American band MAD PAINTER have recently released their 2nd album Splashed. Consisting of 17 (!) songs, including covers of Uriah Heep’s “Stealin'” and “Highway Driver”, originally by German band Randy Pie. Splashed touches on various classic rock & pop influences, so it’s a bit of mish-mash of a number of good songs, however I will say I prefer the old 40+-minute / 8-10 track restraints. The band’s sound revolves around Alex Gitlin’s lead vocals, and keyboards (largely Hammond organ & piano), which works fine on the more ‘progressive’ rockers, like lead off track “Illusion”, which kicks off with a big Hammond organ intro reminiscent of old Uriah Heep or Argent. It’s a good rocker, which features further keyboard & guitar exchange as the song comes to a close. “Samurai” is another one that fits into this Hammond organ intro / driven rock tunes, and I dig the Randy Pie cover. Also of interest is “Parting Line”, which takes it’s title and lyrics from an old John Sloman ballad and puts them to big guitar opening riff, courtesy of Alan Naha.
But after that Splashed features a number of lighter songs, ballads, even a few ‘show’ tunes. And I mean that in a good way, because I think this is where the vocals and band (performances & production) are even better, with ballads “Lie To Me”, and “I’ve Been A Fool”, more poppy tunes like the late ’70s sounding “Love Is Gold”, and theatrical pieces “Friend In France” and “The Moon” . Splashed is a fine collection of songs, but I think there’s a lot going on, almost like there’s more than one album here. Overall a fun sounding band, who (I imagine) are a good live act; hope to hear more Rock from them in the future!
*For more info, check out the Bio below, as well as links!
Mad Painter is a new band in the Boston area, deeply rooted in the melodic rock tradition of the 1970s. They play mostly original music, ranging from Woodstock-era psychedelic rock to glam tinged rock’n’roll a-la Mott the Hoople and the Faces and to epic heavy anthems in the vein of Uriah Heep. It consists of four individuals with wildly ranging backgrounds. At the center of Mad Painter is Alex Gitlin, the songwriter and creator of the concept. He is backed capably by drummer Al Hendry (Bubba Loaf, Tokyo Tramps), as well as bassist Kenne Highland, a true veteran of the Boston rock scene (ex-Gizmos, Hopelessly Obscure, Johnny & The Jumper Cables, Africa Corps.) and the newest addition is guitarist Al Naha (Thighscrapers), who plays with Kenne in Kenne Highland Airforce. They’ve played, in different line-ups and guises, many venues around the Boston area, such as the MIT, Out of the Blue Gallery, McGann’s, Hennessy’s, Club Bohemia, The Jungle Community Music Club and C Note in Hull, as well as the Winter Tanglefest in the Poconos. It’s always a good time when you come to their shows, and you know what to expect – nostalgic 70s rock vibes and stage gear to match, great musicianship and songs that will make you get up and bop around, singing and clapping along. A party.
Canadian band Chester Doom, from Halifax has a new single out titled “Not Far Behind” . The track is a follow up to their excellent cover (single) of Leonard Cohen’s “Everybody Knows, as well as “Anxiety” (from late last year). The band released an 8 track CD earlier last year titled Masks. Chester Doom cites such as influences as Rush, Tool, Guns n Roses, and Led Zeppelin. . Check out the videos below, as well as more info, and the links. “Not Far Behind” is available on all streaming services.
In “Not Far Behind,” Best channels that sense of hope and resilience, weaving a powerful and emotive story of perseverance in the face of adversity. The track is a commentary on the strength of the human spirit and a reminder that, no matter how dark things may seem, we are never truly alone.
With a driving beat, soaring vocals, and an unforgettable hook, “Not Far Behind” is sure to resonate with audiences of all ages and backgrounds. The song showcases Chester Doom’s signature sound, a blend of classic rock and modern alternative that has been winning them fans around the world.
Ohio’s BRAVE THE SEA is a Celtic rock band who will be releasing their 3rd album at the end of April. Titled Lady Death, it features 11 tracks, all pretty upbeat, lots of fast paces, and hard-rockin. There’s nothing overly long here, with only 2 tracks exceeding 4 minutes, so it’s fast paced, catchy, fun, with tales from the sea, and probably pretty different to anything else you’re familiar with. Best cuts include – “Not The End”, “Day I Die”, and “Judgement Day”. There’s also a few lighter moments on this, with “Medusa” and “Where I Belong”. Check out the band’s clips, the press info below, and links. Also, check out the band’s youtube channel for some unique covers (and mandolin covers!) of songs from Dio and Diamond Head!
