Tag Archives: Classic Rock

DAVID GLEN EISLEY – Interview from the Archives (2001)

Leave a comment

This is an interview I did (via email) with David Glen Eisley in 2001 to promote his solo album Stranger From The Past. I’ve added in a few youtube links and images, but the text is as it was in 2001.

David Glen Eisley was best known as the former singer for the 80s rock band GUIFFRIA, who released 2 albums [featuring ex ANGEL keyboardist Greg Guiffria]. Since then Eisley has had a few other projects, that didn’t rival the success of Guiffria, and with many 80s rockers was seemingly brushed aside by the music labels and biz. But Eisley is back with his debut solo album released last year on Frontiers Records titled “Stranger From The Past”. It features Eisley not only as vocalist/songwriter/producer, but also on guitar, keyboards, bass, and even drums [on one track], as well as notable friends and former bandmates – guitarist Craig Goldy [Dio/Guiffria], bassists Chuck Wright [Guiffria] and Stephan Ellis [Survivor], and drummer Ron Wikso [The Storm, Foreigner].

Here I swapped questions and answers with David, who discuses his career, notably the Guiffria days, as well as the making of his new solo album.

What sorts of music did you grow up on? Can you give me a short list of favorite bands, singers, guitarists, songwriters, etc… ? Any heroes in particular?

DGE- Beatles, Dylan, CSN&Y, Bad Company were bands that I was into. Paul Rodgers, McCartney, Little Richard were singers I admired. My Dad was really into big band jazz and got me into it at a young age before I discovered rock and I started studying drums, which I became fairly proficient at. But the Beatles hit and that was it!

Can you give me a Top 10 [or more]  of all-time favorite albums?

1.Sgt. Pepper (Beatles), Blood on the tracks(Dylan) Exile on main street(Stones) Joshua Tree(U2) Highway 61(Dylan) Déjà vu(CSN&Y) Blue(Joni Mitchell) Straight Shooter(Bad Company) Nebraska(Springsteen) Blonde on Blonde(Dylan)

Were you in any name bands prior to Guiffria?

No!! I was busy drinking and playing baseball!!

How did the whole Guiffria thing come together? Were you familiar with Angel and Gregg Guiffria prior to then?  That band had quite a few great names in it, with Chuck Wright and Craig Goldy, how did things seem to work?

I had no idea who Gregg or Angel was. He got my number from a bass player that I had done a session with and the guy recommended me as Gregg was tryin too put a new band together. He called me and just the sound in his voice sounded different than the norm so I figured it might be something kinda real. I showed up for the “audition” and we immediately started writing a song. It was a real strange connection. But it seemed to work. Things just started to evolve from there.

What was the deal with Gregg initially wanting to call that band ‘Angel’? And is it true You were the one who suggested ‘Guiffria’’?

I think he was just thinking that it was a known name so maybe that would help in getting a new deal. Well, we did get a deal but ultimately the company and us realized that we sounded nor looked at all like Angel so we weren’t! Nobody seemed to be able to come up with a name so at the last minute being we were in the era of Van Halen, Montrose and all the other namesake bands I came up with Giuffria. What the fuck was I thinking?? Oh well.

In retrospect, what do you think of those Guiffria albums?  Highs and lows? Was there ever any conflict in the band with the excessive use of Greg’s keyboards over Craig Goldy’s guitar work?

I think the first record has some great moments. I think we didn’t have a clue as to what we were until we hit the road. Then we realized we were a potent rock band. Unfortunately that band couldn’t keep it together for #2. I think we would have given Goldy more room and we would have done a great record. Instead the keyboard prominence became even more on Silk and Steel. I think Gregg and I wrote some good songs on that record and we should have sold them to a big adult contemporary artist to do. We would have made more money!! The record really wasn’t the band as it was, although Lanny is a great player. Yea, as in any ego driven entity there were a lot of conflicts but I think the split was just Gregg and I were just not feeling the same about shit anymore and we were sick of all the bullshit we went through with the record company. We just said ”See Ya”.

Did you have any contact with Gregg [or still have] after the Guiffria days? Any reason he didn’t ask you to participate in House of Lords? [How many Guiffria outtakes ended up on the first HOL album?]

He did not ask me to join House of Lords because that would just be Giuffria again with a new drummer! Besides I had already met up with Earl Slick and Dirty White Boy was on the horizon. I don’t talk to Gregg much. He really doesn’t play much anymore and has gotten very successful in business. Although I think he’s going to play a bit on the HOL record.

Any stories from the Guiffria days and the tour supporting the reformed Deep Purple?

The Deep Purple tour was a great experience in learning what to do on the road and what not to do. I had a great time but at times it was pretty rough. I mean dealing with Mr. Blackmore at that time was interesting to say the least. We finished that tour and hooked up with Foreigner on their last big one. That was a big improvement in terms of general treatment.

What can you tell me about DIRTY WHITE BOY? You guys only did 1 album? Any major gigs or breaks there? How did that whole project come and go? [in a nutshell]

DWB was a victim of timing and circumstances. Thee record company, Polygram was getting ready to clean house and make more room for the Grunge attack and R&B acts. We were touring in Europe as the record was released there first and were being told there was really no company back home. Dismantling of a sorts. We had no support for a domestic release and it all just fizzled away! Although the record was produced all wrong I really dug that bands vibe. We really became a “freight train from hell” on the road. The record does not reflect that unfortunately.

You did the Stream album with such names as Bob Daisley [Ozzy / Heep / Rainbow] – a great bass player, as well as Eric Singer ! Quite a line up!! What happened with this project? Any stories from working with the likes of Daisley & Singer? 

Stream was really just a money gig. I had known Bob from another situation that I passed on and he called me to do this thing. There was really no ample time and everything was rushed. It really had no band thing going at all. I think all of us were just throwing it together, collect the doe and not give it much thought beyond that. Eric is a likable guy and a great drummer!! I really never hung with them other than that short trip. Forgettable period!

What else have you been involved in over the years? Any bands, sessions, guest appearances … ?

I’ve been getting into some acting the last couple of years and find I like it. Some independent films, some TV and a couple commercials one being a thing with Ringo which was a great gig!! He’s a real trip and a great guy!! You hang with a Beatle for a couple of days and everything else kinda pales  away after that!!

When did you begin work on ‘Stranger From The Past’?

I started Stranger in May of last year. They released it in November of last year and here I am again frying in the summer again. Time is going way to fast my friend!

I take it ‘Stranger…’ is your first solo venture (? ) Why so long, having been around for so long?

Truthfully there have been three periods where I was going to go it solo. Two of which were just prior to my two main bands. The thought of the band thing at each turn felt comfortable to me so I passed the solo thing up. In hindsight I kinda wish I would have just had the balls and said “Sorry I don’t do bands” but I didn’t. That’s OK.

