Here’s a few excellent new tracks, from new (and upcoming) releases to check out!
After decades of fronting and collaborating with some of rock’s most iconic acts, JOHN CORABI steps fully into his own with ‘New Day,’ his first full-length solo album of original material…. “‘New Day’ is a positive, upbeat song with a message of enjoy life!!! Stop whining and complaining about how unfair life is, and enjoy the ‘little beautiful things, life offers’ and make the changes you need to make your life better!!! Change happens WITHIN…”
Helsinki blues rock band MOUNT MARY has a new single, “Hallowed Ground”, co-written with legendary rock manager / producer Alan Niven (Guns n Roses, Great White…). “Eventually Maria sent me some of her music. It supported a remarkable voice. The character of the voice represented the character of her soul. When she asked if I might think to compose with her, it was an invitation that even an old recluse, like myself, could not refuse. As I sit atop my Arizona desert mountain, I am now connected to her spirit frequency- to a Queen of the Forest, a Finnish Mother Earth. I have something of a dubious past – Motley Crue, Don Dokken, Berlin, The Angels, Clarence Clemmons, Havana Black, Chris Buck of Cardinal Black, Great White, Guns n’ Roses – and Mount Mary is as inspiring as anyone to me. There’s magic in Mount Mary.”
Norwegian Hard Rock group KAASIN will release the sophomore album The Underworld via Pride & Joy Music on April 24th. KAASIN was founded in 2020 by guitarist Jo Henning Kaasin, formerly of Come Taste the Band. Kaasin is widely respected for his collaborations with internationally renowned artists such as Glenn Hughes (Deep Purple) and Joe Lynn Turner (Rainbow). Together with bassist Ståle Kaasin (Humbucker, 2020Vision), the foundation of KAASIN was laid with a clear ambition: to create contemporary hard rock with a classic spirit and a strong sense of identity. https://www.facebook.com/kaasinmusic
Austrian NWOBHM band ZEPTER have a new video for the single “The Lords”. Anyone interested in classic metal should check these guys out. “Some specific NWOBHM bands which have inspired us are early Maiden (everything from »The Soundhouse Tapes« up until »Killers«), Saxon, Witchfinder General, Dark Star, Raven, Saracen, Angel Witch and Satan.” MATTHIAS MADER
Joel Hoekstra’s 13 has a new album coming out at the end of the month titled From The Fade. About the album Joel commented: “The songs were built from the guitar riffs up. Most of the riffs were written during the time I was filling in with Accept, so there is a heavier edge to this album overall. That being said, the album still would be more accurately described as melodic hard rock, not straight-up metal”.
Hoekstra said: “’The Fall’ is built on riffs and melodies that stem from two early influences that I often fail to mention in Queensryche and Dokken. It’s a straight ahead melodic, hard rock track with a powerful foundation laid out by Vinny Appice and Tony Franklin, a killer keyboard solo from Derek Sherinian, a stunning vocal performance from Girish Pradhan and Jeff Scott Soto’s tastefully executed backing vocals! Hope ya like it!”
Swedish hard rock powerhouse CREYE have a new single “Left In Silence”, taken from the upcoming new studio album, IV Aftermath, to be release April 24, on Frontiers Music Srl.
The band comments, “Left In Silence” is about what happens when people drift apart and stop truly speaking and listening to each other. The song captures that quiet aftermath, when communication fades and only silence remains. As the first release from our upcoming album, it kicks open a new chapter for the band – powered by fresh energy, driven by the original vision, and focused on pushing our sound forward without losing what made us who we are”.
To be released April 24, HNE (Cherry Red) has compiled another bunch of URIAH HEEP albums, along with their extra tracks (see remasters), as they did with the previous release The Shadow And The Wind: 1973-1975. This one, titled after a Return To Fantasy track, features the last 2 to include original singer David Byron and bassist John Wetton, and the first 2 that feature replacements John Lawton (vocals) and Trevor Bolder (bass). A strange period for Heep, particularly in North America where their popularity and sales declined with each album, while in other parts of the world they had a few hit singles from the Lawton albums.
