Tag Archives: guitar rock

ERJA LYYTINEN – Waiting For The Daylight

Erja Lyytinen’s new album Waiting For The Daylight is now out and it’s a great set of 9 songs from Finland’s ‘Queen of the slide guitar’. Known as a blues player, her new material includes more hard-rock with the single “Last Girl”, southern (a bit country) rock of the excellent lead off track “Bad Seed”, and a bit of heavy prog-ish rock with the album’s center piece and title track, with it’s riff & organ giving the intro a Deep Purple feel, before the song takes on a few changes. “Waiting For The Daylight” is a personal song dealing with losing someone, and an epic piece, check out the solo here.

Other favorites on this album have to be the re-working of “You Talk Dirty”, a much heavier rockin’ version of the blues song originally recorded for 2002’s Attention! album (w/ Dave’s Special); as well “Run Away” that features a big guitar driven chorus, softer verses, a sweet vocal, and the slow blues closing cut “The End Of Music”. A very eye-catching, colorful album cover as well. Available on CD & LP at Erja Lyytinen’s website.

Photo Credit: Antti Karppinen

*For more info check out the links below, as well as the press info on Erja Lyytinen’s new single (and 3rd from this album)

Erja Lyytinen is pleased to release the third single and title track from her ninth studio album Waiting For The Daylight. The single was released the same day as her highly anticipated new album Waiting For The Daylight, which is available – https://erjalyytinen.com/waiting-for-the-daylight

To support the release of the new album, Erja will embark on a co-headline UK tour with the award-winning Belfast-based blues guitarist Dom Martin from November 7-10. Dates include Southampton, The 1865 (Nov 7), Bilston, The Robin (Nov 8), London, The Grace (Nov 9) and Grimsby, Yardbirds Club (Nov 10).  Erja will be also playing with her band at Dudley, The Lamb (Nov 11) and Sittingbourne, The Bourne Music Club (Nov 13).

Tickets are available from www.erjalyytinen.com/tour.

“Waiting For The Daylight” starts with a big guitar riff,” says Erja. “The intro leads to an airy verse and the choruses are quite heavy and dramatic. The heavy guitar riff that repeats throughout the song. I played two guitar solos on the end of the song in the style of Tony Iommi to create tension towards the end.

Continues Erja, “Recording this song was emotional experience for me. I was playing the solo for my friend who died because of a long-term illness. I also poured a lot of the pandemic frustration on this one, so the track became very passionate. In the lyrics, this beautiful creature comes to you on your last day to release you from your earthy pains. The story has a bit of that chivalry romance in some way. We filmed the music video also on the beautiful castle of Raasepori in Finland.”

“My band does an amazing job on the track, with Tatu Back on bass, Iiro Laitinen on drums and Harri Taittonen on Hammond,” concludes Erja. “I also dusted off my violin and played violin tracks to the end of the song. There´s a lot of layers in this blues-rock piece!”

The new album is available from – https://erjalyytinen.com/waiting-for-the-daylight


TROY REDFERN – An Interview with British blues-rocker

Troy Redfern has become well known as Great Britian’s ‘King of the slide guitar’. The blues rocker has a new album titled The Wings of Salvation and is currently on tour in the UK with British rockers Dare. The Wings of Salvation is Redfern’s most accessible and talked about album yet, so if you’re not familiar – check out his latest singles/videos “Come On”, “Gasoline” and “Sweet Carolina”! You can also order The Wings of Salvation in various formats from his website, as well as previous albums, t-shirts, and art prints (Redfern has also created his latest few albums covers, among other pieces). In this interview Troy Redfern talks about his influences, favorite albums, his past recordings, and plenty about his new album. *Check out the links below for ordering and more info on Troy Redfern.

Can you give me a bit of background as far as where you hail from and how you came about to take up the guitar and blues direction?

I grew up on the Welsh border, near Hergest Ridge, which was made famous by Mike Oldfield – who recorded an album by the same name.
It’s quite a rural area, and that’s probably one of the things that sort of lead me to play guitar. I was into soul music from an early age, from about the age of 5.

I think one of the most important things was I first saw the film Back To The Future – that really sort of solidified my desire to want to play the guitar, and my parents got me a guitar when I was about 12, I think. And I started getting in guitar music, from Back ToThe Future I heard Van Halen, and then I got into Jimi Hendrix, and the Beatles and all those kinds of bands. And then a friend lent me a Son House album on vinyl, and that was my introduction to early blues music, and that was kind of a game changer in discovering that, because this was pre-internet days. So yeah, that album really got me into blues and slide

I’ve read some of your favorite guitar players, a wide range of rock, fusion, and blues players. Could you give me a ‘top 10’ list of your favorite/influential guitar rock or blues albums?

