TRAPEZE was a British band, perhaps better remembered for the players that were in it and went on to bigger success with other acts, instead of the of excellent albums they made in the ’70s. The band existed from 1969 til 1981 (or 82), and seems to be best known as the band that Glenn Hughes got his recording start in. But, TRAPEZE was not particularly just Hughes’ band; in fact the band based around the guitar sound of Mel Galley carried on well after Hughes left to join Deep Purple in 1973, and released a few very good albums in the latter ’70s. The band also featured (drummer) Dave Holland before he joined Judas Priest, and their last recording line-up – Peter Goalby, before he joined Uriah Heep. Mel Galley was there beginning to end ’til he had an offer to join Whitesnake, so I think it’s safe to say that Trapeze was Mel’s band.
This 14 track album of previously unreleased and unheard material is a most welcomed addition to the band’s catalogue, which in recent years has been reissued in expanded versions, compilations and live releases, undoubtedly bringing back the name Trapeze to many who previously may not have been very familiar, myself included! My initial interest years back was the Hughes-Deep Purple connection, and the Peter Goalby connection (being a Heep fan), and Hold On (the band’s last studio album) remains my favorite. The band’s debut featured a 5 piece band that was signed to the Moody Blues label, but Trapeze seemed to be best remembered as the short-lived trio that released the 2 classic albums Medusa and You Are The Music…We’re Just The Band. After Hughes left, Mel Galley took on lead vocals as well, and added guitarist Rob Kendrick and bass player Peter Wright, and recorded the classic Hot Wire (love that album cover), followed by Trapeze (self-titled), Running/Hold On (with Peter Goalby), and the Live in Texas: Dead Armadillos. Lost Tapes Vol. 1 features tracks from the band’s early days right through to the end with Goalby, and a few from the band’s short-lived reunion in the ’90s. Though the songs aren’t in chronological order, this album features a pile of outstanding Trapeze tunes that might make you wonder why this stuff has never surfaced before. Trapeze was known for their funk-rock style, something that made them a fairly unique band in the ’70s, though often lumped in with early ‘heavy metal’ acts, they were far from it, though they could deliver some heavy hard rockers, and here we get standouts like the heavy Hughes’ sang “Breakdown” – which sounds so fresh one could easily mistaken this for a much more modern recording. There’s the ’80s production sound of “Destiny”, the funkier “Lover”, and closing track “Going Home” (which is a heavier take of the song that appeared on 1974’s Hot Wire).
Lost Tapes also features 3 tracks with Goalby on vocals, including the first one “Cool Water”, an excellent catchy feel-good rock tune, and one of many to feature a memorable guitar riff/intro from Galley, who also doubles up on the vocals on this, with a solid drum performance from Dave Holland (RIP). There’s also the memorable “You’ve Got It” from this era, featuring some excellent slide guitar as well. But my favorite track here is Goalby’s “Who Do You Run To” (the one song written by PG, himself here), absolutely outstanding late ’70s hard rock with influences from the period, a killer little intro and chorus. (Maybe someone can explain how this chorus and similar title ended up on the 1982 Hughes-Thrall album!?).
This makes a great addition to the Trapeze catalogue for fans of the band. The 14 tracks here are all well worth hearing; this is no exercise in ‘cleaning out the vaults’ of anything and everything, this was properly put together for fans to enjoy, and a tribute / reminder of this great band. One of my favorite releases of 2023! I am curious and looking forward to a Volume 2 (presumably there will be!?) Lost Tapes Vol. 1 can be purchased in digital form, CD, and limited orange vinyl (which I am awaiting!)
British band TRAPEZE were perhaps best known as the band that featured musicians who went on to big bands, notably Glenn Hughes (Deep Purple), Mel Galley (the band’s leader & mainstay – Whitesnake), Dave Holland (Judas Priest), and (later) Peter Goalby (Uriah Heep). Throughout the ’70s TRAPEZE released 6 studio albums, with various line-ups, but the band has seen a resurgence over the last decade or so with the release of archive live releases, CD box sets and compilations. But now we await the release of previously unreleased material from the ’70s on ‘Lost Tapes Vol 1’. 14 tracks from various line-ups of Trapeze later next month, on various formats. *For more info, check out the press release below….
When rock band Trapeze called it a day, they left behind them a series of now classic albums. Their influence on other groups has been immense; individual members themselves going on to join heavy weight rock acts such as Deep Purple, Whitesnake, Judas Priest & Uriah Heep. But their story’s not over, as TRAPEZE – LOST TAPES VOL. 1 will soon reveal!