Return To Fantasy, from ’75 was a huge seller in the UK, perhaps in part to the addition of the well known John Wetton, and features the classic title track, as well as the favorites “Devil’s Daughter” and “A Year Or A Day”. The band undertook a major world tour at the time, but the album didn’t fare well over here. High And Mighty sold even worse, with the band self-producing. I really like this album, it sounded new and fresh, but it didn’t feature a global single, and the band toured it in North America well before it’s release. But songs like “One Way Or Another”, “Weep In Silence”, and “Can’t Keep A Good Band Down” are favorites among old fans, a shame this one came and went so fast, and often considered one of the band’s weakest. Heep carried on, with a long list of candidates to replace David Byron, before choosing John Lawton (Lucifer’s Friend) to record Firefly, released in early ’77. It was a solid album, featured the ballad “Wiseman”, a hit in Germany, as well as fan favorites “Sympathy” and “The Hanging Tree”. This was quickly followed towards the end of the year with Innocent Victim, a more varied album, which featured “Free Me”, a lighter pop song, which became a big hit in various European countries, as well as Australia, but that did not carry over to North America, with the album (in a different sleeve here) just breaking Billboard’s Top 200. Innocent Victim did feature a huge favorite in “Free N Easy”, the hardest & fastest rocker the band had done in years. It also featured a few fine tracks written by American writer Jack Williams (a friend of Ken Hensley’s), most notably “The Dance” and “Choices”. As with many Heep albums, particularly during this whole period (75-77), there were a number of good songs left over from each album session. Arguably, a few if these would’ve improved each album at the time (such as “River” from Innocent Victim), included here.
Even though I have everything here (as do many Heep fans), a collection of the rest of the Lawton era recordings (including, Fallen Angel, Live In Europe 1979, and the unreleased 4th album) would be a welcome collection, as would a set of the Peter Goalby era albums (along with perhaps the Live In Auckland recording?) But, oh well. An interesting (and odd) package cover, featuring a blend of the 4 album covers.
CREATURES recently released their second album, Creatures II, to follow up their debut in 2021. The 4-piece band from Brazil is heavily influenced by ’80s hard rock and heavy metal bands like Judas Priest, Ratt, Ozzy, Dokken….and although I see no mention, lead vocals definitely remind me of Lizzy Borden. Creatures II features a new line-up, with the band lead by guitarist/songwriter Mateus Canteleano, who has answered my questions below. Bandmembers also included their ‘top 10’ album lists, as well as influences.
CREATURES consists of Mateus Cantaleäno, Marc Brito (vocals), Ricke Nunes (bass), and Sidnei Dubiella (drums). *Check out Creatures II, the interview, and the links below.
Can you guys tell me a bit about the band coming together and direction?
Mateus Cantaleano: Basically, this lineup came together around 2022, a few months after the release of our first album, which was recorded only by me and the former singer, Roberto. After the release of the album, people started getting in touch with me asking about live shows, and since Roberto had moved to Canada, I invited Marc—at first just to sing the first shows—and CJ to play drums. The last one to join the band was Ricke, who became part of the band in 2023. We created a really strong connection not only musically, but also in our personal lives, and this naturally became the official lineup of the band.
What are some of the yours (bandmembers) favorite bands, musicians, influences that you grew up on?
Mateus: For me, it was and still is bands like Judas Priest, Dokken, and Scorpions. As guitarists, I’d say Yngwie Malmsteen, Uli Jon Roth, and George Lynch.
Marc: Halford, Jon Oliva, Udo, King Diamond.
Ricke: Rush, Geddy Lee, Billy Sheehan, Juan Alderete, Felipe Andreoli, Bob Daisley, Jeff Pilson, Juan Croucier.
Are you able to give me a ‘top 10’ of favorite albums (each)?
Mateus (Top 10):
Defenders of the Faith – Judas Priest
Under Lock and Key – Dokken
Trilogy – Yngwie Malmsteen
Icon – Icon
Taken by Force – Scorpions
The Final Countdown – Europe
Bonded by Blood – Exodus
Down to Earth – Rainbow
Bark at the Moon – Ozzy Osbourne
Marc (Top 10):
Defenders of the Faith – Judas Priest
Invasion of Your Privacy – Ratt
Phantasmagoria – The Mist
Absolut Country of Sweden – Anti Cimex
Gutter Ballet – Savatage
Tower of Spite – Cerebral Fix
Ordem e Progresso – Azul Limão
Floodland – The Sisters of Mercy
Anything – The Damned
Into the Pandemonium – Celtic Frost
Ricke (Top 10):
Moving Pictures – Rush
Ready to Strike – King Kobra
Second Heat – Racer X
The Ultimate Sin – Ozzy Osbourne
Angels Cry – Angra
Icon – Icon
Back for the Attack – Dokken
Welcome to My Nightmare – Alice Cooper
Lean into It – Mr. Big
Leftoverture – Kansas
What is the metal scene like in Brazil? What sort of venues and shows have you been playing? Any major festival shows or guest slots ?
