John Sloman is ready to release his brand new 2-part (2CD) album Meridian Man‘. This will be issued in a very limited CD run (to start), direct from John, himself. Contact John via his Facebook page or email (johnsloman@yahoo.co.uk)
Meridian Man marks the end of an era for John Sloman, as the Welsh singer and multi-instrumentalist, has left London, after decades, back to Wales. Like John’s previous 8 solo albums, which were made in his home studio, in London, John performs all instruments, vocals, and choirs, as well as produces and mixes this. The 2 CD set will come with booklet, as well as cover design by Tuula Halén.
I will write more on Meridian Man later. My early impressions are that the 2 tracks making up this release, both well over 20 minutes, are quite the musical epic journeys. So much has gone in to the music, with each track given memorable intros, as welll as various changes, various instrumentation. and vocals. It is a lot to dig into, but the songs flow well, and one can play a number of times (as I did today), and get more into it with each listen. If you are a fan of John’s albums, particularly his latest 2, you will not be disappointed in this new one. Definitely John’s most ambitious album yet. At 69, John is one of those few artists whose voice has aged better, and as an artist seems to have a lot more interesting things to create.
*Read John’s description below the album cover.
Further to Meridian Man, John is aiming to release ‘Rock Heaven – The Soundtrack Album‘, in 2027, which is a companion to his 2025 novel ‘Rock Heaven‘, available on Amazon with his previous books. He’s also planning to release his 4th book, a novel – ‘Diary of Dimensionist‘ next year. also.
Meridian Man , John Sloman´s 11th solo album
MERIDIAN MAN– For many years I lived near Greenwich in South East London. The area was steeped in Britain’s history. The River Thames was walking distance away and on Saturday mornings I would run up the steps in Greenwich Park and gaze down in wonder at the Royal Naval buildings stretching along the river. From this elevated vantage point, I could turn to my left to admire the Royal Observatory situated on its own plateau, next to which was the traditional home of the Astronomer Royal. As much of a magnet for tourists the observatory undoubtedly is, the “prime” reason for people visiting the site is to stand on (and photograph) a metal strip set made of brass and stainless steel set in the ground known as the Prime Meridian (0 degrees longitude) from which all of time is measured.Meridian Man is a melding of myth and reality. Psychologists often refer to mythology to explain the underlying impulses of the human psyche. This is sometimes referred to as the “Heroes Journey”. The man I am versus the man I aspire to be. We all fall short of this. It is called being alive. But still we are inspired by stories of ancient myth and folklore. The story of Meridian Man is told over two CDs. CD 1 is The Myth. And CD 2 is The Man. The mythological Meridian Man (The Myth) is responsible for the sun’s movement across the sky and comes armed with a sword and is prepared to use it if necessary. He is a man of honour and duty. He knows great loneliness and sometimes wishes he could party. But to him, “Life is a meditation, practice and dedication, it’s just the way it’s got to be, there is no other way for me.” When a woman urges him to come away with her, he replies “But who would mind the sun when the day is done?” He is fundamental to our existence, yet nobody knows he exists. And that is just how he wants it to be. He is as mysterious as the meridians in Chinese medicine – or the arcane signs and symbols which adorn our reality. He knows all and sees all while at the same time being both unknowable and invisible. The human Meridian Man (The Man) is based on the three decades I spent living close to the Prime Meridian. Like my mythological counterpart, I too existed in anonymity while aspiring to something better both artistically and spiritually. For seventeen years, initially as a coping strategy for dealing with the stresses of the artistic life, I immersed myself in the world of Tai Chi, learning hand forms and that of sword, spear and sabre. I have spent much of my adult life in search of a deeper meaning to this existence of ours. And on the rare occasion, I have caught a glimpse of it only for it to vanish like tracks in the snow. But just as the mythological Meridian Man will continue to carry the sun across the sky, so I, the mortal Meridian Man will continue to search for a deeper meaning to this thing we call LIFE. (JS)
JOHN SLOMAN (Lone Star, Uriah Heep) has just released his 3rd book Rock Heaven , a novel . Rock Heaven is not autobiographical, according to John. “At the beginning of this year, I decided to adapt my original screenplay to a novel which is now currently available on Amazon under the title of my screenplay: ‘Rock Heaven’.”
John adds – “Rock Heaven was a screenplay I wrote in 2007. Had meetings with various producers who loved it. But the money never came. It’s about a rock musician…and a song titled ‘Rock Heaven’. But also much more. I wrote the title track, so at some point in the movie people would hear this song that’s referenced in the dialogue. It then occurred to me to write an entire soundtrack album. By now I was several years into this thing. I demoed the title track as well as all the other tracks for this soundtrack album at home. This time last year, I was in the process of writing what would’ve been my third book, when I decided to set it aside temporarily in favor of adapting Rock Heaven to a novel. My intention is to release Rock Heaven as a digital single, to provide a musical context for the book. If I receive some interest in my soundtrack album, I will consider releasing it at some point. For example, in the absence of a movie being made, I could release an audio version of Rock Heaven, which would include my ten songs.