These are tracks recorded on tour, and either side of album releases; great songs that were stockpiled just never released as the various line-ups hit the ground running, playing live relentlessly; honing their craft while rarely seeing home.
However, guitarist Mel Galley did take those tapes to his elder brother Tom’s house. There, they – as co-writers of many of the band’s best-known songs – would review them, making various decisions that felt right at the time. Mel also had the foresight, to leave them with Tom for safekeeping, so they didn’t get lost.
“One of Mel’s last wishes, before he passed away, was that I’d get together with Trapeze manager Tony Perry and put all these things together,” said Tom Galley, who went onto produce the celebrated Phenomena album series, “And that’s what we’ve done!”
LOST TAPES VOL. 1 is an opportunity to hear Trapeze with all the primal energy of young men stretching out; demonstrating there was even more untapped potential between the musicians involved than had hitherto been imagined.
Smashing the doors open across America by pioneering a heavy funk rock sound that would later be taken up by The Red Hot Chilli Peppers, Extreme and others, back in the 70s Glenn Hughes (Vocals, bass), Mel Galley (Guitar, vocals) & Dave Holland (Drums) barely had time to catch their breath while stepping into studios to lay down several unique songs that you’ll find on this collection, as well as tracks later recorded at Garage Studios in the UK during their 90s reformation.
Strident hard rocker ‘Breakdown’ comes from that latter period. “This features Glenn singing – His voice is one of the wonders of the world!” Tom remarked, and it truly is, the song sounding immensely fresh and contemporary even today. From the same period, with ‘Don’t Let Them Push You’, it’s a case of “More cowbell!” and Mel’s guitar weaving tirelessly with him also taking lead vocals.
On the trio’s older tracks, with songs like ‘Bad Kid From School’ and ‘Enough Is Enough’, it’s their classic sound you’ll relish hearing afresh. “I was able to get that funky heavy rock sound out of those old tapes – And that’s what I call the Trapeze style!” With various co-writing tracks from that period recovered, Tom also noted how ‘Catching Up On You’ had ”started off as an instrumental but they decided to add vocals.”
These tracks embrace both powder-kegged bravado performances as well as the band’s more nuanced emotional side – With nothing off limits as the musicians involved can be heard exploring their potential both collectively and as individuals. Powerful with deft time changes, tinged with subtly or bleeding out ferociously; belting rockers find them surging forward as one only for a propulsive rhythmic heartbeat to take hold over which solos soar.
Initially a five-piece patronized by The Moody Blues, even as that line-up fractured, Galley, Holland and original keyboard player Terry Rowley went into 10cc’s recording studios and some of those songs will also see the light of day for the very first time on this record. “Destiny’ and ‘Lights Of Tokyo’ were songs that were overlooked and never ended up on an album,” recalled Tom. Important pathfinders on the band’s journey they pre-empt the heavier rock & progressive sounds that the band would find acclaim with, beginning with 1970’s Medusa album.
Following Hughes’ joining Deep Purple, Mel Galley took the helm; both singing and playing guitar, while bringing in bass player Pete Wright and second guitarist Rob Kendrick. This was their 1974 Billboard charting Hot Wire era, finding them particularly prolific laying down tracks in studios like Island in the years either side. ‘Going Home’ is a fiery arena-ready alternative rendition of that album’s classic pinpointing exactly why The Rolling Stones had Trapeze open for them back then.
From a little later we get ‘So In Love’. ”If you listen to ‘Chances’ on the second self-titled Trapeze album; it’s So In Love with different lyrics, sung by Glenn, and Mel sings this, ”we’re told of a more melodic number. Likewise, ‘Lover finds the guitarist in particularly good form on vocals. Blending funk rock with a little soul, this so should have been a single, back in those days when music crossed the airwaves without fear of genre-boundaries, and only good taste mattered.
When Kendrick joined Budgie, Pete Goalby came forward and stepped up to the mic; oozing impressive vocal charisma and allowing Galley a chance to ease his voice. From that late ’70s golden patch we get the mainstream appeal of ‘You’ve Got It’ and ‘Who Do You Run To’ while on ‘Cool Water’ it’s slick, funky with a blues rock edge that’s sat somewhere in between The James Gang and Little Feat in their prime. “Mel wrote and sang on an original version, but this is a version with him and Pete both singing. It also had Terry Rowley on keyboards,” recalled Tom, noting the ongoing bonds between former members, before astutely noting in conclusion:
“This collection of recordings show not only how good the various line-ups were, but capture the passion and excitement of the creation of the songs themselves.”