Mateus: Like I always say, I think Brazil in general is more focused on extreme/thrash/death/black metal bands and scenes, but we do have a small resistance within the traditional metal and hard rock scene. It’s not very big, but it’s loyal. Most of our shows here are as guests or opening slots for bigger bands—most of the time from other countries—or at festivals with local Brazilian bands. Sometimes we headline, and they are usually good shows in terms of audience.
A lot of excellent songs, such as Dreams, Devil in Disguise, Beware The Creatures, Nothing Lasts Forever…. This album doesn’t really slow down (til the last track). Any antidotes or stories behind some of the tracks? what stands out for you guys (individually)? and how much of this will the band be performing live on the road?
Mateus: Thank you! Well, something curious is that I usually compose the full songs alone at home, record a complete demo with everything, and then pass it on to the band. Each member takes their part, studies it, and adds their own identity individually. Since Marc doesn’t live in the same city as us, we never rehearsed or played the songs together as a band before recording the album—it was all a surprise. Also, balancing our jobs and personal lives, it took us a few months to record everything, but we were extremely satisfied with the result. For me, the standout tracks are “Beware the Creatures” and “Nothing Lasts Forever.” They’ve always been two of my favorites and still are.
Creatures II is a great production, with some riffs, intros, harmonies….Can you tell us about the making of the making of this album, as far as how aware you were about making it a ‘big’ sounding album? and what you (if) you had any 80s records or productions in mind that you might’ve strived for?
Marc: It took many, many hours of vocal recording on consecutive days, and there came a point where I was literally lying on the floor during every break between takes, even if it was just for a few seconds, lol.
Mateus: Well, like I said, it took a lot of work, days, and energy to record this album. We put the best of ourselves into it, and we’re very lucky to count on our producer and mixing engineer, Arthur Migotto, who has all the technical knowledge to bring out everything we were aiming for. We also tried to keep everything as analog as possible—real amps, real pedals, real drums—to sound as close as possible to what we like to listen to.
How does Creatures II compare to the first album (or differ)?
Mateus: First of all, I’m the one who recorded both albums, so this time we had almost a completely new band recording it. Over these four years, I’ve also greatly improved my knowledge of music, my skills as a guitar player, and mainly as a songwriter. I think the songs are much more mature on this album. Having a full band recording it this time—people who were already used to playing together and performing shows—also made a huge difference for the better. Musically, the new album goes into a darker territory, and I also think we have more heavy metal (and a little less hard rock) influences on this one.
Can you tell me about the albums artwork? Who created it? The ideas behind it, etc..?
Mateus: I developed the concept, and the artwork was made by a guy named Velio Josto, who had already worked with a considerable number of heavy metal bands that we like. We were aiming for something simple, something that mixed all that heavy metal and horror aesthetic that we’ve always liked and embraced. I think it turned out great.
What’s coming up for Creatures in the near future? Any possibility of shows in North America?
Mateus: Well, we have a few shows ahead. We’re going to play our first Creatures II show in a few weeks and do some more shows in Brazil. In April, we’ll play our first show outside Brazil, at the Keep It True Festival in Germany. We’ll actually be the first Brazilians ever to play this festival in its entire history, so this will be a historic moment for us!
About a show in North America, we would absolutely love to do it! I hope we can make this possible in the near future! 🙂
HEAVY PETTIN’ released 3 albums of hard rock back in the ’80s. In recent years the band from Scotland has been brought back to life via singer Stephen Hayman, and in October released their first full length album since 1989. Rock Generation features a fun set of hard rockers and anthems, and I like the sound (big guitars and even those 80s backing gang vocals at times). Fave cuts include “X-Rated”, “Brother Sister”, and “This Life”. The band has been busy playing live to support this album, more recently as support for Uriah Heep, (and) with April Wine in Europe.
*Check out the press info below, as well as the videos and links at the bottom,
The Scottish rock warriors Heavy Pettin release the title track and video from the brand-new studio album Rock Generation, which is set for release on on October 24th via Silver Lining Music. Pre-orders available now at this location.