Who knows, perhaps some film director scrolling on Amazon one night for an original story to bring to the screen might discover my novel, and my tale of woe becomes a movie after all.”
“At one point I adapted the screenplay as a 6-part TV series and sent it to a new production company based in Wales. Unfortunately, I didn’t even receive a response to my email, leaving me wondering if perhaps a Welsh writer basing a story around a Welsh musician wasn’t quite Welsh enough for a Welsh production company to be interested.”
ROCK HEAVEN is available on Amazon, at present (mine arrives tomorrow)
John also has resumed writing on the book he set aside for Rock Heaven, as well completing a new album to be released next spring.
Louis Deveroe is the resident music critic at a London based lifestyle magazine called XYZ Magazine and married to the much younger Gina. He should be happy. But the memory of that stinging rejection letter from Rolling Stone magazine all those years ago haunts him day and night – and he wishes he could find a story worthy of his superior writing ability so he can show those guys at Rolling Stone just how wrong they were. One night over dinner, his school teacher wife challenges her unfulfilled husband to change his life and pursue his dreams. And soon the story of a lifetime presents itself. But how far is Louis prepared to go in pursuit of that story? Would he smuggle a Class A drug into a psychiatric hospital in order to loosen the tongue of a disgraced rock star? Would he risk his life? There are three steps to Rock Heaven. But what is Rock Heaven? Where rock stars go when they die? Or where wannabes live in a medicated fog? The only one who really knows the answer is Louis…
John Sloman’s latest album Vaudeville, is now available on CD through John. Simply drop him a request through messenger (Facebook) or email at – johnsloman@yahoo.co.uk
John is handling the CDs himself, and already hard at work on his next project.
Welsh singer/songwriter/multi-instrumentalist John Sloman has a new single out from his forthcoming album Vaudeville. This is the 2nd single from Vaudeville, check out “Ice Cream Man” (bottom). A video and (album) release date are coming soon, but check out the title track here…
The artwork for Vaudeville, is once again done by designer, photographer and videographer Callum Fernandes Clarke, and using photography by Jeff Moh (RIP). Callum did the cover art for John’s excellent 2022 album Two Rivers, as well as doing covers for Walter Egan, Osibisa, and others.
John is also getting ready to release his 2nd book. According to John it will be a continuation of his first one, and there will be a 3rd book as well! If you did not read “Lost On Planet Artifice” you need to! One of the best rock autobiographies out there! Tons of stories, ups and downs, and honest recollections of a guy who’s had a long and most interesting career, having played with and connected with many legendary acts. John shares an update on his upcoming book below:
“I’m still editing the book which is called ‘Kontradamus’. But I plan to release it sometime in the next few months. It’s a dystopian satire set in the future (with some autobiographical threads running through it). I began working on it while waiting for my album Vaudeville to be released (which was delayed throughout last year and is still yet to be released), and eventually ended up with a follow up to ‘Lost on Planet Artifice’. This new book is a more ambitious venture as it’s my first attempt at a novel format but with some reality sewn into it.”
Well, another Heep list… My list of their best album opening cuts, ranked 1-11. These picks aren’t all necessarily from my favorite Heep albums, but those opening songs that are best representative of the album they’re from, and made the most impact to grab your attention. Feel free to disagree and put your own picks in the comments!
1 – Gypsy
The first song on Uriah Heep‘s first album, with that riff and Hammond organ. “Gypsy” is one of Heep’s most memorable tunes and set the tone for some of what was to come in the early days. Still a live favorite. This started it all!
2 – Sunrise
From The Magician’s Birthday. I love the gentle build up before the band and vocals come in, like a huge alarm. Imagine listening to the intro to this for the first time and not knowing what to expect!? It’s a ballad with a heavy dose of Heepy sound making this so intense.
3 – Too Scared To Run
After so many changes the band returned in ’82 with a new line-up, and an album – Abominog. This song kicked off the album and ’80s comeback. Penned by new singer Peter Goalby it’s one of the biggest and most memorable riffs in the Heep catalogue. This song really screams that the band is back. A fan favorite, and one from this era that still gets performed live. Such a ‘metal’ sounding riff, I can’t believe more modern metal bands haven’t covered this one!
4 – One Way Or Another
Opening 1976’s High And Mighty, which would be the last with David Byron, but surprisingly it’s sang by John Wetton (who also left after this album). It’s got a great opening riff and organ, sounding fresh and energetic. Just a great song. A shame it wasn’t given a global single release and promoted.
5 – Against The Odds
After a string of so-so albums and a bit of a break, Heep returned in 1995 with Sea of Light , which is lead by this killer tune. Another huge riff from Mick Box, and dynamite solos… one of the best tracks from the Bernie Shaw era. Fair to say I usually pick the lead-off track as my favorite on a number of Heep albums.
6 – Speed Of Sound
From 2014’s Outsider (hmm, cool name for a website!). Starting with Hammond organ, and as the organ comes up in volume the guitar and drums kick in before Phil Lanzon’s organ riff takes over. An uplifting tune a shame it didn’t get more attention. Followed nicely by the single “One Minute”.