What’s the history of the songs on Strangers? Were they written more recently or things you’ve had from past years and saved?

It was about 50/50. I had a few of them existing for awhile in one form or another. So after being approached by Frontiers I got an idea as to what they were looking for and then picked ones I had and then proceeded to write the rest.

You wrote, produced, and played a lot of instruments on this album. Was it a very personal record, musically and lyrically ?

Yea, to a degree I guess anything someone writes it’s a bit personal. Everything comes from different times in one’s life. Some things are a little less heavy than others but are still from personal trips or memories.

This album has a somewhat classic rock / aor style to it. Was there a particular direction or audience you intended to go at? I think it’s quite an appealing album that many rock fans would enjoy.

Like I said I got an idea what they the market would bare so to speak and then tried to be true to myself and came up with this collection. If I had not considered what anybody or any audience expected from me it would have been much more stripped down, funkier and acoustic driven but I’m happy with the overall results.

Can you give me a few words or any stories to go with a few of my favorite cuts from the album > Stranger From The Past, Can’t Call It Love, Don’t Turn Away [which is my favorite here] and When It’s Over(?) Do you have any personal favorites [and stories to go with] ?

Stranger began with a lyric idea I put together after listening to a taped lecture on passed life trips experienced by this woman who was documented for real. About coming back and all that kind of stuff. After writing it the title seemed to apply to me and my career so that’s how that happened. Cant Call it love was part of a song I wrote awhile back. I re-worked it for the record and really had fun with that one. My daughter India can be heard at the end when she sneaked into my studio one day and I was giving her the “please be quiet” sign. She got a little pissed at me and left slamming the door behind her. I kept it as it hit just as I hit the last chord. Thanks India!! It is really representative of me and my “rock” roots. Don’t Turn Away was written off of a piano lick I had come up with awhile back. Lyrically it was written about a friend who was going through a messy relationship. When its Over was about the same period of time and kind of  based on the same subject matter. Goldy played some really nice stuff on that I thought. Funny though, we had nothing around at the time but a tiny little practice amp. We just stuck it in a little closet with a mic. That guitar solo was done awhile back in another space and time! But I loved what he played so I did everything I could to transfer it into the master track. It seemed to work.

Craig Goldy plays a lot of guitar on this disc. I take it you guys are good friends!? Do  you have plans to work together in the near future? Perhaps form a band ? 🙂  And do you have plans to gig or tour to promote Stranger From The Past?

Goldy and I have remained very good friends. He’s been busy with Dio, who is another really nice guy. I’m glad they are hangin’ again. Goldy was one of the people who were always tellin’ or asking me when I was gonna go it solo. Always supportive. So I called him while he was out on the road and he said “cool I will be back such and such a time. I’ll come right over. He did lucky for me. He is one of the few people who know me well enough to know exactly what I’m lookin for. He did his entire bit in a day and a half with never hearing the songs before. Although he drank all my Vodka in the process! If it was possible I think we’d love to put something together in the future. Who knows. Tour plans for Stranger?? I really don’t know. That has a lot to do with the record company, tour support etc, etc.

How has fan and press reaction been to Strangers.. ? What have been some of the highlights as far as reviews and/or press features go? Any chart placings around the globe?

The response to the record has been really good generally. The press and ads have been very positive. I think I’ve been gone for awhile so it has been a bit of re-aquatinting myself to the scene again. A couple of the larger mags in Europe have placed me in different charts and its all been positive. I’m really not on top of all that. Sorry.

You sang all the vocals [w/ harmonies], played a lot of guitar, keyboards, bass, and drums on this album. Why did you take on so much yourself, and how did you determine where and when to use the various guests?

I did most of it myself because I kinda of know how I want it to feel. That’s my main thing. I don’t really care if it’s not the best technical playing going on. My songs are just that and if the feel ain’t right then I have trouble carrying it through. The guys who played on it know me very well and played what I would have played if I had the chops to do it. But some of the stuff I heard in my head I can’t execute. So enter my “wiz kid buddies”.

I take it singing is your first love? How do you see yourself as guitar player, keyboard player, etc… ?

Singing for me is on and off. I wont sing for a long time and then all of a sudden I will be writing or doing sessions and be singing again. When I do it makes me feel good but I don’t go out of the way to go and sing with the guys every other night. I’d rather sit in playin’ drums or a little guitar. Weird huh?? I am really quite a sloppy and un-educated guitar player as well as keyboard player but for my stuff it seems to work and I have fun doin it. And my stuff is really all I’m concerned with. I do outside money sessions with my voice. So I really don’t give a shit. I mean I would love to do what Craig can do but I cant. But he cant ballroom dance like I can! HaHa!

Having played alongside Greg Guiffria for a few years, it’s interesting that the only keyboards you tend to use here are piano, Hammond, and some synths as background effect.  I take it you wanted to make this a very guitar oriented album?

Gregg was really into Keith Emerson through his life and chose that really over the top keyboard trip which worked great for us. My thing isn’t really guitar or keyboard driven. I think its more song driven. I had no need for all of that stuff. But your right it’s a little more guitar oriented than keys.

Any stories from the recording or making of this record you’d wish to share?

Other than I had a good time doing it in my studio in my barn alongside the horse and my pot belly pigs there is really nothing out of the ordinary to report on it.

Do you have plans to make another solo album in the near future? Anything you’d do differently?

I think I might do another one for Frontiers at end of the year but I’m not sure. Might do it on my own label Ol’ Boothill Records. A new album would be just that. “A new one”. So until I’m into it I don’t know what will be different other than songs.

What Kiss album did you guest on?

I think it was the Animalize record. I’ll check on that. I was working on a record in the same studio as them and Gene found out I was there. He sent a note over to our room and asked if I could come across and give them a hand on some song. So I did. Me Paul Winger (Kip’s bro) Gene, Paul and I. We had a good time. Paul was funny as shit! Anyway, I left. They sent me a check and I never even asked what record it was as I was really not into Kiss at all. I will ask Bruce or  Bob Kulick who are friends of mine. They obviously will know

What do you listen to these days? and what do you think of the rock scene out there for artists like yourself compared to how it was 15 years ago?

I primarily listen to older stuff. My Dylan records, U2, Springsteen, a lot of soundtrack stuff. I only really listen to music in the car. I’m busy doing other things. Well the rock scene as we knew it in say the mid 80’s through the mid 90’s has changed quite a bit. As rock and roll should, it caters to the very young. But generally the corporate powers aren’t interested in shoving really good stuff down kid’s throats. I find it very interesting that us baby boomer kids that have our own kid’s see our own kids getting into Hendrix, Zeppelin, Beatles, Stones, etc … as well as Britney Spears and that lot which is cool. I mean, the stuff we grew up with was very powerful music and it stands the test of time. Everything now is nothing more than quick soundbites for the most part. Here today then See Ya!!!