Never a band who stood still. These recordings are often paths less taken. Had time, circumstances and other opportunities not proved otherwise we can only imagine what heights Trapeze would have reached… As listeners will discover, LOST TAPES VOL. 1, features Trapeze songs as classy as any on their previous rock album releases, with some likely to become classics still!
TRACK LISTING: Cool Water Lover Breakdown Don’t Let Them Push You Destiny Lights Of Tokyo So In Love Bad Kid From School Catching Up On You Do You Understand Enough Is Enough You’ve Got It Who Do You Run To Going Home
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.
A Peter Goalby solo ‘Anthology’ will be released in September on Cherry Red Records. It pulls tracks from the 2 solo albums of long lost songs released in November of last year and May of this year. As well is adds 3 previously vinyl only released recordings Peter had done in the late ’80s and issued as singles under the names ‘Soho’ and ‘Perfect Stranger’.
“I Don’t Wanna Fight” & “It’s All Over Your Face (It’s All Over)” were produced by Mickie Most and released in released on RAK Records in 1988 under the Perfect Stranger name, while “Mona Lisa Smile” (also backed with “It’s All Over Your Face (It’s All Over)”) was also produced by Most, and released on RAK in ’88. The A-side was also co-written by Robin George, who is credited with arranging them on that single single release.
The past year of putting together his past solo recordings and seeing how great the response was to his CD releases was an eye opener for Peter Goalby, who had retired from the music business 30 years ago, and has been doing interviews and seeing positive reviews to Easy With The Heartaches & I Will Come Runnin’. Me hopes, but not very likely that someone, somewhere – will dig out more recordings from Peter’s past and get them properly released [ie Fable].
Tracklisting:
1 Hold The Dream 2 Waiting For An Angel To Call 3 Easy With The Heartaches 4 It Was There All The Time 5 They’ll Never Find Us (Running For Our Lives) 6 I Will Come Runnin’ 7 The Last Time 8 Dancing on Water 9 Mona Lisa Smile* 10 It’s All Over Your Face (It’s All Over)* 11 I Don’t Wanna Fight*
A mere 6 months after Peter Goalby’s surprise solo debut album, decades after he retired from the business, a sequel has arrived! Easy With The Heartaches came out last November 2021, and the quality of the songs, recording, and Peter’s vocal performances were a long awaited (and overdue) treat to fans who’ve wondered where and why he disappeared years ago. Heck that album only made many wonder even more why he went away with so many great songs yet to see the light of day! Now, there is a ‘part 2’ to his long lost solo recordings – I Will Come Runnin’, featuring the same cast – Paul Hodson and Eddy Morton, as well as Robin George on 2 tracks. Safe to say if you enjoyed the first release – you will love this as well. The song quality and performances are as good as Easy With The Heartaches, being from the same period and recording sessions. The difference being that overall I think I Will Come Runnin’ is a bit more in the softer AOR realm, with a few less ‘punchy’ tracks than it’s predecessor. “Hold The Dream” may still be my favorite of either of these releases, but there’s some damn great tunes here, with early favorites being “Somebody’s Fool” and “Waiting For An Angel To Call”. The title track leads off this disc (as with the first one), and it’s a good positive lighter aor pop-rock tune, but like most, what makes Peter’s songs so good is the catchy and memorable choruses, I also think Eddy Morton’s guitar break here gives the song a nice lift.
Lots of potential here for ‘hits’ had this come out in another era – “Dancing On Water” (co-written with Robin George), “It Was There All The Time”, “Perfect Strangers” (one of the excellent ballads here), “There’s Always A Place In My Heart”…. Robin George also co-wrote the rockier “Rock N Roll Crazy” – this one is a bit different, sounding like it would’ve fit nicely on one of George’s ’80s releases, or on Heep’s Equator (ala “Party Time”) . The last track here is the last track Peter recorded – “A Little Piece Of Heaven”, and judging from the lyrics (especially the opening lines), I would think he was already planning on getting out of making music – “Saved up all my rainbows, cashed in all my yesterdays / Changing my direction, giving all my things away / It’s time to make a new start, “ It is one of the best ballads Peter ever wrote and sang, but marks the end of his musical career, so it’s a bit sad in that case. Paul Hodson does a superb job on this one as well, and Eddy Morton delivers a cool short guitar break (sounds )a bit country. This is The Big ‘hit’ off this album, IMO.