My top 10 would probably be –
Son House – Library of Congress recordings
Zappa – Shut Up ‘N’ Play Yer guitar, box set.
Allan Holdsworth’s – Road Games
Steve Vai’s Flex-able
Queen 2
Aerosmith’s Toys In The Attic
Deep Purple In Rock
Frank Zappa’s Overnight Sensation
R.L. Burnside’s A Ass Pocket of Whiskey

You’ve made a name as ‘king of the slide guitar’. Can you tell me a bit about your attraction to this style and sound?

Like I said hearing Son House when I was really young got me interested in that style of music, but i really started getting into it probably when i was about 18 or 19. A girlfriend, her dad showed me how to tune a guitar to open tunings, and sort of module tunings, and major-minor, and from that point on I just kind of started experimenting with tunings and finding my way around the fret board and obviously because it’s completely different to standard tunings, so you have to re-learn everything. It’s just kind of something that’s developed over the years,
I’ve put a lot of time into that style and found that to be one of the most natural ways for me to play. It’s just completely comfortable, and when you enjoy something, and you feel like you connect with something that’s that

You also sing – did this come about naturally or out of necessity? How do you feel about (or see yourself as) singing? Any favorite singers that either influenced you or you like in blues / blues-rock?

As far as singing goes, I enjoy singing, but it’s sort of one of those things – it’s a necessity thing. When I started going out under my own name, I just felt that it was right to not only have a voice on my guitar but to use my voice to sing. I think Elmore James was sort of one of my biggest influences

Your latest album is a great set of blues rock, and I think very accessible for those that aren’t familiar to your previous work. So, with that being said – can you give me some background on your pre-lockdown recordings? Personal favorites and highlights, successes…(?)

Background on my previous Lockdown recordings. the one I released in 2017 was called Dirt Blues Ritual, and that was maybe a bit less rock orientated, obviously still slide playing, but probably had more of a rockabilly-blues sound. It’s still identifiable with what I do now, but just the production I did was slightly different, and I was producing that stuff myself. Most of that stuff is on Bandcamp. And there’s an album I released through a Belgian label called Blues Boulevard Records; it was called Back Door HooDoo. And that was sort of a collection of material that I’d released digitally, the first album being Werewolf Etiquette, the second one being Mother Tongue and the third one being Playing with Fire – those were all released on Bandcamp. So that was like a collection of material, all the ‘best of’ from those albums, but they’re still available on Bandcamp. And like I said I was producing that stuff myself and it was sort of a free sort of time where I just learned, over the years, to record myself, and I got my home studio, so I was free to put stuff out without being self-conscious about what I was writing and just enjoying it. I think Werewolf Etiquette is one of my favorites

You made 6 (!?) albums during covid lockdown — what inspired so much writing & recording? And (again), can you give me a round-up in brief or those albums – their direction, how they varied, personal favorite tracks or highlights?

Yeah, I made 6 albums during lockdown, released that many. Well, it was actually 6 albums across that time period, one was actually released before lockdown – that was called This Raging Heart.
And then as soon as lockdown happened, I decided I wanted to record something slightly more acoustic and little more experimental, and that became the album that was called Island. And then we realized lockdown was carrying on, so I decided to release more material that was on my hard drive, because you know I’ve recorded lots of material over the years, and I archived that stuff. And then I put (out) a leftovers album called Deep Cuts, which was stuff that didn’t make it onto This Raging Heart. I put out a resonating improvisation album called Improvisations Part 1. And then I put out an instrumental album called Thunder Moon – that’s one of my favorites, because that’s non-genre specific, really. It’s all instrumental music; it shows just different aspects of my creative output that isn’t sometimes released on the official releases, you know. So that’s really why I like Thunder Moon – because it’s so free. I enjoy that one!

Did you approach your latest album any differently to your previous few albums? Any changes in writing, recording,?

Yeah, normally I take quite a while to write stuff, and I’ll make a lot of demos over a long period. The Fire Cosmic I think took probably almost a year to sort of put that together before recording it, but this one was the complete opposite where we wrote and recorded everything from scratch in just over 4 weeks. So, it was a completely different way of approaching it; it was a lot more compressed. We sort of gave ourselves a deadline, which I think really helped you know – it really drew out ideas and it got them from the initial idea to being a fully developed song very quickly, which I think really helped keep the inspired part of the song in there. And I also worked with a producer named Dave Marks who really helped with different aspects. we talked about arrangements, and sort of stylistic choices we were going to make. So that was great – working with someone like that, working with someone closely crafting an album. And like I said, when I was producing all the stuff myself, you’re doing that in isolation, in a bubble, and this was a completely different process where you’re sort of bouncing off of someone and getting things done super-quickly, you know!?