Anything else you’re currently involved in – musically or other interests?

 I’m writing a screenplay right now and working on a kids’ album concerning education which I hope to have finished and out by next year.

There is a compilation record of sorts coming out in August that has old stuff from Giuffria and DWB days. It’s kinda cool. Its called David Glen Eisley/ ‘The Lost Tapes’. You might find it interesting.

DAVID GLEN EISLEY – Stranger From The Past (2000)

Leave a comment

This was the debut solo album from the former GUIFFRIA singer. Guiffria, the air/hard rock band lead by former ANGEL keyboardist Gregg Guiffria released 2 albums in the 80s,, had a hit single with “Call To The Heart”, and opened for Deep Purple, and (later) Foreigner. But after the 2nd album Guiffria decided to rename the band, and change singers. Years ago, when Stranger From The Past came out in 2000, I interviewed David Glen Eisley (need to dig that out and re-post), and I played the heck out of this CD in my car, loved it!

Stranger From The Past featured a number of guests and strong supporting players, notably Craig Goldy on guitar (Dio), Ron Wikso on drums, and bass player Chuck Wright (Quiet Riot), though not all on every track. It began with the intro “The Stranger”, which leads right into the title track. There’s a good mix of good rockers like “Can’t Call It Love”, “Run Run Run”, and “Can’t Wait Forever”, as well as ballads “Don’t Turn Away”, and “Stranger In Love”. A solid album, that I still pull out from time to time.

Stranger was followed up a year later with The Lost Tapes, a collection of songs Eisley recorded with various projects prior to 2000. Strangely the tracklisting seems quite similar to the new Guiffria release (?) The Lost Tapes was a decent set of songs too, with standout anthems like “Stand Up” and “Are You Ready”, as well as “Lay Down Your Love” and “Slip Of The Tongue”.

Since then DGE has released a few solo albums, as well as a collaborative album with Craig Goldy, but nothing as memorable as Stranger From The Past (IMO). He did have a huge hit with with “Sweet Victory”, w/ the late Bob Kulick (the SpongeBob song!). The man’s also gone through personal issues to deal with (the passing of his wife late last year). Here’s hoping David finds his way back to creating new music in the future. Until then, look up this album (YouTube, Spotify, Apple).

LINKS:

RICK HUGHES to release debut solo album, includes former members of Ozzy’s band

Leave a comment

RICK HUGHES DELIVERS A SPECTACULAR SOLO ALBUM WITH ‘REDEMPTION,’ REUNITES MEMBERS OF ONE OF OZZY’S BEST LINE-UPS FOR COVER OF THE WHO’S “THE REAL ME” 

Canadian-born Rick Hughes is renowned for his powerful and rangey voice as the lead singer of the legendary metal band Sword, and of the hard-rock band Saints & Sinners. A seasoned performer with hundreds of headlining shows in Canada, America, Europe and Japan over the years, and his superb stage performances while opening for bands such as Metallica, Motorhead, Alice Cooper, Black Label Society, etc. 
 
So when it was time for him to record ‘’Redemption’’, his first international solo album, he spared no expenses and efforts to make this album a great one, hiring producer John Webster (Aerosmith, Mötley Crüe, AC/DC, etc.) and renting HippoSonic Recording Studio (formerly known as Little Mountain Studios) in Vancouver to record this opus.
 
The first salvo is coming out September 5, 2025, and it is quite an event in itself: his first single and video is a supercharged version of The Who’s classic ‘’The Real Me’’ – reuniting after 43 years Ozzy Osbourne’s 1982 band consisting of Brad Gillis on guitar, Rudy Sarzo on bass, and Tommy Aldridge on drums. This is the band that did the last leg of the ‘’Diary of a Madman Tour’’ in 1982 after the tragic departure of the great Randy Rhoads, and that then recorded Ozzy’s classic live album ‘’Speak of the Devil’’. 

*The single can be streamed at https://push.fm/ps/ilgjszby.
 
*Pick up the Limited Edition Bundle (100 copies) that includes a collectible 7” vinyl of the “Real Me” signed by Rick Hughes, Brad Gillis, Tommy Aldridge, and Rudy Sarzo.

*Pre-order limited edition releases here:  https://www.dekoentertainment.com/inthesquare/rick-hughes
 
The resulting sound is epic, and so is the spectacular video that was shot and directed by Matthew Lucas (Kringle Time, Moonshot, We Meet Again, etc.) at the state-of-the-art L.A. Castle Studios, with post and editing by Montreal’s Jean-Marc Laurin (Jurassic World, Star Wars: The Force Awakens, Game of Thrones, Assassin’s Creed, etc.).
 
”The Real Me stands as a cornerstone of my album ‘Redemption’,” says Rick. “As a lifelong fan of The Who, I wanted to pay tribute to the golden age of 70s rock. To capture that spirit, I brought together a true supergroup with Tommy Aldridge, Rudy Sarzo and Brad Gillis, a unique moment where legends unite to breathe new life into a classic.” 
 
“This very special song is part of the upcoming Rick Hughes Album ‘Redemption,’ a collection of great rock songs to be released on Friday, October 24 2025 on CD, Vinyl, and Digital format worldwide by Deko Entertainment, and featuring more great collaborations with some famous musicians.
 
Included are 2 more songs featuring the superb songwriting and inspired guitar playing of the great Brad Gillis, another featuring the extraordinary talent of The Door’s legendary guitarist Robby Krieger, and great contributions from rock royalty Lee Aaron, vocal powerhouse Amy Keys (Ringo Starr, Phil Collins, Toto, Sting, Stevie Wonder, etc.), rising guitar hot shot Jacob Deraps, as well as Rick’s gifted sister, Lulu Hughes. 
 
With its great performances, ‘Redemption’ is a very special and unique rock album that brings together 7 songs in English, 1 bilingual and 2 songs in French.