Lady Death can be pre-ordered (on CD, + t-shit!) – HERE
BRAVE THE SEA who will release their third full-length album, Lady Death, on April 28th. If you could, please take a moment to check out the record. I’d appreciate any feedback on the music and consideration for review, interview or otherwise around its release.
If you’re unfamiliar, Brave The Sea formed in 2015 and to date they’ve released two full lengths, A Pirate’s Life (2017) and The Kraken (2019). Their music has been streamed millions of times and they’ve rocked the stages of Milwaukee Summerfest, Dublin Irish Festival and Kentucky Pirate Festival while touring throughout North America and Europe. Now the band returns post-pandemic with a boisterous record, Lady Death, that’s sure to have fans clinking beers and singing along.
Brave the Sea is a Columbus, OH Celtic rock band whose fun live performances and hook filled melodies have won over a legion of fans. Formed in the summer of 2015, the guys hoped to be covering everything from the traditional Celtic tunes to the modern renditions of bands such as Flogging Molly, Dropkick Murphys, and Alestorm.
Rave reception has led to millions of streams and performances at Milwaukee Summerfest, the Dublin Irish Festival and the Kentucky Pirate Festival. 2022 saw the band intensify their touring schedule, and even perform their first dates in Europe!
Now, the band is gearing up to release a brand new LP, Lady Death for 2023. It will see the band building on their trademark elements and incorporating ideas that they have built up during the pandemic. They’ll also be going back to Europe to play a run of club shows and festivals. Join Brave the Sea’s Celtic rock party. You won’t regret it.
Tracklisting:
On My Way Lady Death Not the End Bad Luck Going Down Where I Belong Day I Die Frozen Shore Medusa Judgement Day Unnamed Grave
British heavy metal band WYTCH HAZEL will release their 4th album June 2nd. Wytch Hazel, who also include elements of folk and prog, along with Christian based lyrics, also have a brand new video out for “Angel Of Light”. Citing the likes of Blue Oyster Cult, Iron Maiden, Deep Purple and Led Zeppelin (among others) Wytch Hazel’s music has a wide appeal to 70s classic rock fans. Two tracks from their forthcoming album IV: Sacrament can be heard and purchased at the band’s Bandcamp site – the above mentioned “Angel Of Light” (nice Thin Lizzy vibe), and the excellent “Digging Deeper”, which has an early Wishbone Ash feel. The new album features cool artwork from Nathaniel Winter Herbert, and will be out on Bad Omen Records (see SPELL, BIRTH, SATAN’S SATYRS) in multiple formats, including colored vinyl. *for album & merch orders – https://wytchhazel.bandcamp.com/album/iv-sacrament?from=fanpub_fnb
*Check out more info on the band below (from band’s site Bio) and links.
For many all-time-great rock bands in the ascendant, the fourth album is often the point where youthful years of febrile creativity and progressive momentum culminate in a masterwork for the ages, setting the seal on an early signature sound while opening it up to future possibilities. From enchanting 2016 debut Prelude, through 2018’s assured II: Sojourn, to 2020’s wizardly III: Pentecost, each Wytch Hazel album has embodied that old-fashioned notion of unstoppable progress, and the glittering treasure chest that is IV: Sacrament proves eminently worthy of rising to the toughest challenge. Not just the Lancashire quartet’s most classically beautiful production, but their strongest yet front-to-back collection of affecting hooks and ageless melodies.
A very tough challenge it was, too; records this good don’t get banged out willy-nilly, and Jimmy Page, Ian Anderson and Freddie Mercury didn’t have to fit recordings in between day jobs and school runs. “This album has been a trial,” sighs founding singer/guitarist Colin Hendra with his head in his hands, his voice full of cold. “It’s been a tough few years for everyone, which plays into it, but it was exhausting. Working full time, trying to be a dad and husband, running the band, writing the albums – and being a complete control freak about every aspect of the process…” Colin breaks off and chuckles at his Eeyorish approach to album promotion. “But there’s no gain without pain!”
The triumphs and tragedies are written all over IV: Sacrament. Working closely again with regular producer Ed Turner, Colin’s God-given gift for diamond songwriting has been enhanced to majestic proportions with Ed’s Roy Thomas Baker doozy of a production job, his expressive sonic trickery sublimely underscoring the varied musical moods. “Me and Ed like the same albums, so we’re singing from the same hymn sheet every time,” enthuses Colin. “We love the Sabbath production, obviously Martin Birch, and the Queen albums; we want it to sound like Wytch Hazel, which it kind of always does, but we want it to also have that classic sort of quality.”