Vocalist and founding member, Stephen “Hamie” Hayman comments: “Heavy Pettin are back!!!! Rock Generation is a celebration for all rock fans around the world… Made to ROCK ur Soul.”
Back in the ‘80s, Scottish rock ‘n’ roll warriors Heavy Pettin strode stages worldwide whilst their debut album, 1983’s Lettin Loose, threatened to break the rock world apart. They were seen as the natural ascendants to rock’s highest echelons, touring internationally alongside the likes of Ozzy Osbourne and Motley Crüe as wild Glaswegian whippersnappers. Then life happened and Heavy Pettin went on a triple decade hiatus.
Listening to Heavy Pettin’s first new studio album since 1989 – Rock Generation – feels more like a 30 week’ hiatus augmented by a supreme confidence. Led by founding frontman Stephen “Hamie” Hayman, featuring Dave “Davo” Aitken and Richie “St. James” Dews on guitars and backing vocals, plus David “Boycee” Boyce on bass and Mick “The Wizard” Ivory on drums, Rock Generation is a sonically-superb, classic song-strong rock ‘n’ roll return to that glorious slipstream between Def Leppard, Whitesnake and Thin Lizzy. The ten cuts bristle with full-frontal attitude and powerful melodies. Take the title track, with its hip swinging anthemic swagger, there’s “Oblivion” with guest vocals from Roni Lee which carries a true Celtic swing in its groove plus an addictive singalong chorus, while “X-Rated” fuses the attitude of Glasgow’s Sauchiehall Street with the punch and panache of the Sunset Strip.
Made in Glasgow at Morsecode Studios and produced with a timeless sheen by Ciarán O’Shea, make no mistake, Rock Generation is only interested in bringing you on a thrill-ride through the carefree sweat and leather landscape of cut-loose heavy rock ‘n’ roll. It’s a mission which will demand -and receive- your willing acquiescence.
A band, and album that just don’t get enough attention! Mean Machine was LUCIFER’S FRIEND’s eighth album, and last for some 13 years. The album was a reunion with singer John Lawton, who’d left the band in 1976 to join Uriah Heep, while Lucifer’s Friend carried on for a pair of albums (and live shows) with Mike Starrs (ex Colosseum II). Lawton had left (fired) from Heep in ’79, and recorded a solo album in 1980, with members of Lucifer’s Friend backing him. But, the band was still promised (owed) Elektra one more album. Now, if you are familiar with Lucifer’s Friend’s catalog, you’ll know that the band changed with every album; not so much the personnel, but the direction. The debut was a heavy album, seen as a proto metal album in 1970, that sat comfortably alongside Deep Purple’s In Rock, Uriah Heep’s debut, and Black Sabbath’s first couple of albums. But nothing following that matched the heaviness of the band’s debut, instead veering off into fusion, and including more brass and orchestrated instruments.
Mean Machine brought the band back to being a guitar driven hard rock band. It fit in time with the New Wave Of British Heavy Metal, and was full of guitar riffs from Peter Hesslein opening a number of well written serious rockers, with John Lawton returning to a more powerful sound, than some of the softer rock he’d sang during Heep’s pop-aimed era. Mean Machine is a solid album of 80s hard rock, well produced, starting with “One Way Street To Heartbreak”, and not really letting up ’til the end. Riffs, melodies, harmonies, memorable choruses, and great songs like “Hey Driver”, “Fire and Rain”, “One Night Sensation”, and “Born To The City”. The more pop anthem “Action” was released as a single, but neither the single or the album did much, as Elektra did very little to promote it; a shame as this is really worth hearing.
The band disbanded again after this, but would reform in the mid 90s for Sumo Grip. But, if you come across Mean Machine, check it out, a great underheard gem of 80s hard rock.
Well, I started out (months ago!) compiling a Top 50 list of favorite Alice Cooper solo songs. Many Alice lists I see on Youtube (and elsewhere) tend to mix the original band and his solo recordings into one list, but for me, I see (and hear) a big difference, so I absolutely have to separate the 2. Much like I wouldn’t compile a favorite list of Black Sabbath albums and include Ozzy or Dio albums! Anyway, a good half of this list was easy to come up with, but the bottom half got a bit tougher to choose. Feel free to leave your picks in the comments.