‘REDEMPTION’ TRACKLIST:
 
Vinyl version:
 
Side A:
1 ) Dead End Road
2 ) Croire En l’Homme
3 ) The Real Me
4 ) Carry The Torch
5 ) Will of the Gun
 
Side B:
1 ) Shake My Soul
2 ) Someday
3 ) Dans La Peau
4 ) In a Perfect World
5 ) Ça Va Brasser
 
CD Version: 
 
1 ) Dead End Road
2 ) Croire en l’Homme
3 ) The Real Me
4 ) Carry The Torch
5 ) Will of the Gun
6 ) Shake My Soul
7 ) Someday
8 ) Dans La Peau
9 ) In a Perfect World
10 ) Ça Va Brasser
11 ) Bonus Track: Dans La Peau (french version)

LINKS:  
Youtube: @RickHughesOfficial
Facebook: https://www.facebook.com/RickHughesOfficiel
Instagram: RickHughesofficial

BROWNSVILLE STATION – Brownsville Station, 1977 (the red album)

Leave a comment

After a long delay, a line-up change, and signing to the Private Stock label (another small label), BROWNSVILLE STATION released what many consider to be the band’s best album in the spring of 1977. It’s their self-titled album, often dubbed the ‘red album’ for it’s cover (also referred to as the band’s ‘lost’ album being the only one not given a proper CD release). After the excellent Motor City Connection album, the band added Bruce “Beezer” Nazarian on guitar, keyboards, and vocals. Nazarian had previously guested on the track “You Know Better”, from MCC. (Now) legendary producer Eddie Kramer was brought in to produce the album. A busy year for Kramer, as he was also involved with such bands as Led Zeppelin, The Rolling Stones, Kiss, Bad Company, and Angel (among others) throughout the year. Recorded largely at The Cenacle of Mount Kisco, NY, a former convent (abandoned and demolished in 2019), also known where Aerosmith recorded their Draw The Line album, also released later in ’77. The cover for the red album was taken on the property by Shig Ikeda (legendary photographer, better known for his photos of Blondie).

The band took on a more harder edged sound, heavier on the guitar and stories. Cuts like “Sleazy Louise”, “Hot Spit”, and “Rockers n Rollers”. The band also took on a more commercial (or radio friendly) approach with songs like “Lover”, “Throw Me A Lifeline”, and the hit single “Lady (Put The Light On Me)”, a song co-written by British producer/songwriter – Phil Wainman & Brotherhood Of Man’s John Goodison. BS also featured a rockin’ updated cover of Fats Domino’s “Ain’t That A Shame” (this was a year prior to Cheap Trick’s live version, which became a hit single for them). Another highlight is the southern blues of “Mr Johnson Sez”, a tribute, in which the band include legendary delta blues player Robert Johnson in the writing credits. Also included is the band’s nod to Jack Daniels via the country sounding story “My Friend Jack”. Last up is the band’s legendary late-night bizarre sci-fi tale of “The Martian Boogie”. This one would feature on the Dr Demento radio show, and was issued as a single, becoming another minor hit. “The Martian Boogie” is also the next most likely Brownsville Station song (after “Smokin’ In The Boys Room”) that one might still here on FM radio.

Though Brownsville Station boasted 2 minor hit singles, the album didn’t do as well, but this line-up stayed together for one more album. In 1978, then signed to Epic, the band altered their name to just ‘Brownsville’, and released Air Special. Produced by Tom Werman, longtime producer for Ted Nugent, as well as Cheap Trick, Molly Hatchet, and later ’80s metal acts like Twisted Sister and Dokken. Werman seemed to help attempt to make the band more straight ahead hard rock and commercially appealing, but to me this album was a bit of let down after the 1977 album. It featured the single “Love Stealer” (another Phil Wainman track), but it did not chart. The band broke up soon after.

Although there’s been no proper CD release of Brownsville Station, Music On Vinyl did release limited edition red and white vinyl (separately) copies of this album in 2019.

BROWNSVILLE STATION (Private Stock 149)
Lady (Put The Light On Me) (3:24) (Utopia/Dejamus – ASCAP) (Wainman, Goodison) A soulful vocal chorus lifts this record above the norm of hard rock offerings, but make no mistake, this is rock at its most unrefined. A definite audience participation number. Any pop stations won’t be able to resist this re- emergence on a new label. (CashBox, 05/77)

BROWNSVILLE STATION (Private Stock 167)
The Martian Boogie (4:20) (Ainal) (Lutz, Weck, Koda, Nazarian)
This edit of the LP version still combines the best of talking blues, science fiction and passages reminiscent of Blue Oyster Cult. The band isn’t self-conscious about it’s somewhat juvenile sense of humor, brought forth with an alien squeak and eerie music reminding one of “One Step Beyond.” – CashBox, 08/77.

BROWNSVILLE STATION – Brownsville Station – Private Stock OGPS-2026 – Producer: Eddie Kramer – List: 6.98
Tight. brash and uncompromising rock and roll is their forte
and they promise not to make you think, get involved or become
spiritual. But if you like it loud, sassy and simple, this quartet has
just the right sound to test your stereo equipment. No punk
rockers these guys, Brownsville Station gets the point across without drowning it in over -amplification. For top 40 and AOR playlists. (CashBox, 1977-04-30)

*Michael Lutz, lead singer for Brownsville Station, has become the first rock musician (as far as we can tell) to qualify for the 26+ miles of the Boston Marathon (the Brownsville Station LP is due out on Private Stock at the end of the month) .. (CashBox, 04/77)

LINKS:

https://www.detroitrocknrollmagazine.com/2015/07/the-making-of-martian-boogie.html

https://www.rodny.cz/?id=r2701903

DEEP PURPLE 1980 – An interview with author Steve McLean

Leave a comment

Steve McLean is primarily known as a stand-up comic, originally from Scotland, but now in London. McLean also is a passionate music fan, and particularly of Deep Purple. In 1980, originally DP singer Rod Evans fronted a new band that took the name ‘Deep Purple’ (or ‘The New Deep Purple’), as the group was defunct at the time, and began doing shows throughout North America. They were ultimately stopped, and through the court case it cost Evans in fines and future royalties. From then on Rod Evans disappeared from the spotlight completely, and hasn’t been heard of since. But in Stealing Seep Purple, McLean has researched throroughly and published the story of that strange chapter in Deep Purple’s history, often not mentioned so much.

Below Steve’s answers my questions pertaining to this period and the making of his book. A very interesting story, well worth checking out. *You can find out more on Steve and Stealing Deep Purple at the links at the bottom.

Did you have any connection to this 1980 era of Rod Evans DP? (did you see the band or follow the story at the time?)

Alas, I was four or five years old at the time. The first I heard part of the story was when I was 17 (1993). I was visiting London to see Aerosmith at Wembley Arena. I was in a bar called The Royal George which used to be a rock pub and there was a guy from the U.S. who said he saw Deep Purple in a small club near Boston in the autumn of 1980. The friend I was with, who was a bit older than me  and a massive Deep Purple fan, called the guy out for talking bullshit, since Deep Purple were not together at the time. It got quite tense.