7 – The Wizard
This acoustic based favorite was a very different start to the band’s classic Demons and Wizards album, a unique way to start an album back then (see also Golden Earring’s “Silver Ships”). The song is pure fantasy Heep from the start, and kicks off their biggest period.
8 – No Return
The lone album with John Sloman, and I love the start of this song and album right away. One of 2 songs penned (but not credited to) the new singer. I like the quiet built up intro, and although it’s not crushingly heavy, this is a very good song, my favorite from Conquest. Would have made a better first single as well, IMO.
9 – Bird Of Prey
From Salisbury (everywhere but North America where the album opened with “High Priestess”). Another trademark Heep classic with that powerful opening and high harmonies. This one kept up the weight and energy of “Gyspy”.
10 – Between Two Worlds
And my favorite track from Heep’s post-’90s era. Love the spooky keyboard intro , and the band coming in to a rockin’ and catchy classic Heep tune. Much like “Against The Odds”, it’s heavy on the guitar and hammond organ, with fantastic solos from Mick Box (love the lengthy outro after the last lyrics), and one of Bernie Shaw’s best vocals on a song with some cool story to it. I really liked Sonic Origami, but nothing else on the album comes close to this killer track.
11 – The Hanging Tree
And here I am at #11… A great start to the band’s first of 3 with John Lawton singing. A memorable little keyboard intro before the drums and rest of the band kick in. Not sure how Heep fans heard this at the time, but as a later Heep fan, I think Lawton did an excellent job at selling the new-look Heep right off the bat with his voice on Firefly. Ken Hensley would re-write and re-record this for his last album as “Right Here, Right Now”. It is worth noting that in Canada and the USA this song kicked off side 2, and the album started with “Been Away Too Long”. The Fallen Angel album also featured different opening cuts from various territories.
MAD PAINTER have released their 2nd album Splashed. The album (reviewed elsewhere here) features 17 tracks, including the singles/videos “Illusion” and “Rock and Roll Samurai”, as well as a few covers, a diverse mix of classic rock, pop, and ballads. The band’s singer, keyboard player, and songwriter is Alex Gitlin, who I’ve known for many years. Alex is extremely knowledgeable about his ’70s classic rock, glam, and pop acts, And fashions! In this interview, Alex discusses the band’s history, the songs from Splashed, the band’s live show, and future. Enjoy the read. *Check out Splashed, as well as the links below.
Can you tell me a bit about the band (players), just how you connected and mutual influences?
The band’s been around since early 2016, but it was a totally different, and ever changing, line-up. We recorded our first album, which came out only digitally (YouTube, Spotify). For it, I gathered all the songs I’d written most recently and rehearsed with “embryonic” Painter in 2014-15, before Mad Painter Mk I even materialized. There were some ferocious rockers on it like Beware of the Dream, the title track, etc., which are still very much part of our live show. The aforementioned album was done in one weekend, then our producer took the tapes, drove back home and added his own guitar and production and mixing. We had no control over it at all. The result came out charmingly primitive, the sort of low-fi sound that our bassist Kenne Highland affectionately calls Garage Prog.
We went from strength to strength for a couple of years, playing shows as a trio, without a guitar, or hiring a guitar player for one gig. Those weren’t the happiest of times. Sometime before the lockdown of 2020, we got together with Kenne, Alan Hendry on drums and Al Naha on guitar, and jammed, getting a totally different and fresh vibe from it. We all felt enthused and encouraged and decided to continue as a unit. Alan and Al also play in Kenne Highland’s Airforce, an altogether different band, which Painter occasionally shares a bill with. It just felt right, and that’s how the patented Painter sound was born.
Kenne’s a big fan of late ’60s rock and blues, the fuzzier the better. He loves Vanilla Fudge, The Move and Small Faces. Psychedelic stuff. We all have our own influences and musical favorites, but we do converge somewhere in the middle, sort of overlapping on Mountain, Grand Funk, Spooky Tooth, Deep Purple, Uriah Heep, Procol Harum and Iron Butterfly. In a practice, you’ll often hear him say, “let’s do the Vanilla Fudge version”, that just means long, drawn-out, fuzz-drenched and with screaming organ and guitar.
The guys in my band are ’60s and ’70s punk fans, so anything from The Fugs, Blue Cheer and MC5 to Iggy Pop, you get the picture. Personally, I’m not big on punk, but Kenne started out his musical career in 1976 with the Gizmos in the MidWest. And he’s been rolling ever since. You can look him up on Discogs under Johnny & The Jumper Cables, The Gizmos, Afrika Corps, Hopelessly Obscure, etc.
photos by Tom Despress
Where did the songs from the new album come from — ie; time period, circumstances, etc…?