Colin describes his working relationship with Ed as “perfectionism amplified. We’re a good match but bad at the same time! It takes ages to get an album done, but if it’s going to be done we want to do it right.” The new studio looked promising: a converted Baptist chapel in rural Wales, chock full of vintage gear. However, with personal reasons forcing drummer Jack Spencer to step back from the band (subsequently departing in September 2022), Colin took on the additional laborious task of completing all the drums himself. As well as all the vocals, lyrics, lead guitar and drums to fret over, there were so many mysteriously blown cabs, amps and vocal cords you might suspect the Devil was trying to stop anyone else getting the best tunes. “I don’t know why we have such bad luck,” groans Colin. “Engineers were scratching their heads, like ‘how have you done this?!’”
photo- Sam Scott Hunter
Now Sacrament is finally offered – and sounds as fantastic as it does after all the blood, toil, tears and sweat – you might think Colin could finally bask in the glory of this resounding achievement, but he’s not even fully comfortable taking credit for his own songs. “When I listen back there are multiple times when I’m like, I don’t even know how this happened,” he ponders. “I know I wrote it, but I don’t feel complete ownership over them. It has that sense in which… there’s something else, and I’m a part of it.” On previous albums, specific influences were readily discernible, and although Angel Of Light tips a nod to Angel Witch and Endless Battle nails the sweet spot between Steeleye Span and Judas Priest, Sacrament’s ten songs zero in on a sound and style that’s all their own. With assertive, explosive earworms like The Fire’s Control, Strong Heart and A Thousand Years and the profound emotive magnetism of Time And Doubt, Deliver Us and Digging Deeper, Wytch Hazel revel in their distinctive Wytch Hazelness. Colin’s Christian faith continues to inform much of his lyrical outlook, but there’s a disarming openness and emotional force that might have you reaching for the Kleenex.
“It’s some of the most honest songwriting I’ve ever done,” Colin reflects, “and they come from a darker place, I think. I’m getting older, that comes through in some lyrics: ‘see my body breaking’, ‘I’m digging deeper’, ‘time’s running out…’ I struggle to see the positive a lot of the time, so the songs end up being negative, the subject matter coming from constant striving.” Among all the doomsayer tendencies, gorgeous sylvan acoustic strum Future Is Gold proclaims a radiant optimism, but it’s more hope in the eternal than an expectation of earthly improvement. “It’s rooted in scripture,” Colin explains, referencing the Book of Haggai: ‘the glories of this latter house will be greater than the former’. “I struggle to believe that half the time, with the state of the world, but who knows what level that is? Will the afterlife be better, when all suffering has ended, or is what we see as better not actually better? If things are always going comfortably, it isn’t always the best thing for us. An element of suffering is necessary.”
Suffering has clearly been necessary for the creation of the fourth Wytch Hazel album; let’s hope for Colin’s sake the next one requires a bit less. “I’ve blown my own mind a bit,” he concludes. “And even after all this painstaking work, I still feel like I’ve only scratched the surface of what we could be doing musically. I wish I could have a month to work on one song, and go on a tangent a bit. I will in the future, it’s going in the right direction. I’ll get to the stage when I can commit more time and do an odyssey or something!”
Credits:
Drums, Guitars, Vocals, Piano & Organ – Colin Hendra Guitars – Alex Haslam Bass Guitar – Andrew Shackleton
Mandolin & Mellotron – Ed Turner
Recorded at StudiOwz, Pembrokeshire, Wales Produced and mixed by Ed Turner Engineered by Owain Fleetwood Jenkins Mastered By Terry Waker at Tonalex
SAXON recently released a sequel to their 2021 covers’ album Inspirations. So, More Inspirations is 10 classic rock songs that have been been given the Saxon treatment. I do Not normally like or buy covers’ albums, but the 2 Saxon have made I am happy with. The band tends to choose plenty less-then obvious gems to include. They also keep the production simple, without adding things that are not part of the song or not part of the Saxon sound, hence there’ s no keyboards on the likes of “Gypsy” (Uriah Heep), or “Man On The Silver Mountain” (Rainbow), which is fine, both still sound great!.
Favorites here include the band’s takes on “Tales Of Brave Ulysses” (Cream), “Substitute” (The Who), “From The Inside” (Alice Cooper), and Nazareth’s “Razamanaz”, which suits Saxon & Biff’s voice perfectly! Love the band’s performances here, and Biff has one of the most recognizable voices in British rock. Well worth checking out!