Can you give us a bit of insight (with reference to the new album’s tracks) how you come up with songs – musically and lyrically?

As far as I come up with songs, and lyrics and what-not – usually all the ideas would’ve started with an acoustic guitar or a resonator – I use a 1929 National Triolian Resonator. So, we sketch the ideas, and they would just be non-conscious stream of thought kind of whatever comes out ideas, which is how I like to work because I feel that that’s the most inspired way of getting something – because you’re not actually consciously trying to force something out, you’re just playing and seeing what happens. Let’s take an example – “Gasoline” – I just started playing a riff, which happened to be in 7/8, and I would just play that riff and see where it went, and then just sort of take different turns you know – where the chorus would go and just feel my way through those changes. And as far as lyrics go, that was the hardest part of the album because I had 10 songs to write lyrics for in a very short space of time. There were thematic ideas and narratives that I wanted to get in this time. “Navajo” is about the great walk of the native Americans in 1865, a thing sort of about loss of freedoms, and just trying to tie those 2 things together with that sort of modern loss of personal freedoms and tying it back to that narrative. And “Dark Religion” is the combination of 2 different themes – one personal of the loss of a friend who died of an overdose, all stemming back to a strict Christian upbringing, but then also wrapping that story in a narrative about a woman leaving this country in the 1800s to go to America and set up a new life and realizing that the grass isn’t greener – that kind of narrative, which is basically the same character I used a song called “Ghosts” off The Fire Cosmic and “The Line” from Dirt Blues Ritual. So, I was pleased with the lyrics on that one because they felt like little self-contained stories instead of being too abstract

There is a wide range of guitar sounds, feel, and solos on this album – can you talk a bit about the different sounds and guitars you used on this?

On this album a big part of the album was the Dobro, I’ve got a 1935 Dobro M32, so a lot of the ideas were sort of recorded on that, using a Magnatone Twilighter stereo amp, and also the National Triolian- a 1929 National Triolian, I used that one. A couple of Danelectric guitars made appearances, and an old 1962 Silvertone Jupiter. So, it was mainly vintage guitars that I was using because I think they have unique characteristics that I kind of wanted to get tonally into the tracks, so the stuff’s still quite ‘rock’ but with those kinds of nuanced sounds that has some character that you wouldn’t get with just a standard Humbucker, maybe.

Can you tell me a bit about the album’s cover art/shot? Whose idea and who put it together? (Influences in creating that look?)

On the The Fire Cosmic, the last album, I did the artwork which is kind of in a Jack Kirby comic style. And I was really pleased with that – people seemed to like it, you know. So, I thought well on this one I need to do the same sort of thing. I enjoy making the complete package – where it’s not just the music, it’s the artwork as well. When I was speaking to Dave about needing to do the artwork, we’re both comic book and Star Wars geeks, and he said to me “this album is more Tatooine than it is Jack Kirby”, and I knew exactly what he meant – the sort of browns and reds of that kind of ‘desert’ environment. So, one afternoon I just decided to get some paper, and I managed to find some sort of sandy colored textured paper and I found some charcoals and pastels. And there was a photo that my daughter took, maybe 7 or 8 years ago, and just always loved the lighting on that.
So, one of the original ideas was to use the photo and recreate that lighting, but instead I decided to have a go at charcoals and pastels, and I just worked on it, worked it up. And I was kind of pleased because it has that kind of slats of desert-y rough feel to it, texturally, and for me that seems to tie in with the music really well.

Any personal favorite tracks, solos, performances on the new album?

I really like “Dark Religion”, because that’s a style I’ve not written anything – I don’t think, in 3/4, and it has just a completely different vibe to anything I’ve done. And the solo section – I was really pleased with that, the chord progression under that kind of really octave of waves and sea which is sort of what the story’s about. And “Gasoline”, I was really pleased to get that one in there because that one’s in 7/8, and like I said before that’s something you don’t generally get in blues-rock and southern music, so it was nice to get a 7/8 in there that doesn’t throw you around and feel like jarring. And I really enjoyed the solo on “Mercy” because that’s actually not a slide solo, that’s just a standard tuning guitar solo, and I think that was just kind of nice to put it on there because it gives a different aspect, again, to just the slide thing that I’m kind of generally known for.

Have you played in North America as of yet? And when might we see you in Canada?

No – I’ve not played in North America – I’d love to. But it’s just one of those things, you know if the opportunity comes then I’ll be there like a shot because it’s somewhere … you know I’ve played in Europe, Russia, but have not been to the US or Canada yet, but I’d absolutely love to!