The lyrics to our two singles, “Illusion” and “Rock And Roll Samurai”, were written by my friend Dmitry M. Epstein, circa 2017. I rehearsed them with the first lineup but they didn’t make the cut for the album, as we just weren’t ready at the time it was recorded. We did have a second recording session a year later, but it was aborted. Luckily, it produced good quality demos, which this current lineup took as templates. Same can be said for The Moon and San Michel, completely different in style, but same time frame and trajectory. Whereas the two aforementioned singles are heavy rock in the Uriah Heep vein, San Michel is nostalgic ’70s pop with French flavor and The Moon is simply a Queen-lite pastiche. I’m not much of a singer, I have a limited vocal range, but I was thinking of Freddie, Brian, John and Roger when I wrote that number. It’s silly, whimsical and English, much like “Lazing on a Sunday Afternoon”. Julie Gee has provided the kind of background vocals that would emulate that style. Another couple of numbers, soft ballads, “I’ve Been A Fool” and “I Live For Love”, are once again leftovers from the prior lineup that were not captured on the first album. “Fool” was written after I watched “Jersey Boys”, a biopic about Frankie Valli & The Four Seasons, while “I Live For Love” was me trying to pay homage to my heroes Paul McCartney and Jeff Lynne (ELO). Both heavily orchestrated; since I didn’t have the luxury of an actual string orchestra, I had to do it all on my Juno synthesizer. I hated for so many songs, however disparate stylistically, to be languishing in the vaults and gathering dust. So we’ve revived them. Talk about reviving! Three more numbers had been waiting their turn for nigh on 25 years! Back in 1997, while I was in between bands, I recorded demos of “I Don’t Know”, “Lie To Me” and “A Friend In France”. And it wasn’t until the year 2021 that the right opportunity presented itself and we’ve collectively brought them back to life. It was a dream come true. While the original demo of “I Don’t Know” sounded a bit like Gilbert O’Sullivan, who I’ve always liked, the album version has that mid-70s disco feel a-la “I’m On Fire” by 5000 Volts. I’m really proud of this number, it’s the kind of a song I grew up listening to, and the string arrangement really gives it the most authentic of auras.
Both “Lie To Me” and another ballad, “Let Him Go”, despite being almost 25 years apart, are autobiographical. A lot of my lyrics are, actually. On “Let Him Go”, while recording vocals, I was thinking of Freddie Mercury, I could never match his greatness, EVER, but he inspired this number in a huge way. But also Frank Sinatra, especially “That’s Life”. The jazzy organ solo is very much of that “ilk”, although I’ve listened to Jimmy Smith and other Hammond greats before daring to record it.
The album has 17 tracks, so it’s very much a “kitchen sink” project. It’s quite diverse, and some people find the variety to be a good thing – a little bit of something for every taste. Others think it’s incredibly inconsistent (or schizo, as I would call it!) It’s like that by design. It’s a bit of a milestone, a roundup of everything I’d had to hold back prior to the recording sessions, which started in early 2021. There was this period of forced inactivity between the very last gig we played at the Jungle on March 8, 2020 and when we cautiously got back together again for a jam in Sept. 2020, right after my birthday. After sitting home for six months with absolutely nowhere to go, it felt so good to be jamming again, therapeutic even. And towards the end of that year, we landed in Peabody, at producer Tom Hamilton’s home studio, to lay down tracks for the Airforce. That was my introduction to Tom. He’s an ace and knows exactly what feels and sounds right for Painter. He’s the only producer I’d ever trust my music to. So during a break, I got on a zoom call with a few friends including John Lawton, who’s no longer with us. I remember that evening so well. John didn’t look or sound very cheerful, but then this was in the middle of the pandemic, a lot of people were affected emotionally. And on top of it, Ken Hensley had just recently passed. Little did I know this would be the last time I’d speak to John. His widow Iris says he’d have loved our CD. And when I’d quit music and felt uninspired, back in 2009, he encouraged me to get back into it, saying, “You don’t have to be rich to play.” He was so right. But with that said, when you’re doing it all yourself, promotions, recording, working with a producer, paying for the studio time, then mixing and mastering, it certainly adds up. I mean, when no management or record company would have your back. On the other hand, you live and die by your product, and there’s no one in the “biz” to screw you over.
Why the 2 covers? Stealin (IMO) gets done a lot, but the Randy Pie cover (Highway Driver) was an interesting choice.
Stealin’ was Kenne’s choice. We’ve always jammed on Heep covers, “Circle of Hands”, “Easy Livin'”, etc. And he called it Uriah Cheap. He’s been a Heep fan since 1973, when he first heard them. The first single he got may have been “Stealin'”, and I know for certain the following year’s Don Kirshner’s Rock Concert featuring UH made quite an impression on him. Then there’s Randy Pie… a German funk-disco combo from the mid-70s, starring the late Bernd Wippich. It was a hit in Austria and Germany at the time. We’ve jammed on this number with the prior line-up, but it took shape as a melodic hard rock number when the current lineup started running through it. It is still quite retro in sound, but a radical departure from the funky original. People reviewing our album usually don’t know this is a cover, so they think we’ve written a road trip song! But the proper credits are on the back of the CD.
Do you write All the songs, or are there co-credits and input from other band members?