I later learned of the Rod Evans group and have been kind of fascinated about the tale since then. Now, the show that the guy in the bar was talking about near Boston (I think in Lowell or Lynn) might have been cancelled, there are conflicting reports. So it is possible that the guy was bullshitting in a different way. He might have seen the adverts for the show before it was cancelled and decided to tell young and naive strangers a tale. And it’s possible that the shows weren’t cancelled and did go ahead and he was there. But it’s also possible that he went to a different show in the same town on a different day. There was no publicised ‘tour schedule’ as such. The plan for the band was to play in small towns and just advertise the shows locally. 

What we do know is that there was around 70 shows and there is printed evidence of about half of them. That’s the kind of fuzzy details we’re dealing with when it comes to “The New Deep Purple”. The book attempts to unpick the facts from fiction.  

During the late 70s there was a lot of band’s ‘resurrected’ in questionable ways. Curious if you dug in to some of these other bands at all (for research). The one I’m thinking about it Steppenwolf, where there were a number of versions of the band on the road at the same time (a couple of these guys wound up in DP1980). Much of this came from John Kay’s book.

John Kay’s book is excellent. It does however tell us a story that we don’t often consider in our appraisals of the events. 

The ‘questionable ways’ that the band was resurrected were initially empowered by Kay granting a license to the band name. Now that license ended up getting abused by multiple Steppenwolf members and also by musicians who had never been anywhere near the original Steppenwolf (namely Tony Flynn and Geoff Emery who both went on to be in the New Deep Purple), but without Kay agreeing to the license for original reconstituted band, well I wonder if the others would ever have happened. 

I don’t blame John for what he did, he had bills to pay and licencing deal from the name of a band that he no longer had any interest in must have seemed like free money. It appears Kay took over two years to launch legal action against the multiple bands using the Steppenwolf name and even then it seems, to me at least, he was only really outraged about it when the licensing fees stopped coming in. 

I think a person would have to be incredibly naive to believe that John Kay wasn’t aware what was being done to the Steppenwolf name. This sort of behavior was as old as the entertainment industry; From fake circuses pretending to be connected to Barnum, the unofficial versions of Gilbert and Sullivan musicals to the multiple versions of the Zombies or The Animals. It only really seems to be a problem for the venues or the promoters when the ruse is discovered by the general public. Personally I think the industry operated under a blanket of plausible deniability. 

I spoke to a few members of reconstituted bands to try to get an understanding of how things worked in such a group. Musicians from the likes of The New Cactus Band and The New MC5 (who did shows with The New Deep Purple). In contrast to the rock and roll luxury lifestyle, they often painted a bleak picture of working bands on gruelling schedules singing for their supper. 

What sparked your interest enough in this period to want to write about it?

I just think it’s totally WTF! The Mexico chapter of story alone has its roots in the Mexican revolution, it also involves the civil rights movement, a burgeoning rock scene and a happy ending. Not bad for a episode that also includes a riot, a crowd crush and a Red Cross emergency triage unit!  I was interested because it’s the kind of story I’d like to read. I’m a stand up comedian and I write hour long shows. I don’t write shows about things I don’t love or I’m not interested in. I think anyone reading the book will understand that I love Purple’s music and I love the tale, fans can tell if you’re a fraud and the last thing I’d want is for any hardcore Deep Purple fan to think I’ve done a disservice to the band they’ve devoted their lives to. 

This period is often overlooked or unmentioned in Deep Purple books and stories. Do you feel it is a valid period that deserves to be told and mentioned In the band’s history? And do you feel this tour might’ve had any connection or influence in the band’s eventual reunion a few years later?

It’s definitely a valid part of their history and I think it should be embraced by the band. There’s line in this book that says something like ‘This is an interesting story because Deep Purple are a great band. Without Deep Purple being as great as they are then this story would be nothing’  

I found the most negative opinions of the The New Deep Purple come from people who didn’t attend the shows. I spoke to folks who went to the shows and had a great time (as well as those who thought it sucked!) 

I think the resulting court case was the first time the Deep Purple members had all worked together in any capacity for years. Probably the first time Blackmore had anything to do with them that wasn’t through third parties. I would say the court case did a lot to defrost the atmosphere between everyone. It’s weird to say this but I think it was the first step on the road to the reunion and without it, who knows, the reunion may not happened or might have been a few more years away. 

I get why fans are reluctant to embrace this part of history. It’s stirs complex emotions and the book highlights the darker side to the musicians we love. As mentioned above, I spoke to a few fans of the band who attended the shows, plenty had a good time (a match in number for those who had a bad time). One person went to a show with her brother and that was her last memory of him before he passed away and another person met a girl at the show, they dated, got married, had kids and now have grandchildren… his whole family is thanks to that show. As I ask in the book, who are we to take that away from them? 

There is a lot of stories and photos from this tour online; what gems have you dug up through your research? (people you’ve interviewed, photos or video you came across, etc…)

Most of the stuff I acquired were memories and clippings from newspapers. That said I came across a few ticket stubs and such. Norm from the Whisky River Band sent me a lovely colour version of a poster from the Northland Summer Jam II. It was a grandly titled small festival, akin to a county fair and it was the ideal stomping ground for the New Deep Purple. A rural small town that didn’t get much in the way of entertainment that attracted mainly a casual fan who had little idea of what the band was supposed to look like. In such an environment, where there was no pressure from a partisan crowd, The New Deep Purple seemed to put on a good show. 

One of my other favourite bits I came across was Jim Dandy’s performance supporting the band in Mexico. It’s on Youtube, The clip was also great for contacting people who had been to the show and had first hand accounts of the gig. History has remembered the trouble in Mexico as being down to the New Deep Purple’s performance but the reality is somewhat different…  

Did you search out fans for stories and memorabilia or did you get enough that simply came out with previously unwritten recollections of shows and encounters?

There’s a lot of accounts online already but yes I actively sought out fan accounts, mainly from the larger shows. The problem with this is that memories are fuzzy and it was 45 years ago, so I had to be wary of what to trust.  One excellent bit of information I found out from a staff member from the Baby O bar in Seaside Heights, New Jersey. The show didn’t actually go ahead, even though there a previous reports saying it did. It was cancelled not long before the band went on stage. I’ve read online that people had attended the show but that’s not true according to the door staff. Now, once again, that’s not to say that a show at the Baby O didn’t take place on a different date or that there wasn’t a show in Seaside Heights on that day. If you read the book you’ll read about a string of cancelled shows and postponed dates and moved venues. It was hard sorting out false memories for actual fact, but I think I’ve done a decent job in piecing it all together.    

The band, at the time had said they were recording an album. This obviously never came out, but did you find any truth to this and what do you think the impact of this might’ve been had it come out back then?

I honestly don’t know what to believe here. I know that the same claims were made by the versions of Steppenwolf (and the Zombies etc), 

It seems to me that  if I wanted to give legitimacy to a band trying to convince the public they were the read deal, then I would certainly say ‘we’re recording an album’ or ‘we’re in talks with a label’ as it’s the kind of thing a legally-sound band would say in an interview.  