(*photos of Troy Redfern by Adam Kennedy)


Erja Lyytinen – releases 2nd single from upcoming ninth album

Finnish blues rock slide guitarist and singer songwriter Erja Lyytinen is pleased to announce the release of  “Last Girl”, the second single taken from her upcoming ninth studio album Waiting For The Daylight.

The single, released Wednesday September 7th, is available to stream and buy on Spotify, Apple Music, Tidal, and Amazon Music via https://ffm.to/ylyrxan. Watch the Last Girl music video

Released by Tuohi Records on Friday October 7th,  Erja’s new album Waiting For The Daylight features nine original songs, and is available to pre-order from https://erjalyytinen.com/waiting-for-the-daylight.

In November, Erja heads out on a co-headline UK tour with the award-winning Belfast-based blues guitarist Dom Martin.  Tickets are available from https://erjalyytinen.com/tour and www.dommart.in/tour.  Dates include Southampton, The 1865 (Nov 7), Bilston, The Robin (Nov 8), London, The Grace (Nov 9) and Grimsby, Yardbirds (Nov 10). 

Last Girl deals with the subject of bullying in schools and the feeling of being left out of a friendship group, says Erja. “This song is for those who feel as if they are outsiders, which is a current topic as the new school year is about to start. A lot is happening in the song, and it is quite intense and energetic, just like the school world is.”

“Continues Erja, “Making the music video for ‘Last Girl’ felt essential because it’s such an important topic to me. A young girl features in the music video, and at the end, she is playing an electric guitar with me as part of the group and having a good time. The song speaks out on many levels.”

“It was fascinating to create guitar parts for ‘Last Girl’. It has some vibes from rock bands like Iron Maiden, but I also wrote twin-part guitar harmonies to the C – part in the style of an Allman Brothers Band. I wanted to create a song with an old classic rock feel but executed with modern sounds and techniques.”

“The intro has pull-offs and some fast licks and flute notes combined which creates the main guitar theme for the whole song. This song has probably one of the most challenging guitar parts I have written so far.” 

For musicians, the last two years have been a period of reflection and soul searching. What to do with oneself in the absence of life on the road? And would live music ever be able to return to the way it was pre-pandemic? Artists and music fans alike waited for that glimmer of hope and the return of some semblance of normality. Written largely during the pandemic era Erja Lyytinen’s new studio album Waiting For The Daylight encapsulates these emotions.

With time on her hands, Lyytinen was able to pause, dig deep and fully process her feelings. Some of which she had been carrying for a long time. This journey of self-exploration proved to be a source of inspiration for the artist’s latest offering. Carrying on from the gifted guitarist’s last two studio albums, Stolen Hearts, and Another World, respectively, Lyytinen continues to explore themes such as love, loss, heartbreak, and sometimes even revenge. Events transpiring around the world occasionally fed into the storyboard of Lyytinen’s songwriting.

The album was recorded during the first half of 2022, between Erja’s hectic touring schedule, with the bulk of the sessions taking place at The Hollywood House in Helsinki, Finland. Lyytinen was joined in the studio by long-standing bass player Tatu Back and drummer Iiro Laitinen. Having played on every one of Lyytinen’s albums since 2008, Harri Taittonen features once again on Hammond and keyboard.

Waiting For The Daylight
 illustrates a new chapter in Erja’s musical and artistic trajectory. The album was proudly produced by Lyytinen herself. Subsequently, Erja simultaneously explored sounds on the periphery of the blues-rock genre. She fearlessly pushed herself and the band further than previously before. 

During her formative years, Erja was schooled on the sounds of the ’60s and 7’0s by her mother, and with her latest offering, she pays homage to rock greats such as Led Zeppelin, Deep Purple, and Uriah Heap. With its heavy groove, atmospheric textures, and passionate delivery the title track is a testament to this. The song Waiting For The Daylight also features perhaps one of the artist’s most mesmerizing and emotive solos to date. Lyytinen further showcases her chops during the album’s hook-laden opening number and lead single, “Bad Seed”.

The artist pours her heart and soul into the cathartic number Last Girl”. Erja describes the latter a cross between Satriani meets Iron Maiden. Says Erja, “The song talks about bullying in schools and how you can be left out of a friendship group. I always put something of my own in the songs as well, so it became a very important song on many levels.”

Just as the title dictates, at approximately seven minutes long, “The End of Music” concludes the release to great effect. “The song talks about missing being back on stage and the audience, as many of us musicians did during the pandemic,” explains Erja.

For Erja and her fans alike, the new studio album and her return to touring the UK is worth the wait. 