I usually write the originals and, in some cases, co-write with Dmitry. He’s a poet and I’m a composer. We have Dmitry to thank for “Fool”, “Illusion” and “RnR Samurai”, with more to come in the near future! It’s the same dynamic as Elton John – Bernie Taupin or Gary Brooker – Keith Reid. But I usually listen to my guys when it comes to the arrangements – like why won’t we do a bridge here or a drum break there. Intros and outros, softer and harder bits, and so forth. They usually have good suggestions!
There is such a wide variety of tunes, from organ driven rockers, to ballads, to almost theatrical ‘show’ tunes. What gives?
(As previously stated), I’ve taken the kitchen sink approach. Open the vaults – empty the vaults. What have you got? Give me everything. This is what happens when you hold out for a quarter of a century. In my defense, I’m thinking Queen could have astonishingly heavy bits on albums like “A Night At The Opera”, for instance, sitting next to quaint, clever and whimsical little ditties like Seaside Rendezvous. But from the looks of it, judging by the critical and listener reaction, the listeners by far prefer our heavier side, so yes, the next one will be more consistent in terms of style. Let’s just say, I’ve gotten things like “You Nearly Stole My Heart Away” out of my system, time to move on. Speaking of which… this is one song on which I decided to take the “delicate whisper” approach, sort of borrowed from Colin Blunstone of the Zombies. I don’t normally sing like this, but it worked on this tune.
Can you tell me a bit about the John Sloman song (“Parting Line”), and how you ended up using the lyrics and putting them to a new song? (Was John cool with this? Any feedback?)
John… it’s a story onto itself. I came across his lyrics somewhere on the internet, and one song in particular, from his first solo album, ‘Disappearances Can Be Deceptive’, really touched me. It just sort of clicked in my brain. I heard the chugga-chugga Status Quo shuffle in my head to the tune of:
As the sun comes up to announce the day
The lights are coming down
On an allnight show starring you and me
The audience surrounds
And I thought, this could be something. It was a naughty thing to do, but luckily John was totally cool about it. He only asked to be credited on the CD and for a copy of the CD. He even added, “I wish I’d thought of that myself”. But his “Parting Line” is so different from ours – it’s a moody mid- 80s ballad.
What sort of gigs does Mad Painter play, and what does your set generally consist of?
We play locally here in the Boston area, sometimes venturing out of town for a festival. Our set usually contains upbeat rockers like “Barely Alive” and “The Letter” from the first album. Definitely both our current singles which now appear on Splashed. The guys are “gung ho” on going for the jugular, the 1-2-3 punch, wham bam thank you ma’am. I like to mix it up a bit on stage, so once in a while we do “Soldier Boy” (also from the first album), a somber ballad about the tragedy and horrors of the Vietnam war. Then we also play “Empty Bottles” and “Stand Your Ground”, the songs that haven’t yet appeared on record, although you can find “Empty Bottles” on YouTube if you search for it. “SYG” is the heaviest and the angriest song we’ve ever come up with, sort of Motorhead and Deep Purple in one flasket. Motorpurple.
I’ve always known you as a keyboard player, how do You feel doubling as lead singer? Is this natural for you, or something you had to adjust to?
My first love is the Hammond organ. As a kid, I was classically trained, between the ages of 5 and 8, but then I quit, so I never got proper classical piano education. And didn’t go back to playing keyboards until I was 19. But as early as 1994, I was in my first band Silver Star, playing keys and singing lead on some numbers. Sometimes stepping up to the mic with an acoustic guitar also. We did an EP CD back then called Foot Stomping Music, for which I wrote three numbers but only got to sing lead on one, “Kindness”. It’s still a very special track to me, one I’m really proud of. Being out of that band (I will omit the circumstances for now), thereafter, I entered a city studio and demoed the aforementioned three tracks which wound up on Splashed. This was in 1997. Throughout the ’90s, I played keyboards in a variety of bands, blues, heavy metal, funk, but those weren’t my projects and I didn’t feel like I truly belonged in any of them. I did not do much music-wise between 2000 and 2010 and all through that decade, I felt there was something missing in my life, this huge void inside. Then I tried myself out as a keyboard player in two tribute bands, Deep Purple (Stormbringer) and UFO (Lights Out), before finally getting around to create Mad Painter. So, as you can see, I’ve always wanted to double as a keyboard player and a lead vocalist. My two main heroes are Jon Lord and Ken Hensley, and neither one sang when they played the B3. So this to me was the biggest challenge. It takes a lot of energy to play “the beast”. I had to look to Billy Preston for that kind of inspiration.
Can you tell me a bit about the CD cover art? Is album art, in this day & age, still important (or as important)?
The artwork on Splashed is a thing of beauty. It’s done the “old school” way. It was a real photo session with a real pro photographer, and we used real vinyl records, threw them randomly across the floor and then squeezed acrylic paint of different colors all over them. It was my idea, materialized by Dmitriy Gushchin (the photographer) under my supervision. And it worked wonderfully. Our guitarist Al donated the vinyl records that had been ruined by a flood. They weren’t playable anyway.