That said Mike Curb was reportedly interested in the band and he wasn’t a fool. It’s likely Warners-Curb paid for some demos until they realised the legalities of trying to release a record as The New Deep Purple.     

Did you find yourself feeling sympathetic for Rod Evans after all this?  I was always under the impression he was simply duped into this whole situation.

The book started out as an investigation but evolved into a document of understanding and perhaps a plea for clemency.

 I don’t however think he was ‘duped’ into what he was doing. It’s a popular fan opinion because, fans being fans, don’t like to think that the people that they love would behave in any way we wouldn’t like them to, but to say Rod was duped is a bit of insult to his intellect. He had been involved in the industry for about a decade before his 1974 retirement, I think it was an idea that he was fully onboard with but I also think it got away from him. 

Part of the reason that it got away from him was that I think he thought he was legally in the right, to begin with at least. I think he thought he had, if not the blessing from the Deep Purple management, then the begrudging verbal agreement from them. There’s enough evidence in the book to suggest this. 

Reading between the lines of the statements that came out from the band and management, it reads to me very much like a lot of non-denial denials. A lot like when Mick Fleetwood commented on the fake Fleetwood Mac. 

Personally, I think he had some rights to the band name, but not the brand, if that makes sense. Put it this way, if he’d gone out a Rod Evan’s Deep Purple or Rod Evans From Deep Purple and just played Deep Purple Mark 1, I don’t think he’d have been hauled through the courts in the same way.  

If taken in the context that Deep Purple had broken up and they weren’t really bothered about playing together again, then the prospect of licensing revenue, (perhaps unbeknownst to the Lord, Paice & Co) would have once again seemed like free money to Deep Purple’s management, just as it may have done to John Kay.

Although for balance I should probably point out that Purple’s management team moved a lot quicker than Kay to put a stop to things… The Steppenwolf saga may have even changed the Deep Purple management’s minds. By that time the damage to the name of Steppenwolf was highly evident for the whole industry to see.

The whole mystery of Rod Evans, and what became of him after this period has quite a following of its own online. Did you find much on Rod and those that knew him after the court case and all?

I spoke to a couple of people who claimed to know him but I after a few questions it turned out they were probably talking shit. There’s one guy going around various Facebook comments section claiming to know Rod and his movements, but it seems to be a desperate cry for attention. Bobby Caldwell, Captain Beyond’s drummer says he is in touch with him and guards his phone number like ‘Fort Knox’ I sent Bobby a message asking if he’d put me in touch but I got no reply, If you’re out there Rod, I’d love to hear from you. I’m happy to amend anything in future editions of the book if you think I’ve got it wrong, please get in touch. One of my main goals of this book was to ‘open the story out to the floor’ …which it has already done. I’ve had few people get in touch, nobody has contradicted me yet but I’ll be happy if someone says ‘you’ve got this bit wrong…. I know because I was there’  

It’s been heavily reported that Rod has lost his Deep Purple royalties, I wonder if that only means officially and that they band are in fact ‘looking after him’ and making sure he gets his share. It would make sense based on their comments that they felt he was in with bad people and that the only way to stop him was to sue him. But then maybe that’s what I want to believe. 

How is the book been made available at present? Will it be available via Amazon, etc..?

It’s available through my site Deeppurplebook.com and through Lulu Publishing. I’m trying not to use Amazon… mainly because of the disgustingly low fees they pay authors. Can you believe they uploaded my book to their in-house publishing without my permission? And then paid me pennies for the copies they sold. I was several emails before they’d take my work off of their website. The more authors I speak to the more I hear of how Amazon seem to behave like gangsters. 

What other books have you authored? Any details of rock books of interest?

This is my first book! I’m a stand up comedian and in a previous life I was a development producer for documentaries. If you’re reading the book and you think it’s paced like a documentary film, that’ll be why.  I’ve previously written reviews and opinion pieces for magazines and websites. 

Are you planning on or working on any other rock n roll books?

So, my next project is to turn Stealing Deep Purple into some kind of show. I envisage it being a multi media presentation that’s funny and informative. 

I’d quite like to pull at the threat of the numerous fake Iron Butterfly bands that existed in the late 1970s, so that might be my next book. 

LINKS:

https://deeppurplebook.com/

https://www.facebook.com/SteveMcLeanComedy/

https://www.instagram.com/withstevemclean/?hl=en

SWEET FREEDOM – Blind Leading The Blind

Leave a comment

Swedish band SWEET FREEDOM has a new album out. Initially, I though ‘hey a band using the Heep album title’ (LOL), but nope, as one band member replied “It doesn’t. I can understand the question but the name comes from our intension to be as free as possible with our music. The first album released in 2022 was released without a label. In that way we could control everything, and also decide how everything should be done. So Sweet Freedom isn’t just a band name, it’s a vision.” But these guys will appeal to classic hard rock/metal fans with their mix of guitars, organ, and excellent vocals. Below is press info on the new album, as well as their 3 videos from Blind Leading The Blind, ordering info, and band links.

Sweet Freedom began as a solo project by Swedish keyboardist Jörgen Schelander during the pandemic, born from a clear artistic vision and DIY spirit that had long been brewing in his mind. 

Their debut album, initially released with no promotion, gained surprising attention — even landing coverage in Sweden Rock Magazine as one of the year’s top releases. By late 2022, the band evolved from a solo project to a full lineup under the name Sweet Freedom, reminiscent of how Ritchie Blackmore’s Rainbow became simply Rainbow. 

The new album, “Blind Leading The Blind”, sees the return of the same core lineup, but with one notable change: powerhouse vocalist Matti Alfonzetti (Skintrade, Jagged Edge) steps in as frontman, replacing Stefan Nyqvist. Matti’s signature voice and charisma elevate these already high-octane songs to new heights.

Together with Håkan Nilsson on guitar, Jan Lund on bass, and Håkan Rangemo on drums, Sweet Freedom forms a Swedish supergroup. The new album is a ten-song collection of massive classic rock with a progressive twist.

The album was recorded live as a full band at Tilt Recording Studios in Strömstad, Sweden – an intentional move to capture the raw energy and chemistry that can only happen when a real band plays together in the same room. That energy, combined with a massive-sounding mix and master by Stefan Boman (Opeth, Alice Cooper, Def Leppard), results in a huge, dynamic rock production.

While Matti is well known in the rock world, the rest of Sweet Freedom’s members also boast serious credentials. Jörgen performed all keyboards on the 2024 touring production of Jesus Christ Superstar (featuring Daniel Gildenlöw of Pain of Salvation), and both Jan and Håkan previously played in Sabbtail alongside Mats Levén and Fredrik Åkesson of Opeth.