Hey Stoopid (1991)
I like Trash when it came out, but over time it hasn’t aged well with me, being Alice’s ‘Bon Jovi’ album, and too many guests that I’m not a fan of. So, Hey Stoopid is the follow up, still in that 80s style, and with even more guest players and co-writers. BUT, gone is the Bon Jovi feel and just better songs, and a bit more bite. I also like the cover-art here. But aside from maybe 2 songs (I don’t need to hear “Feed My Frankenstein” ever again), I love all of this. Favorites being “Snakebite”, “Dangerous Tonight”, “Little By Little”, “Hurricane Years”, and “Burning Our Bed”.
The Eyes Of Alice Cooper (2003)
I’ve seen this one ranked near the bottom on many Alice Cooper album rankings on youtube, and really wonder why(?) I think this is a great album, full of Alice rockers and ballads, and humor! Not perfect (I can do without “Novocain”), but “What Do You Want From Me”, “Man Of The Year”, “Detroit City” (w/ Wayne Kramer), “Love Should Never Feel Like This”, as well as the ballads “The Song That Didn’t Rhyme” and softer “Be With You A While”, are good to outstanding by me. Alice uses his touring band here, without an excess of ‘guest’ players, so it sounds like a band album. The original CD release of this album came with 4 different eye (and circle) colors.
Welcome To My Nightmare (1975)
An easy favorite for most; it’s the album that started off Alice’s solo career (effectively marking an end to the original band). His Nightmare band featured guitarists Dick Wagner and Steve Hunter (as well as the rest of Lou Reed’s band), who would work with Alice for some years to come But the concept, theatrics, and songs here are just classic. This included the anthem “Department Of Youth”, the live favorite “Cold Ethyl”, the top 20 hit ballad ” Only Women Bleed”, a guest appearance from Vincent Price on “Black Widow”, the introduction of the (recurring) character “Steven”,… The album would be made into a TV special aired as Alice Cooper: The Nightmare. More recently a live show from this tour was released on Record Store Day, featuring Alice’s new band performing a set that included (almost) the entire album, as well as a few previous AC hits. Alice followed up this album with Alice Cooper Goes To Hell, which can be seen as a sequel…
Brutal Planet (2000)
Alice didn’t record a lot during the 90s, like many other older artists, but as he tended to do ever few albums, he switched gears, creating perhaps his most ‘metal’ album this one, released in the summer of 2000. Taking in sounds of industrial or new metal at the time, with a heavier sound, and darker lyrics,, reflecting what was currently happening in music and the world. Produced by Bob Marlette, who’s credits included Rob Zombie, Marylin Manson, Rob Halford, and many others. Loved the title track, as well as favorites “Blow Me A Kiss”, “Pick Up The Bones”, “Cold Machines”, and the ballad “Take It Like A Woman”. The follow up, Dragontown, was pretty much a sequel to Brutal Planet. I liked that one too, just not as strong IMO.
Raise Your Fist And Yell (1987)
The follow up to Alice’s comeback album Constrictor. Taking on the 80s metal sound, and inspired by current happenings (the PMRC hearings), and slasher films! The second to feature Kane Roberts as guitarist and co-writer throughout. I played this album non-stop! Not a bum track here. I can still pull this out and love it. Featured the hit “Freedom”, plus “Prince Of Darkness” (from the John Carpenter movie), and favorites like “Give The Radio Back”, “Time To Kill”, and the slasher trilogy on side 2 (“Chop, Chop, Chop”, “Gail”, “Roses On White Lace”). Saw this tour twice.
Dada (1983)
The last album in what’s been labelled Alice’s ‘blackout’ years, and his last for Warner Brothers. This, and the 1 before it sold poorly, with little promotion, and no touring. I bought this one, and the 2 before it, off the 99 cent rack at a local convenience store! But hey, these weren’t bad at all! Dada being my favorite of Alice’s early 80s 4 album run, where he changed the look and sound to fit with the times. Dada featured a fresh sound, good songs, and flow, with standouts like “Former Lee Warmer” (formerly Warner), the hilarious “I Love America”, and epic “Pass The Gun Around”, highlighted by one of Dick Wagner’s most memorable solos.
From The Inside (1978)
Following Alice’s stay at an asylum for alcoholism, he co-wrote a lot of this with Bernie Taupin (Elton John), and used members of Elton’s band, as well as the likes of Steve Lukather, David Foster… From The Inside featured the hit ballad (Alice’s 4th in a row), “How You Gonna See Me Now”, as well as memorable rockers like “Serious”, “Wish I Were Born In Beverly Hills”, and the title track, plus a few more ballads and lighter cuts. A pretty clean sounding album, featuring stories inspired by his stay in the asylum, and the effect on those around him (“For Veronica’s Sake” about his dog). A solid album. Check out the non-LP b-side “No Tricks” as well, a duet with soul singer Betty Wright.