In this day and age, album or CD cover art may matter less, but when you set your mind on creating a 1973 or 1975 album instead of 2023, it is of paramount importance. We couldn’t do the vinyl LP format because it’s too expensive. But we have pressed a quantity of CDs housed in a wallet style foldout. Plus the album art is a striking visual online, websites and social media alike. It catches your eye immediately. This is the physical painting component to the Mad Painter experience. Our music is sonic painting. Or, to quote “Return to Fantasy”:
‘In another place There’s a newer face Like an unfinished painting Your creator is waiting’
I know it’s early, but what might be expected on the next Mad Painter album, as far as direction, types of tracks, anything you’ve learned from making ?
Firstly, I must take into account what the entire band wants. My guys thrive on the heavy, rambunctious sounds of vintage hard rock. So when it comes to pop and balladry (some writers have called it “traditional songwriting”), I’m kind of on my own and they tend to refer to those numbers as “Alex’s solo material”. We are a unit, and I don’t want the next one to be “Alex’s solo” even in part. So for as long as this lineup sticks together, we’re going to go for the proverbial jugular. There will be some bluesy rock’n’roll numbers for sure, but the next album should be a lot more consistent in style. With “Illusion” and “Samurai”, we’ve sort of introduced and defined ourselves, our own sound. For better or for worse, this is Mad Painter.
Can you (a few) give us a ‘top 10’ of your favorite albums from your younger years?
Alex Gitlin, vocals and keyboards:
Status Quo “Blue For You”
Uriah Heep “Demons and Wizards”
Nazareth “Razamanaz”
Deep Purple “Machine Head”
Rainbow “Rising”
Black Sabbath “Sabbath Bloody Sabbath”
The Sweet “Give Us A Wink”
Slade “Slayed?”
Smokie ‘Midnight Café’
Queen “A Night At The Opera”
Alan Hendry, drums:
Grand Funk Railroad – Live Album
Yes – Yes
Galactic – Already, Already, Already
Tower of Power – Back to Oakland
Porcupine Tree – Any Album
Blind Faith – Blind Faith
Tool – Lateralis
King Crimson – In The Court of the Crimson King
Genesis- Trick of the Tail
Jethro Tull – Stand Up
Kenne Highland, bass:
Stooges – The Stooges
Stooges – Fun House
Stooges – Raw Power
MC5 – Kick Out the Jams
MC5 – Back in the USA
MC5 – High Time
New York Dolls – Too Much Too Soon
New York Dolls – New York Dolls
Velvet Underground – White Light/White Heat
The Velvet Underground – Velvet Underground & Nico
John Sloman has a new video out. It’s “Blind”, on Red Steel Music. The track has been produced by John & Robert Corich, and remastered by Bella Corich, who adds a livelier sound to an already excellent song from 2016. “Blind” will be featured on John’s forthcoming retrospective double album The Missing Link. Art for the single also by Callum Fernandes-Clarke.
John Sloman recently posted – “This is the new video for the soon to be released single (Blind) taken from the retrospective album ‘The Missing Link’ which will be released in a couple of months. The video is brilliantly directed by Callum Fernandes-Clarke who directed all three of my previous videos. Blind originally featured on the album ‘Don’t Try This At Home’.”
Further, the track was recently featured on Classic Rock’s Louder Sound‘Tracks Of The Week‘. You can check that out And vote for “Blind” there!
I’ll admit I don’t read a lot of books…in full, but rock bios are always of interest, and this one penned by Welsh musician John Sloman definitely is of interest. Sloman has had a lengthy roller-coaster ride of a career in the music business, having once fronted Lone Star (featuring Paul Chapman, pre UFO) and then Uriah Heep, and going on to tour with Gary Moore, Paul Young, and has recorded a number of solo albums (his latest Two Rivers, having just recently come out!). Lost On Planet Artifice takes us through John’s journey growing up in Grangetown, Cardiff (Wales) – his childhood, his intro to music, girls, his first band,… I do not usually read a book beginning to end, but more so pick out chapters and bits I want to know about first, then go back and forth, so picking up this 400+ page monster I went right to the Heep content to start! It goes without saying that this book should be a must-read for any Heep fan, and in particular those that either brushed over John’s 18 months in the band or lay the blame of the band’s demise in 1980/81 squarely with him. John finally gets to tell his version of events after decades of being dumped on by former band members, misguided fans, and unknowing journalists. So some stories may be a bit shocking, but worth the read. John has a natural knack for writing, and relaying recollections and events, as well as a pretty detailed memory.
Beyond the Heep era, John’s career would come across even more painful periods, such as the details of his time with Gary Moore, his solo album deal(s) and recording with Todd Rundgren. John’s story is a very brave and honest one, as he not only gets out all the things he’s bottled up over the years, but also talks about the depression and anxiety various situations and setbacks brought up, and how he dealt with them. Despite the ‘name’ and rock star tag, John’s story is. about his everyday struggles – as a musician trying to earn a living, as well as dealing with family and personal tragedies. Lost On Planet Artifice is Not one of those retrospective rock star books that simply recounts how great they once were! It also includes John’s insight into worldly issues, which some may take or leave (John’s well read on many topics, so I’m good with it). Throughout this you want to route for the guy that some big break or payday with finally go his way, as in later years John has threatened a few times to quit making music altogether, but he carries on, and anyone who’s heard his latest album Two Rivers, knows he still has plenty to offer. I think Two Rivers makes a great companion to his story here, so I’m guessing it won’t be his last! John seems a natural at writing as well, so hopefully there’ll be another book!? *There’s also a few pages of black & white photos, most of which have never been seen.