Rock Group “Midnight Daydream” Feat. Son Of Late Guitarist Bruce Cameron To Release Self-Titled Debut Album
The writer, producer, engineer and main performer on the album is Riley Cameron, the son of the late guitarist Bruce Cameron, who tragically passed away in 1999 shortly after releasing his debut LP titled “Midnight Daydream”. An album that featured a plethora of rock legends. Inspired by his father’s work, the only viable option was to carry the musical legacy that his father left behind.
The self-titled album features a blend of hard rock, electronic, hip-hop and various other musical styles that create a modern sound that captures a spectrum of influences.
The “Midnight Daydream” LP is set to release on July 5th, 2023 and will be available on all mainstream platforms, including Itunes, Spotify and Youtube. Physical Copies and merchandise will also be available through their merchandise store via BandCamp.
Italy’s RAINBOW BRIDGE have a new album out, Drive being their fifth full-lengthy album. Eight tracks, with blues, psych, southern, and heavy rock elements. Lots of great guitar, including a few cool instrumentals. Drive starts off with the slower paced “Until My Wings Wills Be Stronger”, which a few of these tracks are. Standout cuts for me would be the instrumentals “Black Monday” and “Still Drives” – which starts and ends acoustically, but in there it builds into a nice driving rocker. The 14 minute+ epic “Tears Never Here” is also great, another driving tune, with plenty of changes, an acoustic intro reminiscent of Zeppelin; includes an excellent vocal as well, making for a dreamy summertime tune. *For more info check out the press info and links below.
‘Drive’, the new album by Apulian Rainbow Bridge,comes almost three years after the latest, ‘Unlock’, released in the summer of 2020.
‘Drive’ is ideally divided into three parts. A first part is dedicated to the songs, a second part to the instrumental pieces and finally a long ‘concept’ suite that contains all the souls of the band.
«Our most ambitious project so far – says the band -, a kind of double album, like all our favorite bands have done.»
The band’s references start from classic rock – The Who and Jimi Hendrix Experience – a good influence of Irish hard blues – Rory Gallagher and the early Thin Lizzy – mixed with the more current sound of Brant Bjork (ex-Kyuss)’s stoner/desert rock and Color Haze.
Rainbow Bridge will release ‘Drive’ on CD and digital platforms on March 24th. Find digital preorders at Bandcamp HERE.
Giuseppe JimiRay Piazzolla – vocals, acoustic & electric guitars, lyrics Fabio Chiarazzo – bass guitar, lyrics, background vocals Paolo Ormas – drums, cymbals, background vocals, lyrics
Arranged & Produced by Rainbow Bridge. Recorded, mixed and mastered by Cosimo Cirillo at New Born Records studio. Pic by JimRay – Artwork by Nesia_Earth
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TRACKLISTING:
1. Until My Wings Will Be Stronger 2. Years of Beer 3. Black Monday 4. I Saw My Dad Play Air Guitar 5. Make Peace 6. Stills Drives 7. Tears Never Here 8. Coming Out
BIOGRAPHY:
Rainbow Bridge was born in 2006 inspired by the sounds of the Jimi Hendrix Experience and heavy psychedelic blues. Right from the start the band tried to give a personal touch even if they were cover songs or standards. The band played in many rock and blues festivals over the years – Blues in Town, WoodInstock, Jimi Hendrix Live, Campania Blues, Bitonto Blues, South Italy Blues Connection, Blues a Balues, Dogana Blues, Freakout Stoned Fest ecc. – and opened for bands like Oh Sees, Putan Club and more. Over time, several bassists have come and gone in the band but when Fabio in late 2015 joining trio, the band started producing new music. Since 2017, three self-produced albums have been released on Bandcamp – plus a live album and a cover album – with very positive feedback from the press and critics even outside Italy. The band is featured on the first volume of the ‘Stoner Freak Anthology’ with second album ‘Lama’.
Heavy doom/metal trio WOLFNAUT, hail from Norway, and this will be the band’s 4th album, though the 2nd under their altered name from Wolfgang. Return Of The Asteroid is a good album start to finish, with some cool different sounding songs, aside from the heavy rockin’ cuts which stand out like the opener “Brother Of The Badlands”, “My Orbit Is Mine”, the faster paced “G.T.R.”, and “Something More Than Night” (something in that guitar break reminds me of Thin Lizzy). Best cut here tho’ is the slow haunting ballad “Arrows”; pretty unique atmospheric track. 9 tracks in all, ending with the 10-minute+ slow, dark epic “Wolfnaut’s Lament”.