I Will Come Runnin’ likely marks the end of Peter Goalby’s ‘archived’ material that we’ll see a proper release of. I don’t believe there is that much in the way of good material / recordings left that could or would possibly be released in the future. So, enjoy this and Easy With The Heartaches as much as you can. They are both fantastic CDs of songs we are fortunate to get to have. Decades after leaving the business Peter can now add “successful solo artist” to his legacy, besides just “former lead singer of _____” .
*CD cover art designed by Mike Inns (who also did Easy With The Heartaches), and who’s done album covers and art for numerous acts, including Collins / Shaw, Asia, John Wetton, Alan Simon and Focus, among others.https://www.discogs.com/artist/2879524-Michael-Inns
A mere 6 months following the Peter Goalby’s debut solo release (of archived recordings), Cherry Red Records will release a follow up titled I Will Come Runnin’, also recorded during the same period.
Fans who waited 30+ years to hear something new from Peter following his departure from Uriah Heep, and a solo single, can add another album consisting of 10 songs, along with the aid of Paul Hodson, Robin George, and Eddy Morton.
Peter Goalby has been extremely surprised and happy with the response & reviews to the first album. I Will Come Runnin’ will be released May 6, 2022, and can be pre-ordered at Cherry Red Records, as well as Amazon.
*A 10-track album personally overseen (from tape transfer, mastering and artwork) by the former Uriah Heep and Trapeze vocalist .
1 I Will Come Runnin’ 2 Rock ‘N’ Roll Crazy 3 A Brand New Love 4 Dancing on Water 5 Somebody’s Fool 6 It Was There All The Time 7 Waitin’ For An Angel To Call 8 There’s Always A Place In My Heart 9 Perfect Strangers 10 A Little Piece Of Heaven
Prior to Fable you were in a few local bands. Did you write or record anything then or did none of that happen til Fable?
My first band was the System, I think I must still have been at school. We practiced in a youth club twice a week. When I left school we were offered a gig in Hamburg Germany. I had to pretend to be a roadie as I was under age to work in Germany. So I was there illegally. After the system I was in a band that became Aarons Rod, We did some quite obscure stuff. Kevin Bray Lead guitar introduced us to some great music . I sang “All Along The Watchtower” and stuff from the band Mountain, a lot of American bands from that time. Dave Millington was on Bass – another very good player, and my school friend who had been in the System with me – John Waterfall. John was a very loud drummer, which I loved. I think I started writing around that time with Aarons Rod. We did not get many gigs as some of the material was a bit off the wall but we all loved it and it was all part of the school of rock I suppose LOL
Was your family always supportive of your music career? Did you get help or advice from anyone at home?
I was brought up by my grandparents. I did not get any support. Really, I think they thought it was a fad.
Do you recall the first song you ever wrote?
I can not remember . I can remember I wrote some pretty bad ones though, folky type songs .
In those earlier bands do you recall what types of songs you played ?
Anything that was around at that time. I have sung everything from “My Way” to “Blowing In The Wind”
Fable was already going with a female singer, before you joined, Do you recall how you joined the band and how the band changed then as far as what you played or your goals were?
Yes, I actually said No at first but Lynne, my then girlfriend – now my wife, said I was mad to say no as they were very good musicians. So I changed my mind. It was a great band. We played all sorts of covers of the day, ’70s songs . Great times, lots of harmonies . I was into all that.
Can you tell me about recording the Fable album – how songs were chosen, put together, recorded..? How long did recording the album take and who all was around?
I started the writing. It is funny looking back. We would be playing a gig and I would spot people in the audience. People from record companies, they were looking with a view to signing us . A guy called Peter Shelley came a good few times and would come back stage after the gig. He was very interested . I got on great with Peter . A few other record company A and R men were also looking at us . We decided to sign with Peter at Magnet Records. I think we did the album at Trident studio although I might be wrong . I do remember the engineer Mike Stone. He was doing another band in the night time sessions, He used to play us what they were recording. It was a new band called QUEEN. Freddy and the boys no less. I think we took about 4 weeks to do our album.
While recording Fable did you ever bump in to or meet the members of Queen then?
No not at that stage but I did meet Brian May at the L A Forum when I played there with Heep. I walked into Joe Elliott’s dressing room and there was Brian sitting on a couch with Phil playing his Red Devil guitar.
