their sound became a bit softer, although the writing quality remained steadfastly top-notch. Here on Rockin’ All Over The World Alan contributed Let’s Ride, You Don’t Own Me, co-written with Mick Green [of The Pirates], and Too Far Gone.

They continued to pursue the same direction of commercial British pop-rock with a boogie edge in 1978, with If You Can’t Stand the Heat…, here Alan’s contributions are Gonna Teach You To Love Me and Stones. By this time, Alan had moved residencies to Oz, while the relationship between the dynamic duo Rossi-Parfitt had soured due to the out-of-control use of drugs.

In 1979, Whatever You Want (the album) reached No. 4 in the UK, and here Alan contributed Who Asked You and High Flyer.  And the following year, on Just Supposin‘ – Over the Edge (a co-write with Keith Lamb), The Wild Ones and Name of the Game (co-written with Rossi and the band’s keyboardist Andy Bown).

1981’s Never Too Late also had two of Alan’s songs, Mountain Lady and Don’t Stop Me Now (once again a Bown co-write). And the following year’s cleverly titled 1+9+8+2 (equals 20, commemorating the twenty years since the band’s inception in 1962) had Alan’s I Love Rock and Roll, I Want The World To Know (another one co-written with Lamb) and Big Man (once again co-written with Mick Green).

Back To Back in 1983 became the final album for Alan Lancaster, who contributed Ol’ Rag Blues (co-written with Lamb) and Your Kind of Love, while he was reportedly distraught over Rossi’s Marguerita Time betraying the band’s classic heads-down no-nonsense boogie sound. When they appeared on BBC’s Top of the Pops to mime to the single, his place was taken by Jim Lea of Slade. Elsewhere on other television appearances, he was replaced with a cardboard cutout.

R.I.P. to the diamond geezer and the seminal part of classic Quo. Whether it’s his singing, bass playing or songwriting, he didn’t do things by halves, putting his heart and soul into what’s now regarded worldwide as the British rock legend.

Written by Alex Gitlin. Alex is part of the band Mad Painter – https://www.facebook.com/groups/1688232924794537/ . You can also check out his rock history & review site – https://alexgitlin.com/

Links:

http://www.statusquo.co.uk

http://www.quogigophry.net

http://www.statusquo.org.uk

https://www.telegraph.co.uk/obituaries/2021/09/28/alan-lancaster-bass-guitarist-underpinned-status-quos-hard-driving/

https://www.bbc.com/news/entertainment-arts-58698864

09 / ’21