*Return of the Asteroid will be released on black vinyl, limited colored vinyl, CD and digital on April 21st through Ripple Music. For more info, check out the band bio / press release below.
WOLFNAUT (formerly known as Wolfgang) started life in the mid-1990s in the town of Elverum, a two-hour drive northeast of the Norwegian capital Oslo. Their energetic live shows and debut album, ‘Welcome to the Cactus Mountains’, went down a storm in their hometown, and the album even garnered a solid review in Kerrang! WOLFNAUT reformed again in 2013, and the band released its second album, ‘Castle in the Woods’, to raving reviews in 2016. The band’s aptly titled third album “III” was released in 2022. “III” brought the Norwegian trio’s blend of catchy tunes and heavy stoner riffs to a larger international audience. For their fourth album, WOLFNAUT has teamed up with US-based label Ripple Music to spread the word even further.
“Return of the Asteroid” is the slightly darker and doomier cousin of “III”. Wolfnaut’s penchant for writing catchy rockers is still very much alive and well on songs like “Brother of the Badlands”, “My Orbit Is Mine” and “G.T.R.”, but “Return of the Asteroid” also sees the band developing their love for more dynamic songs. There is more of both light and shade on Wolfnaut’s fourth long-player, which can clearly be heard on offerings like “The Mighty Pawns”, “Crates of Doom” and “Wolfnaut’s Lament”. The album even introduces a first for the band: a ballad! “Arrows” was originally released on “Castle in the Woods” in 2016, but the band didn’t feel that the hard rock approach on the original recording did the song justice. Stripped down to its core elements, the song now has a new lease on life.
“Return of the Asteroid” was recorded at Audioskop studio, Sofiemyr, Norway. Production was handled by the band, with invaluable help from engineer extraordinaire Bjørn Barstad. Swedish sound wizard Karl Daniel Lidén (Greenleaf, Lowrider, Dozer, Demon Cleaner) was enlisted to mix, master, and put the finishing touches to the album. Eminent graphic designer Mirko Masala created the visuals. With a career now spanning 25 years, four albums and countless live shows, WOLFNAUT is ready to spread the word of Norwegian stoner rock to an even wider international audience. Now part of the Ripple Music family, expect to see the band somewhere on the road in the not-so-distant future.
TRACKLIST: 1. Brother of the Badlands 2. My Orbit Is Mine 3. The Mighty Pawns 4. Crash Yer Asteroid 5. Arrows 6. G.T.R. 7. Something More Than Night 8. Crates of Doom 9. Wolfnaut’s Lament
WOLFNAUT: Tor Erik Hagen – Bass Ronny «Ronster» Kristiansen – Drums & Percussion Kjetil Sæter – Guitars, Vocals & Piano
Australia’s OCEANLORD are ready to release their debut album Kingdom Cold on May 26. The heavy doom trio have recorded 6 tracks, full of haunting tales, thick guitars, slower tempos, with melodies and solid vocals and production. Check out the first single/video “2340” (and read the story behind it). Six massively heavy and cool songs, including favorites “Isle Of The Dead” and “Come Home”.
*Available for pre-order on CD and translucent blue vinyl. Check out the press release and links below!
Behold! Hark! From the dark depths of the southern oceans, Australian doom trio OCEANLORD have conjured an eldritch monster of an album with their tentacled debut “Kingdom Cold”.
Frying guitars with an extra helping of thick fuzz and a crusty top deliver a tasty doom sound. Songs that range from very slow via slow to mid-tempo with occasional outbursts of energy also stand firmly on the rock solid ground of this classic metal genre. OCEANLORD display traces of the American, British and Swedish schools of thought with the clean vocals slightly tilting towards the latter.
Yet below the surface of all the time-honoured elements traditionally associated with doom, there is an extra layer of darkness lurking in these tracks. A foreboding sense of dread, madness, and unspeakable horrors is creeping in to replace the well-worn theme of melancholia usually accompanying the style. This sets OCEANLORD clearly apart from most of their peers. This is no accident, as the Australians are very openly inspired by the horror genre and the writings of New England author Howard Phillips Lovecraft in particular.