Zipper Catches Skin (1982)
See above! I played the heck out of this one. Lots of fun rockers like “Adaptable (Anything For You)”, “Tag, You’re It”, “Zorro’s Ascent”, as well as “I Am The Future” (from Class Of ’84). “Make That Money (Scrooge’s Song)”, and the hilarious title of “I’m Alive (That Was The Day My Dead Pet Returned To Save My Life)”. Featured guitarists (and co-writers) John Nitzinger, Dick Wagner, Billy Steele, as well as Mike Pinera, and players Erik Scott (bass), and Duane Hitchings (keys), among others. Wagner later claimed there was a lot of crack cocaine use on this one, but I liked it.
Constrictor (1986)
Alice’s comeback album, after finally kicking his previous habit (cocaine), made sober, and full of energy. The first to feature new guitarist Kane Roberts, as well as a return to a hard rock guitar sound and the classic Alice image (eye make up and leather). Produced by Beau Hill and Michael Wagener, who were big at the time with many 80s metal acts. The drum sound kinda gives this a dated sound now, but at the time, I’d never thought I’d get to see Alice (being a newer fan, and Alice being out of the public eye), but I got to see this tour. Constrictor was the first Alice album in years to chart, and get any radio play. Cuts like “Teenage Frankenstein”, “Give It Up”, and “Life And Death Of The Party” were favorites. It also included “He’s Back (The Man Behind The Mask)”, from Friday The 13th: Part VI (Jason Lives).
The Last Temptation (1994)
This last spot was the toughest for me to decide on… The Last Temptation was an Alice Cooper concept album, a series of morality plays….Anyway, the full story was explained over a series of comics by Neil Gaiman and Michael Zulli. The Last Temptation opened with “Sideshow”, and followed on with excellent rockier cuts like “Nothing’s Free”, “Bad Place Alone”, the title track, the single “Lost In America”, and lighter songs such as “Stolen Prayer” (co-written with Chris Cornell) and favorite “It’s Me” (co-written with Tommy Shaw and Jack Blades). The album featured guitarist Stef Burns (Y & T), as well as Derek Sherinian (keys), among others, as we as guest Dan Wexler (Icon) who co-wrote a number of songs, and played guitar on one. There was no tour for this album, but eventually a few songs were worked in to the live show. The 90s were a tough time to be an Alice fan!
And then…..Paranormal, Lace and Whiskey, Goes To Hell, Dirty Diamonds, Flush The Fashion, Trash, Along Came A Spider, Special Forces, Welcome 2 My Nightmare, Detroit Stories, Road,
GREYSTONE CANYON, from Australia release their third album in a few weeks. Something Borrowed…. Something New, features 9 tracks, including 5 classic rock covers! The band has 4 originals here, 2 instrumental, most likeable being the acoustic “Friend Of The Fox”. The 2 others are the guitar heavy “Stealing Our Freedom”, and the rockin’ “Drive Us”, which is a good tune, and makes me want to find out more from the band’s previous albums. But for me, it’s the covers here – the choices and performances are excellent. *Check out the press info & bio below, as well as the singles, a cover of Thin Lizzy’s “Suicide”, and UFO’s “Doctor Doctor”.
Australian hard rockers Greystone Canyon return with a powerful new single – a bold rendition of Thin Lizzy’s “Suicide”, available worldwide today, November 7th, 2025. The track is the first glimpse into the band’s forthcoming album “Something Borrowed…Something New,” due out December 5th, 2025, from Rockshots Records, marking their most authentic and organic release to date.
Faithful to the spirit of Phil Lynott and Thin Lizzy’s timeless legacy, Greystone Canyon delivers a warm, punchy, and honest version of “Suicide”, enriched by their signature blend of melodic rock and gritty hard-edged groove. Recorded live with no click tracks or studio trickery, the single captures the raw chemistry of a band feeding off one another in the room – a true celebration of rock ‘n’ roll energy.