Bad Seed (5:13)
Last Girl (5:28)
Run Away (5:00)
Waiting For The Daylight (6:12)
Never Really Had You (5:15)
Diamonds On The Road (4:25)
You Talk Dirty (6:17)
Love Bites (3:58)
The End of Music (6:55)


Erja Lyytinen – Vocals, Guitars, Violin, Keyboards
Harri Taittonen – Keyboards, Hammond
Tatu Back – Bass
Iiro Laitinen – Drums

Recorded and mixed by Matias Kiiveri at Hollywood House in Helsinki Finland 2022 .

Produced by Erja Lyytinen
Executive producer Erja Lyytinen for Bluesland Productions
Photographer and digital design by Antti Karppinen, Alias Creative
Graphic design by Jan Yrlund, Darkgrove Design . All songs, lyrics, and music by Erja Lyytinen





RORY GALLAGHER – Deuce 50th Anniversary box set




Formats: 4CD / 2CD / 3LP / 1LP Colour (D2C) / Digital HD & SD
Release Date: September 30, 2022
Label: UMC

To celebrate the 50th anniversary of Rory Gallagher’s  “Deuce” sophomore solo album from 1971, a deluxe CD boxset will be released by UMC on Friday September 30th.  The album is available to pre-order from https://RoryGallagher.lnk.to/Deuce_50

The extensive celebratory release digs deep into the Rory Gallagher Archives and will include a new mix of the original album, twenty-eight previously unreleased alternate takes, a six-song 1972 BBC Radio ‘In Concert’, and seven Radio Bremen radio session tracks. The package will contain a 64-page hardback book with a foreword by Johnny Marr of The Smiths, unseen images by the late Mick Rock, essays, and memorabilia from the album recording. The 2CD and 3LP will be cut down versions from the deluxe box and there will be a special D2C 1LP of the “BBC In Concert – Live at The Paris Theatre, 13 January 1972.”

“There was one day when I was playing along with the Deuce album which was a complete turning point for me as a guitar player.”

– Johnny Marr

Photo Credit: © Mick Rock

Released in November 1971, just six months after his eponymous solo debut, Rory Gallagher’s second album, Deuce, was the summation of all that he’d promised in the wake of Taste’s collapse. Rory wanted to capture the feeling of a live performance, so he would look to record immediately after live concerts while keeping production to a minimum.

He chose Tangerine Studios, a small reggae studio, in Dalston in East London, due it’s history with legendary producer Joe Meek. With Gerry McAvoy on bass guitar and Wilgar Campbell on drums, the album was engineered by Robin Sylvester and produced by Rory. Deucefeatures many Rory highlights, from the blistering Crest Of A Wave to the Celtic-infused I’m Not Awake Yet.

When asked “How does it feel to be the best guitarist in the world,” Jimi replied: “I don’t know, why don’t you go and ask Rory Gallagher.”

– Jimi Hendrix

“There are a million guys who sound like Stevie Ray Vaughan, but I never heard anybody who could really pull off sounding like Rory Gallagher.”

– Slash

” As soon as I heard Cradle Rock, I was hooked. I thought, ‘This is what I want to be when I grow up.”

– Joe Bonamassa

“I really liked Rory, he was fine guitarist and singer and lovely man”

– Jimmy Page

“He was just a magician, he’s one of the very few people of that time who could make his guitar do anything it seemed. It just seemed to be magic. I remember looking at that battered Stratocaster and thinking how does that come out of there?”

– Brian May

“The man who changed my musical life was Rory Gallagher, I picked up a guitar because of him.”

– Johnny Marr

“A beautiful man and an amazing guitar player. He was a very sensitive man and a great musician.”

– The Edge

“An amazing player, very spirited … he had a particular sound using that Stratocaster and he really got it because of the brute force in the way that he played, he just had such a passion about it.”

– Joe Satriani



CD 1

Used to Be – 50th Anniversary Edition
I’m Not Awake Yet – 50th Anniversary Edition
Don’t Know Where I’m Going – 50th Anniversary Edition
Maybe I Will – 50th Anniversary Edition
Whole Lot of People – 50th Anniversary Edition
In Your Town – 50th Anniversary Edition
Should’ve Learnt My Lesson – 50th Anniversary Edition
There’s a Light – 50th Anniversary Edition
Out of My Mind – 50th Anniversary Edition
Crest of a Wave – 50th Anniversary Edition