OCEANLORD came into being in Melbourne in 2019 when bass-player Jason Ker joined guitarist and singer Peter Willmott for a serious drink to ponder work, family, mortality, and the hellscape of corporate existence. When the conversation turned to music, the connoisseur of black, death, and progressive metal, Peter, found common ground with Jason, an acolyte of alt-rock and grunge in early heavy metal and doom. Jon May, with his history of punk and rockabilly in Perth followed by country-folk and swamp-blues in Melbourne, did not appear the most obvious choice for the drum-stool, but he brought a secret passion for everything slow and heavy, not to mention a van and good gear.
In the rehearsal room, the initial sound was primal and ponderous, with a glimpse of melody under thick, sludgy riffs. Stoner doom was the answer to save their souls from the slow soul-death of the modern corporate drone. Basement writing sessions began, riffs started flowing, and in 2020, the trio released a demo that caused a stir throughout the doom-underground.
During Melbourne’s dramatic 263 days of pandemic lockdown, Peter built a home studio and in 2022, OCEANLORD tracked their debut release. So beware of this monstrous record: “Kingdom Cold” takes doom to even darker depths than ever explored before!
Tracklist 1. Kingdom 2. 2340 3. Siren 4. Isle of the Dead 5. So Cold 6. Come Home
Line-up Peter Willmott – guitar, vocals Jason Ker – bass Jon May – drums
Recording by Peter Willmott at Studio R’lyeh, Melbourne, Australia Mix & Mastering by Esben Willems at Studio Berserk, Gothenburg, Sweden
URIAH HEEP”s Chaos & Colour has been out for some time now, and has been received enthusiastically and with great reviews from fans. Phil Lanzon, has been a major part of the Heep songwriting team since he joined the band as keyboard player. On Chaos & Colour Phil, along with founder/guitarist Mick Box, have delivered 6 awesome new Heep tracks. In this exchange Phil answers my questions pertaining to the band’s latest album, as well as what else he is up to. *Check out the links below!
With the pandemic and time away from each other and stage, was there more songwriting going on prior to recording Chaos & Colour? Was there an abundance of songs & ideas to choose from this time around?
Yes there was plenty of that. Mick and I wrote songs remotely during the pandemic. It was unusual but worked really well. There are songs and ideas left over, maybe for the next album, who knows.
You worked again with Jay Ruston. Was that an easy decision?
Yes it was easy. Our working relationship worked really well with Living the Dream so we wanted that to continue with Chaos.
Russell & Simon Pinto contributed 4 songs to Chaos & Colour. Was there some tough decisions in cutting down the number of songs?
Well there is always tough decisions when choosing the final songs. Especially as others band members are contributing; which we all feel has made for a great combination of material.
Chaos & Colour is a great follow up to Living The Dream, but I think a bit of a step up with more varied tracks trhoughout. Was there any deliberate move to try and include more progressive moments or ballads?
I personally always feel that there should be a prog section within a Heep album, specifically to keep variety in the material and also take the listener on a journey. It is a Heep feature that makes an appearance on many Heep albums from the early days to today.
Can you give me a bit of insight into some of the tracks- lyrically or recall on how it all came together…
I’ll keep it short. We always keep a strict eye on our lyrics that they don’t stray into the ‘norm,’ which is a pitfall of many artists, so we use the basic premise of positivity and the knowledge that there is good everywhere. You just gotta find it!
You seem to have a few new keyboard sounds on this album, such as on “Fly Like An Eagle”. I get a bit of Dream Theatre feel in there. Can you touch on any new sounds, approaches or equipment?
Not a great deal of new sounds, I was just messing around with a mini-moog style sound and decided it worked for the track.
“Age of Changes” is a fantastic track (my early favorite). Can you touch on this song?
I wrote this lyric based on my first childhood sweetheart. A story I’m sure will resonate with so many. We go through so many changes in our lives but the first real awakening to that fact hits most of us in the school yard.
You guys recently completed the 50th anniversary tour. How did You enjoy the shows? Any highlights or favorite moments in the set for you?
We all enjoyed the tour, it was a huge success as far as we are concerned and made a whole lot of Heepies very happy. The acoustic show was well received and was a joy to perform.
Phil, in your time awaiting the next Heep tour – might you be working on another solo project, book, or any guest appearances anywhere?
I am at the moment trying to sell my Musical, I mean, musical theatre. It is a full length musical about Ellis Island New York in 1917. The script is with an American producer as I write.
What are you listening to these days? Any current (new) favorites?
Nothing new at the moment. I am immersed in my artwork right now. Check out my Instagram.
Outsider Rock 