An excellent read and can be easily purchased for a good price on Amazon.
LOST ON PLANET ARTIFICE: Rock musician John Sloman writes rock- memoir-cum-survival-manual for 21st Century.
John Sloman – singer/songwriter/multi-instrumentalist , has released his book Lost On Planet Artifice, which is his own story.
“Over the years, family members and close friends have suggested I write a book about my time in music. My response has always been the same: “I’d write it, but who would read it?”
Having been in such bands as Lone Star, Uriah Heep, and Gary Moore, Sloman would be hosed over on a number of occasions (such as the story of his 1989 solo album!), and grew to dislike the music business. In the 2000s he began recording a number of solo albums, mainly all on his own. His latest is Two Rivers. Both that album And Lost On Planet Artifice can be purchased on Amazon. (Kindle edition for under $5 Canadian!).
The first review on the book states – “Reading John Sloman’s book was a revelation in the sense that here’s a man who has been shafted and betrayed by the powers that be and it is outrageous that few in the ‘business’ give a damn. His prose is very well constructed and his stories are, in places, hilarious. It certainly makes a change reading this work from all the usual drivel of so many rock stars writing about life on planet ‘Orifice’. Well done to this brave Welshman.” (Derek Pringle).
I am looking forward to this, and highly recommend, whether you’re just a Heep fan or not – you check it out.
This interview appeared recently on the Uriah Heep facebook group page https://www.facebook.com/groups/1799464413661777 . The site is administered by Heep fan Rikki Fox who set up this Q & A with John and has allowed me to re-post the entire exchange here.
Rikki Fox: From the age of 5 until now, a lofty nearly 63, music has been my passion in life At the age of 14 I got into Uriah Heep 49 (FORTY NINE!!) years later they remain, through all the eras, line up changes and sad losses, my all time favorite group A couple of years back I started my own little site “Friends Who Like Uriah Heep” (Yes, I know it’s a naff name) but it’s great laid back fun and has grown way beyond my expectations I’m honored and humbled to have John Sloman as a FB buddy and suggested a Q & A exclusive for my site To my utter surprise he agreed
What follows are answers that pull no punches given in John’s usual lucid articulate forthright and intelligent manner.
Enjoy, and please check out John’s stunning new release “Two Rivers”
(Understand if the question is too sensitive) Did Ken and you try and work things out or was there too much friction at the time? (Johnny Har)
JS: There was never any friction between Ken and me. We never had a cross word. It was strictly one way traffic. I knew he loathed my singing. And the fact he’d been overruled by the other guys pissed him off. But the real friction was between Ken and the other guys. I just happened to walk in on a climate of distrust which had existed since when I was still in school. I didn’t engage with Ken, because I knew he hated me. And that hatred continued for years after I left the band. If I had my time over again, I wouldn’t have joined Heep…mainly because the band’s main man wasn’t happy with me. But I was young and thought things might turn around. But I had complete respect for Ken’s contribution to the band. And I loved his playing. We never got to sit in a bar and talk. And now he’s gone, the possibility of that has gone with him.
Your solo output has been incredibly and refreshingly diverse, Is this a conscious decision or do ideas just “hit” when you start on a new album? (Rikki Fox)
JS: It’s not a conscious thing. Other than the decision to do what I like. As opposed to what people expect. But once I’m into an album, the subconscious will throw ideas at me. Sometimes I’ll doubt it’s any good. But often, those doubtful tracks can turn into the best thing on an album. The Last Coalminer is a case in point. When I started reciting the lyric as a poem I thought ‘Sloman, are you sure?’ But fortune favors the brave, as they say.
Given the chance once again…would you join Heep?…Was your tenure beneficial to your later career or rather negative? (Richard Pascoe)
JS: If I had my time again, I wouldn’t join Heep. And I don’t think they’d have me either. Nothing good ever comes out of forcing an issue. And some of the criticism I took in the years after I left, proves that. When I talk about the stuff I did way back, it’s like stumbling through a minefield. I’ve never traded on Heep etc. And if it has come up, it’s been seen as a negative. Which is why I never ever talk about the stuff from back then, unless I’m asked a specific question. And whenever that happens, I always give an honest answer. And I can honestly tell you now, that the stuff I did back then, as a larynx for hire was no benefit to me at all. And in most instances, quite the opposite.
Re John’s time with Paul Young – was there any bootleg recordings, video, or promo photos? (Kevin Julie)
JS: I’m not aware of any bootlegs from the tour I did with Paul Young. The very first thing I did with him, months before the tour, was the video for the single “Wonderland”. Felt like a fish out of water. As the tour progressed, I acclimatized to the role. But that first day was awkward. I did various TV shows around Europe with Paul ahead of the tour. But the highlight was Saturday Night Live.