CD 2

Used to Be – Alternate Take 1
Used to Be – Alternate Take 2
I’m Not Awake Yet – Alternate Take 1
Don’t Know Where I’m Going – Alternate Take 1
Maybe I Will – Alternate Take 1
Maybe I Will
 – Alternate Take 2
Maybe I Will – Alternate Take 3
Maybe I Will – Alternate Take 4
Maybe I Will – Alternate Take 5
Whole Lot of People – Electric Alternate Take 1
Whole Lot of People – 6 String Acoustic Alternate Take 1
Whole Lot Of People
 – Deuce Album Session / Alternative Acoustic Take / 1971 *
Whole Lot of People
 – 12 String Acoustic Alternate Take 1
In Your Town
 – Alternate Take 1
In Your Town – Alternate Take 2
In Your Town – Alternate Take 3

CD 3

In Your Town – Alternate Take 4
Should’ve Learnt My Lesson – Deuce Album Session / Alternative Acoustic Take / 1971*
Should’ve Learnt My Lesson
 – Deuce Album Session Outtake / 1971*
Should’ve Learnt My Lesson – Alternate Take 2
Should’ve Learnt My Lesson – Alternate Take 3
There’s A Light – Alternate Take 1
There’s A Light – Alternate Take 2
There’s A Light – Alternate Take 3
Out of My Mind – Alternate Take 1
Out of My Mind – Alternate Take 2
Out of My Mind – Alternate Take 3
Crest of a Wave – Alternate Take 1
Crest of a Wave – Alternate Take 2
Don’t Know Where I’m Going – Home Demo
Maybe I Will – Home Demo
Should’ve Learnt My Lesson – Home Demo

CD 4

Should’ve Learnt My Lesson – Radio Bremen 21/12/1971
Crest of a Wave – Radio Bremen 21/12/1971
I Could’ve Had Religion – Radio Bremen 21/12/1971
For The Last Time – Radio Bremen 21/12/1971
Messin’ With The Kid – Radio Bremen 21/12/1971
Don’t Know Where I’m Going – Radio Bremen 21/12/1971
Pistol Slapper Blues – Radio Bremen 21/12/1971
Used To Be – BBC In Concert – Live at The Paris Theatre, 13 January 1972
Should’ve Learnt My Lesson – BBC In Concert – Live at The Paris Theatre, 13 January 1972
Out Of My Mind – BBC In Concert – Live at The Paris Theatre, 13 January 1972
I Could’ve Had Religion – BBC In Concert – Live at The Paris Theatre, 13 January 1972
Crest Of A Wave – BBC In Concert – Live at The Paris Theatre, 13 January 1972
Messin’ With The Kid – BBC In Concert – Live at The Paris Theatre, 13 January 1972

2 CD

CD 1

Used to Be – 50th Anniversary Edition
I’m Not Awake Yet – 50th Anniversary Edition
Don’t Know Where I’m Going – 50th Anniversary Edition
Maybe I Will – 50th Anniversary Edition
Whole Lot of People – 50th Anniversary Edition
In Your Town – 50th Anniversary Edition
Should’ve Learnt My Lesson – 50th Anniversary Edition
There’s a Light
 – 50th Anniversary Edition
Out of My Mind – 50th Anniversary Edition
Crest of a Wave – 50th Anniversary Edition

CD 2

Used to Be – Alternate Take 1
I’m Not Awake Yet – Alternate Take 1
Maybe I Will – Alternate Take 1
Whole Lot of People – 12 String Acoustic Alternate Take 1
In Your Town – Alternate Take 3
Should’ve Learnt My Lesson – Alternate Take 3
There’s A Light – Alternate Take 1
Out of My Mind – Alternate Take 3
Crest of a Wave – Alternate Take 2
Should’ve Learnt My Lesson – Radio Bremen 21/12/1971
Crest of a Wave – Radio Bremen 21/12/1971
I Could’ve Had Religion – Radio Bremen 21/12/1971
For The Last Time – Radio Bremen 21/12/1971
Messin’ With The Kid – Radio Bremen 21/12/1971
Don’t Know Where I’m Going – Radio Bremen 21/12/1971
Pistol Slapper Blues – Radio Bremen 21/12/1971

3 LP


Used to Be – 50th Anniversary Edition
I’m Not Awake Yet – 50th Anniversary Edition
Don’t Know Where I’m Going – 50th Anniversary Edition
Maybe I Will – 50th Anniversary Edition
Whole Lot of People – 50th Anniversary Edition


In Your Town – 50th Anniversary Edition
Should’ve Learnt My Lesson – 50th Anniversary Edition
There’s a Light – 50th Anniversary Edition
Out of My Mind – 50th Anniversary Edition
Crest of a Wave – 50th Anniversary Edition


Used to Be – Alternate Take 1
I’m Not Awake Yet
 – Alternate Take 1
Maybe I Will – Alternate Take 1
Whole Lot of People – 12 string acoustic Alternate Take 1