Sweet Freedom is here, loud and proud – and “Blind Leading The Blind” proves they’re a force to be reckoned with.

Talking about the record, Jörgen Schelander stated: “This album is a blast of classic rock. Close your eyes and listen all the way through “Blind Leading The Blind” – and you’ll come out blind no more… Maybe just a little deaf! The energy we captured, especially with Stefan Boman’s production, is something rare these days”.

Tracklist:
1.    Infinity
2.    Tears Of The Sun
3.    Another Day
4.    Skin And Bone
5.    Innocent Child
6.    Live From The Heart
7.    Skeleton Key
8.    Solid Ground
9.    I Push Too Hard
10.    Outcry

Line Up:
Matti Alfonzetti – Lead and backing vocals
Håkan Nilsson – Lead and rhythm guitars, backing vocals
Jan Lund – Bass and backing vocals
Håkan Rangemo – Drums and percussion, backing vocals
Jörgen Schelander – Organ and keyboards, backing vocals

LINKS:

https://www.frontiers.it/album/6062

Sweet Freedom – Blind Leading The Blind – CD

Facebook
Instagram
YouTube

NEKTAR – ‘A Tab in the Ocean’, 5 disc expanded box

Leave a comment

Classic prog rock band NEKTAR has a 5-disc box set coming out on November 28, on Esoteric. A Tab In The Ocean is highlighted by it’s 17+ minute title track. *Check out the info below, as well as track-listing, and link to pre-order.

Originally featuring just four pieces, the album’s first side would be dominated by the extensive title track which was a progressive rock tour de force. The remaining tracks, ‘Desolation Valley / Waves’, ‘Crying in the Dark’ and ‘King of Twilight’ would also become Nektar classics. The album was recorded and mixed at Dierks Studios, Stommeln, Germany in October 1972, produced by Peter Hauke & Nektar and engineered by Dieter Dierks. Among the admirers of this album was Steve Harris of Iron Maiden and his band would cover ‘King of Twilight’ on the B-side of their ‘Aces High’ single in 1984. This new box set edition features 4 CDs and a region free Blu-Ray disc and has been newly remastered from the original master tapes. It includes a new stereo & 5.1 Surround Sound mix of the album and also features a marvelous, previously unreleased complete concert recorded in Erbach, Germany in April 1973 and a newly remastered version of the 1976 US album version.

DISC ONE

2025 mix

1. A Tab in the Ocean

2.  Desolation Valley / Waves

3.  Crying in the Dark

4.  King of Twilight

Bonus track:

5.  We Are the Ocean

DISC TWO

The 1972 album mix

1. A Tab in the Ocean

2.  Desolation Valley / Waves

3.  Crying in the Dark

4.  King of Twilight

The 1976 US album mix

5. A Tab in the Ocean

6.  Desolation Valley / Waves

7.  Crying in the Dark

8.  King of Twilight

DISC THREE

Live in Erbach, Germany 22nd April 1973

1.  Look Around

2.  Cast Your Fate

3. A Day in the Life of a Preacher

4.  Desolation Valley / Waves

5.  Crying in the Dark / King of Twilight

DISC FOUR

Live in Erbach, Germany 22nd April 1973

1.  Good Day

2.  Let it Grow

3.  Wings

4.  Oddysee / Ron’s On / Never Never Never

5.  1-2-3-4

6.  Do You Believe in Magic?

7.  What You Gonna Do

DISC FIVE

Blu-Ray

5.1 Surround Sound & Stereo mixes & original stereo mix

1.  A Tab in the Ocean

2.  Desolation Valley / Waves

3.  Crying in the Dark

4.  King of Twilight

https://www.cherryred.co.uk/nektar-a-tab-in-the-ocean-deluxe-five-disc-limited-edition

URIAH HEEP – new release compiles their 1973 – 74 period

Leave a comment

HNE (Cherry Red) is releasing a 5 CD box compiling URIAH HEEP’s studio and live recordings starting with the classic Live…January 1973 through to the live recordings from the Wonderworld tour. Not sure if there’s anything here that hasn’t been released before, but it seems likes an interesting collection. A busy period for Heep, featuring what most hail as the ‘classic line up’. Coming out November 28. *Track-listing below. Pre-order link at the end.

Following hot on the heels of Led Zeppelin, Deep Purple and Black Sabbath, British hard rock legends Uriah Heep released their debut album in June 1970. Featuring David Byron on lead vocals, Mick Box on lead guitar and Ken Hensley on keyboards, ‘Very ‘Eavy Very ‘Umble’ is quite rightly regarded as a major influence on the development of hard rock and heavy metal. 1970 was the centenary of Charles Dickens’ death, and having originally been called Spice, they switched to the more Dickensian Uriah Heep when Hensley joined their ranks after spells in The Gods and Toe Fat before recording their debut.

Like their hard rocking contemporaries of the 1970s, it was live on stage where Uriah Heep truly shone, and no self-respecting rock or metal band of the era could be without a classic double live album, and ‘Uriah Heep Live’ (CD1) is no exception. Recorded at Birmingham Town Hall in January 1973, and released three months later, it delivered their third gold record in a row in the States, it remains a testament to the classic line-up of Box/Hensley/Byron/Kerslake/Thain.

Back in the days when bands were expected to be prolific enough to release two new albums a year, Uriah Heep released their sixth studio album ‘Sweet Freedom’ (CD3) in 1973, by which time they had been joined by drummer Lee Kerslake (Ozzy Osbourne) and bassist Gary Thain, which many see as the most enduring line-up of the band. The album saw Ken Hensley develop as a songwriter, with the music a blend of proto heavy metal and progressive rock, consolidating their growing popularity at home as well as the all important US market. ‘Sweet Freedom’ was followed by ‘Wonderworld’ (CD4) in June 1974, with the hard rock attack of Mick Box’s guitar, alloyed to Ken Hensley’s keyboards and David Byron’s operatic vocal approach making the band a formative influence on bands such as Queen. With a significant dent in the charts on both sides of the Atlantic, ‘Wonderworld’ featured the single ‘Something Or Nothing’, but was the last studio album to feature bass guitarist Gary Thain.

It was the classic Box/Hensley/Byron/Kerslake/Thain line-up that would record ‘Live at Shepperton ’74′ (CD5) the same year. Issued in bootleg style artwork, the album wasn’t given an official release until 1986, and captures the band in a more intimate setting in front of a much smaller, invited audience. CD2 was originally released as part of a deluxe version of ‘Live 1973’ and features the band in 1974 with a US Radio show session, and with film mixes from the Shepperton show and on an extended ‘Rock ‘n’ Roll Medley’.