How did you feel about your image in the late 70s -80 being compared to Robert Plant, and in retrospect did Plant influence him in some ways? (Kevin Julie)
Of course Plant was an influence. And I took a lot of stick. But I made it easy for them by wearing Plant style shirts on stage. If I had my time over again, I would crop my hair really short and burn the silky shirts. I was a talented kid who wasn’t as confident as he might’ve been. So I hid my light.
John’s list (top 10?) Of his favorite Heep songs (from before his time)!? (Kevin Julie)
Top Ten Heep tracks? Look At Yourself July Morning I Wanna Be Free Traveler In Time Rain Blind Eye Magician’s Birthday Sweet Freedom Stealin Suicidal Man
Would John please come to London Palladium in October? (Sue Cullen)
So Heep are playing The Palladium? That will be quite an event. I don’t think they’ll need me showing up though after all these aeons. But it will be a great night, I’m sure.
I hear Motown and Stax as well as some Stevie Wonder and Robert Plant in your voice. What are your influences? (Mike Shannon)
JS: Well, all of the above. Stevie was an inspiration. His version of We Can Work It Out was amazing…changing the emphasis from the word We, to the word Can. I already loved jazz, and could see a link between Stevie and Ray Charles. Motown was everywhere in that late 60s early 70s period. James Brown and Marvin Gaye. Led Zeppelin were a huge influence on me. They were like my big brothers. And, once again, there was a thread running through all the great soul acts to Zep. Especially on the first two albums, where Plant is channeling the Blues, Soul and Jazz. All that while inventing Hard Rock! And, just like Stevie, doing lots of improvisation. I learned a lot from listening to Todd Rundgren. Genius. And of course, Joni Mitchell. But the two people who really inspired me most early on were Stevie and Robert.
If you know what you know now, would you still have gone into the music business ? If not what would have been your career path of choice? (Ian MacLaren)
JS: By the time I was 13, I knew music was the only road I wanted to take. So it’s hard to think of an alternative route. When I left school I worked on a tugboat at Cardiff Docks and served part of an apprenticeship as a fitter/welder. But I knew I was only marking time until I could do music full time. It’s been a bumpy ride, but I can’t let it go. But if you’d asked me what I wanted to be when I was in primary school, I would’ve said ‘Archaeologist’.
You express so much in your music, how else do you use your talent to reach out to the world? Do you teach or mentor ? (Julie Shannon)
JS: Up until the Covid thing, I was doing some teaching. Guitar and a bit of voice stuff. I really enjoyed it. It’s a responsibility I took seriously. Someone placing their trust in you. I taught someone from when he was ten till he was around 16. Natural talent. He was offered a place at The Brits School here in London when he was 14. He declined. But then eventually re-applied and got in when he was 16. He’s now playing around London with his own band. Soon I’ll be publishing a book on Amazon. Kind of a rock memoir. But it’s a bit more than that really. I intend to do more writing. It’s a side of me that is largely unknown. I spent a number of years trying to get a film made, during which I kept recording music as well.
What is your opinion of the Abominog, Peter Goalby sung version of ‘Think It Over’? (Mike Shannon)
JS: I’ve only heard Pete’s version of Think It Over once, many years ago. But my immediate impression was how tailor made for American radio it was. Right on point for that time. Not too fussy. Good vocals…guitar break. Wasn’t it a bit of a radio hit?
Are there any Heep songs you would like to sing today ? (Ian MacLaren)
JS: The first Heep album I heard was Look At Yourself. So the first Heep track I ever heard was the title track. That would fun to sing. The other one is Rain off The Magician’s Birthday.
Is there any chance of you ever appearing to perform a song or two with Uriah Heep as a special guest? This fan would certainly dig it! (Mike Shannon)
JS: If I said yes to that, it would open a floodgate of emotion. Next thing Mick and me are looking at each other across a stage. Our friend Trevor gone. All the people gone out of each of our lives. Lee Gone. Ken gone. And here we are connecting again. And in the same instant reactivating that emotional circuit which lay dormant for decades. People think being in a band is just about music. But it’s so much more than that. Which is why I’ve stayed away. But who knows.
The Bells Of Berlin has rightly achieved iconic status What’s your take on that track John? (Wendy Fox)
JS: The Bells Of Berlin is probably the best thing Lone Star ever recorded. It had something to say about the world at that time (and possibly in future times, given the current situation). Dixie’s drumming is epic. Those guys were so good, they didn’t really need a vocalist. Back a few years, someone gave me a Marshall digital radio for my birthday. I took a break from working on one of my albums one day, turned on this digital radio (which was tuned to Planet Rock). My finger hit the on button and the very first chord of The Bells Of Berlin came thundering out of the speaker. For a moment, I thought the radio also had a CD player which had Firing On All Six inserted into it. But no, it was Planet Rock. Spooky.