In Your Town – Alternate Take 3
Should’ve Learnt My Lesson – Alternate Take 3
There’s A Light – Alternate Take 1
Out of My Mind – Alternate Take 3


Crest of a Wave – Alternate Take 2
Crest of a Wave – Radio Bremen 21/12/1971
Don’t Know Where I’m Going – Radio Bremen 21/12/1971
I Could’ve Had Religion – Radio Bremen 21/12/1971


Should’ve Learnt My Lesson – Radio Bremen 21/12/1971
For The Last Time – Radio Bremen 21/12/1971
Messin’ With The Kid – Radio Bremen 21/12/1971
Pistol Slapper Blues
 – Radio Bremen 21/12/1971



Used To Be – BBC In Concert – Live at The Paris Theatre, 13 January 1972
Should’ve Learnt My Lesson – BBC In Concert – Live at The Paris Theatre, 13 January 1972
Out Of My Mind – BBC In Concert – Live at The Paris Theatre, 13 January 1972


I Could’ve Had Religion – BBC In Concert – Live at The Paris Theatre, 13 January 1972
Crest Of A Wave – BBC In Concert – Live at The Paris Theatre, 13 January 1972
Messin’ With The Kid – BBC In Concert – Live at The Paris Theatre, 13 January 1972




STRIKER – Release new single, announce tour dates.

Photo Credit: Dana Zuk

Canadian shredders STRIKER will be hitting the road in April and May 2022 to support Finnish heavy metallers Beast In Black for their first North American headlining tour along with Florida power metal warriors Seven Kingdoms.

Before kicking off the first date of the tour in Orlando, FL on April 7th, STRIKER are unveiling their latest single “Strange Love” with a new music video that features the debut of the band’s latest lineup addition of long time friend and guitarist John Simon Fallon (The Order of Chaos).

“Strange Love” is the band’s first new music of 2022 since releasing their previous single 2021’s “Deathwish”. The band is currently in songwriting mode for their follow-up record to their Juno award-winning album 2018’s “Play To Win”.

“When we wrote Strange Love we were dabbling in the dark arts of funk, and although it really doesn’t sound like it we drew big inspiration from bands like Extreme and Faith No More. It was a bit of a detour on our metal journey, but it was a lot of fun to record. We have one more song to release from that recording session too, which leans even further into that style so keep an eye out for that!” adds vocalist Dan Cleary.

Spotify – https://spoti.fi/3s7uJjn

​Blending classic heavy metal, hard rock, and 80’s hair metal, Striker has been making shredtacular anthems since 2007. The band has toured multiple times across Europe and North America along with festival appearances at 70,000 Tons of Metal, Bang Your Head Festival (Germany), and more to add to their almost 1000 shows performed in their decade-plus career. The band has been honored with multiple Best Album awards in their home country of Canada from the JUNO Awards, Western Canadian Music Awards, and the Edmonton Music Awards. Since their inception, Striker has released six studio albums Eyes in the Night (2010, Iron Kodex), Armed to The Teeth (2012, Napalm), City of Gold (2014, Napalm), Stand in the Fire (2016, Record Breaking), Striker (2017, Record Breaking), and Play to Win (2018, Record Breaking).

Dark Connection Tour 2022 w/ Beast In Black, Seven Kingdoms, Striker
April 7, 2022 – Orlando, FL – The Haven
April 8, 2022 – Tampa, FL – Orpheum
April 9, 2022 – Atlanta, GA – The Masquerade
April 11, 2022 – Dallas, TX – Amplified Live
April 12, 2022 – San Antonio, TX – Rock Box
April 14, 2022 – Mesa, AZ – Nile Theater
April 15, 2022 – Anaheim, CA – The Parish
April 16, 2022 – Santa Cruz, CA – The Atrium at Catalyst
April 18, 2022 – Portland, OR – Hawthorn Theatre
April 19, 2022 – Seattle, WA – Crocodile
April 20, 2022 – Vancouver, BC – The Rickshaw
April 22, 2022 – Calgary, AB – Dickens
April 23, 2022 – Edmonton, AB – The Starlite Room
April 25, 2022 – Salt Lake City, UT – Metro
April 26, 2022 – Colorado Springs, CO – The Black Sheep
April 27, 2022 – Lawrence, KS – Granada Theater
April 29, 2022 – Minneapolis, MN – The Fine Line *
April 30, 2022 – Joliet, IL – The Forge *
May 1, 2022 – Cleveland, OH – Beachland Ballroom *
May 2, 2022 – Detroit, MI – El Club *
Striker Headline Tour Dates:
May 6, 2022 – Brooklyn, NY – Sovereign #
May 9, 2022 – Quebec City, QC – L’Anti Bar #
May 10, 2022 – Montreal, QC – Piranha Bar #
May 11, 2022 – Ottawa, ON – Mavericks #
May 13, 2022 – Winnipeg, MB – Manitoba Metal Fest #
* = No Seven Kingdoms on show date
# = Only Striker