Produced by the band and engineered by Joel Taylor at Black Lodge Studio (Melbourne), “Something Borrowed…Something New” represents a turning point in Greystone Canyon’s journey. As the title suggests, it’s a hybrid record – a mix of new original songs and hand-picked classics from the bands that shaped their sound, including Thin Lizzy, Led Zeppelin, ZZ Top, UFO, and Neil Young. The album bridges past and present, combining heartfelt tributes with fresh, road-worn originals such as “Drives Us,” “Friend of the Fox,” and “Stealing Our Freedom”.
Vocalist/guitarist Darren Cherry comments: “This is our most honest record so far – real instruments, real performances, all captured live in one room. We wanted to remind listeners of the warmth and punch that only true rock bands can create together. It’s pure, old-school energy and we had an absolute blast making it.”
Following the success of “Iron & Oak” (2024), which reached #18 on the Australian iTunes Hard Rock chart and earned multiple 10/10 media scores, the band is poised to bring their music to a new global audience with a record that’s equal parts homage and evolution.
Recommended for fans of Led Zeppelin, Thin Lizzy, and ZZ Top, Greystone Canyon‘s new album “Something Borrowed…Something New” is out December 5th, 2025.
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)
I really loved Arjen Lucassen’s Sonic Revolution album from 2023, Golden Age Of Music, so I am looking forward to Arjen’s upcoming solo concept Songs No One Will Hear, out next month. Currently listening to this album, and enjoying it; another amazing collective of stories, songs and performers and production from Arjen! (more to come) So far there are 3 singles from it, with the most recent “Goddamn Conspiracy” just out today.
*Check that out below, along with the previous 2 videos. See ordering info and links below press info…
Also on the same day, Arjen is re-releasing his very first solo album from 1993, Pools of Sorrow, Waves of Joy, as a deluxe version, with tons of demos, previously unreleased and new tracks. Check that out HERE.
Photo Credit: Lori Linstruth
Arjen Anthony Lucassen’s latest solo album, the apocalyptic Songs No One Will Hear, is set to be released in a month, on Sept. 12th, 2025 on Inside Out Music.
True to his signature style, this album offers an eclectic blend of tracks, moving seamlessly from powerful, epic songs to lighter, more playful ones. At its core, Songs No One Will Hear is bound by a profound concept: what would people do if they only had five months left to live because of an asteroid impact? Expect an emotional rollercoaster, delving into both the light and dark aspects of human nature.
Guiding the album is narration from Mike Mills (Toehider) along with collaborators like Irene and Floor Jansen (Nightwish, After Forever, Kamelot), Robert Soeterboek, Marcela Bovio, and Patty Gurdy, adding depth to the album’s diverse sound!
HEAVEN And EARTH is the band lead by British born guitarist/ songwriter Stuart Smith, with the band name taken from Smith’s 1998 solo album. As of 2021, Heaven And Earth released 5 albums (including Smith’s debut), as well as a mini-album of new and previously released songs. In his younger years Smith played in a band (in England) named ‘Stallion’, who made some recordings (unreleased). He also became a friend to Ritchie Blackmore, who Smith learned from as a player. Needless to say if you’re a fan of Deep Purple and Rainbow, Heaven And Earth fits in that class, and is highly recommended . And like Blackmore, Stuart Smith’s band would. Change line ups from album to album, always featuring great players and singers.
From the time of the first album I interviewed Stuart then, and as well for the the next few after. I’ll try and add these links below. Choosing just 10 songs was a tough task, for this sort of retrospective of Heaven And Earth. The band has been put on pause since the last album, while Smith is working on other (non recording) projects, but here’s hoping we’ll hear more from the band (in some version) in the future.
Heaven And Earth
Way back around 1999, this debut solo CD from Stuart Smith was sent to me. I had no idea who he was at the time, but going through the album’s credits and seeing names like Glenn Hughes, Richie Sambora, Joe Lynn Turner, Chuck Wright, Carmine Appice and even Kelly Hansen (yes, I had the Hurricane albums!), I thought this might be good! And I wasn’t disappointed. A number of excellent songs and performances here, but it’s the album’s title track that I liked the most, and I think best represents the album. This one, sang by Joe Lynn Turner is kind of a power ballad,; reminds me of something that might have suited Deep Purple’s Slaves and Masters. Later editions of this CD (as Heaven And Earth, featuring Stuart Smith) included a number of bonus tracks.