Uriah Heep continued to tour and release new albums until the present day. In 2025 they launched their farewell tour, celebrating 55 years of music. The package includes liner notes based on new interviews with founder member, Mick Box.

DISC ONE

URIAH HEEP LIVE 1973

1  Sunrise

2  Sweet Lorraine

3  Traveller In Time

4  Easy Livin’

5 July Morning

6  Tears In My Eyes

7  Gypsy

8  Circle Of Hands

9  Look At Yourself

10  Magician’s Birthday

11  Love Machine Rock ‘N’ Roll Medley

12  Roll Over Beethoven

13  Blue Suede Shoes

14  Mean Woman Blues

15  Hound Dog

16  At The Hop

17  Whole Lotta Shakin’ Going On

18  Blue Suede Shoes

DISC TWO

U.S. RADIO SHOW 1974

1  Something Or Nothing

2  I Won’t Mind

3  Look At Yourself

4  Gypsy

FILM MIXES USED FOR RADIO

5  Easy Livin’

6  So Tired

7  I Won’t Mind

8  Something Or Nothing

9  The Easy Road

10  Stealin’

11  Love Machine

ROCK ‘N’ ROLL MEDLEY ’74

12  Roll Over Beethoven

13  Blue Suede Shoes

14  Mean Woman Blues

15  Hound Dog

16  At The Hop

17  Whole Lotta Shakin’ Going On

18  Blue Suede Shoes

DISC THREE

SWEET FREEDOM (1973)

1  Dreamer

2  Stealin’

3  One Day

4  Sweet Freedom

5  If I Had the Time

6  Seven Stars

7  Circus

8  Pilgrim

Bonus Tracks

9  Sunshine

10  Seven Stars (Extended Version)

11  Pilgrim – Extended Version (Previously Unreleased)

12  If I Had the Time (Demo)

13  Sweet Freedom (Alternative Live Version) 14 Stealin’ (Alternative Live Version)

DISC FOUR

WONDERWORLD (1974)

1  Wonderworld

2  Suicidal Man

3  The Shadows and The Wind

4  So Tired

5  The Easy Road

6  Something Or Nothing

7  I Won’t Mind

8  We Got We

9  Dreams

Bonus Tracks

10  What Can I Do

11  Love, Hate and Fear (Previously Unreleased Version)

12  Stone’s Throw (Previously Unreleased Version)

13  Dreams (Extended Version)

14  I Won’t Mind (Live Version)

15  So Tired (Live Version)

DISC FIVE

LIVE AT SHEPPERTON ’74

1  Easy Livin’

2  So Tired

3  I Won’t Mind

4  Sweet Freedom

5  Something Or Nothing

6 The Easy Road

7  Stealin’

8  Love Machine

9  Rock ‘N’ Roll Medley

10  Roll Over Beethoven

11  Blue Suede Shoes

12  Hound Dog

13  At The Hop

14  Blue Suede Shoes

Bonus Tracks

15  The Easy Road

16  Sleazy (Easy Livin’)

17  Easy Livin’

https://www.cherryred.co.uk/uriah-heep-the-shadow-and-the-wind-1973-1974-5cd-box-set

SWEET – Live at the Marquee reissue

Leave a comment

Metalville Records continue their reissues of SWEET albums with Live At The Marquee, which was recorded in February of 1986. This release does not include the 4 studio tracks from the original 1989 release, but includes 2 live songs not on the original either. *Check it out.

Live At The Marquee was recorded at London’s Marquee Club in February 1986, shortly before the legendary venue closed its doors for good. The SWEET lineup at the time consisted of original members Andy Scott (lead guitar) and Mick Tucker (drums) as well as Paul Mario Day (ex-Iron Maiden) as lead singer, bassist Mal McNulty (Slade), and Phil Lanzon (Uriah Heep) on keyboards. At this concert, the band presented a heavier sound without losing the energy and appeal of the classic hits and anthems.

Live At The Marquee is a rare gem in SWEET’s catalog and is now being re-released on CD and vinyl. 

MORE INFO:

www.thesweet.com 

www.metalville.de

www.facebook.com/metalville 

British band FM to release ‘Brotherhood’

Leave a comment

British band FM will their 15th studio album next month. They’ve released 2 singles/videos so far, both are excellent aor-type rockers. Check out the press info below, as well as the videos, and the links.

It’s no surprise that FM’s upcoming album ‘Brotherhood’ continues to showcase their signature blend of hook-laden AOR and blues-tinged hard rock that solidifies their status as masters of the genre.

‘Brotherhood’ showcases a band at the top of their game with highlights including an infectious anthem “Living on the Run,” anthemic rocker “Don’t Call It Love,” the punchy and powerful “Coming For You,” and the emotionally charged “Time Waits For No One,” all tracks that echo the spirit and melodic strength of FM’s early classics, while being unmistakably fresh and vibrant.

Opening track, “Do You Mean It,” brings a bluesy, soulful vibe that echoes the Doobie Brothers’ classic “Takin’ It To The Streets” sound, setting the tone for the album. ‘Brotherhood’ also features one of FM’s most powerful ballads to date, “Just Walk Away” – a beautifully emotional song that highlights the band’s mastery of melodic rock. Wrapping up the album is “The Enemy Within,” a track that introduces exciting new sonic ideas while retaining the powerful and melodic qualities FM fans love.

Supporting vocals from a female guest choir add warmth and dynamic depth to “Do You Mean It” and “Just Walk Away,” perfectly complementing Steve Overland’s consistently exceptional lead vocals.

Overland comments on the new album: “I am proud of the new album. It is one of our strongest song albums to date. It is another milestone, as it’s FM’s 15th album. It’s very well-paced and has great variation in song styles throughout. The album’s big ballad, ‘Just Walk Away,’ is one of our best. I hope our fans feel the same way as we do about ‘Brotherhood.'”

To promote ‘Brotherhood,’ FM will embark on a major UK headline tour in September 2025 with 14 confirmed shows, followed by European dates in early 2026. Visit FM’s official website for tickets.

To pre-order Brotherhood : https://ffm.to/fmbrotherhood

Track List:

1. Do You Mean It

2. Living On The Run

3. Coming For You

4. Raised On The Wrong Side

5. Love Comes To All

6. Just Walk Away

7. Don’t Call It Love

8. Time Waits For No One

9. Because Of You

10. Chasing Freedom

11. The Enemy Within

FM are:

Steve Overland – Vocals, guitar

Merv Goldsworthy – Bass

Pete Jupp – Drums

Jem Davis – Keyboards

Jim Kirkpatrick – Guitars

LINKS:

https://www.facebook.com/FMofficial

https://www.fmofficial.com/

fmofficial.com/fmofficial/index.html