For more info:



John Verity – Celebrates 50 Years with Passion

John Verity marked 50 years as a performer & recording artist with 2020’s album – Passion. The British guitarist/singer/songwriter was a part of Argent and then Phoenix in the ’70s,, and since 2001 has been releasing his own albums pretty regularly. Passion features Verity delivering 8 new blues rock, and blues ballads tunes. The first 2 tracks jump out right away – “Higher”, a great driving rock tune, followed by “Wise Up” with a cool guitar riff opener and a heavy drum sound (this one being in that Zeppelin / Bad Company class), love the organ throughout this one (courtesy of Jamie Pipe of The Mentulls), lyrically dealing with frustrations of worldly issues. “Sand In My Pocket” is a mid tempo blues number, a nice groove, fantastic playing and vocals. Next up is a bluesy ballad dealing with global environmental issues, delivered in this rather laid back and sad feeling tune “Broken Heart”. John pays tribute to Ginger Baker in the heavy blues cut “Red Devil”, while doing the same to Chuck Berry on “Bad Boy”. “Passion” ends with another heavy blues number titled “Big Stick”. Also included is the slowed paced, reflective guitar piece “The Open Road”; love the playing and the feel on this.

What I like a lot about this album is, aside from the fantastic playing, singing, and songs, is that Passion is kept to a solid production, without any excesses of added instrumentation, guests, and pieces that detract from the flow of it all, simply letting John (and company) deliver an appropriately titled album. Now to start working my way backwards through John’s more recent solo releases….

Line-up: JV – guitars & vocals / Bob Skeat & Roger Inniss – bass / Liam James Gray – drums / Jamie Pipe – keyboards.

Passion was issued on CD and Limited vinyl, and can be ordered at John’s site > http://www.johnverity.com

KJ, 01/’22

PHOENIX – Out Of The Sun

PHOENIX formed after ’70s classic band ARGENT disbanded, as it consisted of John Verity, Jim Rodford and Bob Henrit. Verity had joined Argent for their last 2 albums, replacing Russ Ballard; the band took on a change of direction, but Verity wanting to get back to a more straight ahead rock band came up with Phoenix. The band debuted in 1976 with their self-titled album. Not sure how well it did, but it is a classic ’70s hard-rock album, full of great guitar, Verity’s distinctive vocals, and a killer rhythm section., and stand outs like “From The Ashes”, “Woman Like You”, and “Easy”. Highly recommended ’70s rock listening, with Verity putting out a 30th anniversary CD edition some years ago.

Anyway, the band went in to record a 2nd album (which is the topic here), which was shelved as the record company at the time wanted the band to take on a more American radio friendly sound, hence 1979’s flop – In Full View. The band would release 1 more single before disbanding.

Now, nearly 43 years later that 2nd ‘lost’ album has been rediscovered and mastered for release by John Verity. Titled Out Of The Sun, with a cover that resembles that classic album cover for the Phoenix debut album, featuring 8 tracks individually penned by each band member, as well as a track from Chris White (Zombies).

Upon first listen through, it is safe to say if you liked that first Phoenix album – you will really like this! A great mix of rockers, ballads, a bit of funk, blues… Out Of The Sun opens with “Are You Ready”, an upbeat heavy rocker, very fitting musically and lyrically here. (Can’t help but be reminded of Grand Funk’s song of the same title). There are a couple of piano based ballads [featuring Rod Argent] – “Fallin'”, which is highlighted by Verity’s vocal, harmonies, and a smokin’ guitar break, as well as the cut “When My Boat Comes In”, again with a great high vocal,, a bit of synths, – this one would’ve made a fine single. “Loser” is a rocker, with a good bit of attitude; this song really makes me think these guys were really having a blast recording this stuff. “Spider Woman” is a cool sounding slower number, a bit funky, great groove, one of my favorites here, as is “Take My Music”, a bit more of an uptempo rocker, complete with some nice backing harmonies, a few changes, killer guitar sound; too bad this one fades out so soon. “Winds Of Change”, followed by “You Got Soul” close out this disc, both strong cuts, a bit of blues, soul, funk, and solid rock.

It is a shame this album was lost for so long, because it is a fantastic follow up and equally as impressive as the debut. Not a dodgy cut here. Just a very cool sounding guitar rock album of the 70s, from a tight sounding band that ended too soon.

RIP Jim Rodford, 2018

Order at > http://www.johnverity.com

Kj, 01/’22