Prisoner
I believe Kelly Hansen was intended to be the H & E singer after Stuart’s solo album, but when Hansen got the opportunity to join Mick Jones’ new version of Foreigner, Smith had to find someone else. So, new singer on 2000’s Windows To The World was Kelly Keeling (ex Baton Rouge, Blue Murder, MSG). I loved this album, it is packed with classic songs ala 80s Rainbow, Deep Purple, early Whitesnake…
A classic riff/intro leads in to a smooth melodic rock tune, not overly heavy, but a memorable chorus, brilliant solo. An easily likeable song. I really liked Kelly Keeling as the singer on this album, he really fit that Deep Purple family (closer to Coverdale, IMO) In another era this could’ve been a huge hit for a number of bands.
Politician
Another killer riff, and this rocker is another highlight here, taking aim at a politician Stuart disliked at the time. Windows To The World was produced by Howard Leese (Heart, Bad Co), who also adds guitar, bass, and strings to a few songs here. Richie Onori on drums, Marvin Sperling on bass, Arlen Schierbaum on keyboards , The Japanese edition (which I’d like to find), adds a couple of extra tracks, notably a cover of “I Don’t Need No Doctor”.
Windows To The World included a number of other good songs, a very solid album, including “Dogs Of War”, “World’s Apart” and “Away From Harm”.
Screaming For Redemption
Following Windows To The World, there was a brief phase with legendary LA singer Paul Shortino. This short lived line up recorded 4 songs as part of the Taste Of Heaven CD, which featured 4 previously released songs, as well. Dave Chamberlain on bass, Scott Warren (Dio) on keyboards.
Waiting For The End Of The World
When Dig came out in 2013, it featured another new line up. It included upstate New York singer Joe Retta. At the time Retta and Smith were also part of Steve Priest’s SWEET, and had released Live In America in 2009. Fantastic production on this album. There is lots going on in this track between the guitars, acoustics, synths and Hammond organ…It’s only 5 minutes, but feels longer. Reminds me a bit of Rainbow, a bit of Kansas…and although not on my list, I like the way the ending flows in to the next track “Sexual Insanity” .
House Of Blues
It was hard not to choose more from Dig,; the run of the first 8 tracks is awesome! In there are a few other greats like “Victorious” and “Back In Anger”. But this is another favorite, a heavy blues rock track. Excellent album, cover design / photography by Glen Wexler, cool band logo by Ian Wexler.
I Don’t Know What Love Is
This is the ballad from Dig. Such a grand production, with the backing vocals, strings, acoustic guitar, Stuart’s big solo and Joe Retta’s vocal. Not to forget Chuck Wright’s bass lines. Chuck was a huge part of this album, and a few others. Again, in another time this song could’ve been a huge hit for someone.
Hard To Kill
The title track to the band’s follow-up to Dig, (IMO, a hard act to follow!) When I initially got this album (1 of 2 H&E albums on vinyl), I liked it, but was pre-occupied at the time with personal stuff (moving, etc…), so I kinda put it on the back burner for a bit. It later became a fast grower of an album, and with the similarities n cover art, a nice partner to Dig. The title track is a great lead off rocker for this album.
Walk Away
Also from Hard To Kill, Stuart comes up with another fine riff and intro. This one is easily likeable, with a great, memorable chorus. As a follow up to Dig, Hard To Kill is a bit more blues rock, and a bit less polished, like the band has settled into a comfortable sound. Ty Bailie on keys, Kenny Aranoff on drums.
At The End Of The Day
From the last Heaven and Earth album ‘V’, released in 2021. A strange time for the band, as more changes occurred, most notably gone was singer Joe Retta. I gotta admit, the album caught me off-guard, not just because of the changes, but because what seemed like a lack of press at the time, and I was not overly floored upon first listen. Whether it was the overall sound, the change of singers, or whatever, it took me a while to warm up to this one, and it is the album’s last song that really stood out for me before anything else. There is a lot of good songs here like “Drive”, “Ship Of Fools”, and “Nothing To Me”, and the band sounds great, but this song here is classic, with Stuart’s opening riff/intro, and most significantly this being the best to feature the powerful vocals of Italian singer Gianluca Petralia here. Starting off as a ballad, and building into a heavy 70s styled rock epic, heavy on the guitar, bass, and Hammond organ. Joining Stuart Smith here were keyboard players George Barabas and Mike Mangan, bass player Lynn Sorensen (also credited as producer), and legendary drummer Simon Wright.
Outsider Rock 