What sort of gigs did Fable play – mostly local or travel much around the UK or outside?
We were very much in demand . Doing maybe 35 gigs a month. Some nights 2 gigs. Lots of clubs, universities all sorts really, all over the UK We also did the German clubs – The Star club and the top Ten club
Any stories from live shows back then?
One night Fable were playing a gig and the audience were all sitting down, it was a working men’s club . No one was dancing at all , not the best atmosphere. We used to do 2x 45minute spots. When we came on for the second spot Mac Bailey, lead guitarist, had stuck a piece of wood down the front of his leather trousers. I could not sing for laughing . The dance floor was quickly packed with girls dancing .
Any ‘big name’ bands that you shared a bill with?
We played with everyone who was big at that time. ELO, Hot Chocolate Suzie Quatro. Sweet, Mud. Manfred Mann. When we played with Manfred they had a hit single out called “Joybringer”. As we were on first we played that song . Our version sounded better than the Manfreds , as was the case when we opened for all the chart bands of the day
Do you have any favorite songs from that album or stories pertaining to any of your lyrics on it?
I have not played the album in years. We were just learning. I had no real direction . It was a real mixture of styles musically. I was just happy to come up with any idea at that time. We all were .
What do you recall of that album cover and, in particular the band photo by that tree on the inside?
It was a great tree in Kew gardens in London . Great picture but can not really see who is in the band.
You wrote for other acts in the ’70s, in particular The Bump by Alvin Stardust. Can you tell me a bit about how that song came about, what sort of inspired it?
Yes , We used to play in Scotland a lot and at the time the kids started doing this new dance , they were Bumpin’. I had an idea to write a song called ‘The Bump’. I called Peter Shelley and told him . He said great idea . Magnet got a dance group to record it . I had to rehearse them into the song, they were loving it. It was on TV a few times. Then when Alvin did his album Peter produced it and got Alvin to do ‘The Bump’. I have a Gold disc on my wall for that song .
Do you recall any other songs you wrote that other artists recorded back then?
Yes , I wrote a song called ‘Falling Apart’. This was recorded by Smokie on one of their albums. I also got a Diamond Disc for this song . It was a huge hit in Norway , so that’s on my wall also.
You also recorded a few singles as a solo artist. Do you recall much about writing or recording these and if any received any radio play or local interest?
When I left Fable I had a solo deal still with Magnet. We did 2 singles , ‘Ain’t It Funny’ and ‘You Are Day You Are Night’. I did not write the latter, although I did really like the song. It was very much like a Walker Brothers tune.
You obviously were familiar with Trapeze. How did the offer to join the band come about? Or did you audition?
Yes I knew Glen. We used to play golf together. When he got the job with Purple Mel took over lead vocals for a while but kept losing his voice. So I was asked to audition. It was really great stuff from the off. I had 3 new songs – ‘Livin on Love, ‘Don’t Ask Me How I Know’ and ‘When You Get To Heaven’. We rehearsed them and – Wow, it was great!
What do you recall of recording the studio album with Trapeze? Any recall on putting together songs, working with Jimmy Miller, etc…?
All 3 made side one on the Hold On album, I was so chuffed . Jimmy Miller was great. He did not add a lot he just let us play and he recorded it. He did have great feel, nice man. There were no co-writes, I had my songs and Mel had his which he wrote with his brother Tom Galley. Tom did the lyrics for Mel.
What do you recall of the tours and shows you did with Trapeze– as far as who you toured with, biggest venues and crowds, countries you played….?
America was the place for Trapeze, in fact Texas. They were huge in Texas. I could not believe it. They loved Trapeze. I remember doing the Texas Jam . One night in Dallas one night in Houston. Both stadiums. A year later I did the very same 2 gigs with Uriah Heep.
How was response from radio or press to the Hold On album? And what were your favorites on it?
My songs of course but I loved ‘Don’t Break My Heart’ . I sang it really well I hope . I Love that song Not much radio, really . I had to fill the boots belonging to Glen which was quite a task.
Was a 2nd Trapeze album planned or started? And was there a break prior the band playing that final tour?
Mel was being chased by Coverdale. Dave Holland was offered the Judas Priest job Pete Wright wanted to go and live in America. We were hanging on for another record deal.as long as we could. We went to America but before we went I was offered the Heep job . The rest is well written.
photos courtesy of Lynn Everett
Regarding Live In Texas – was there more tracks played and recorded that didn’t make the album?
I think that was the whole show, I think so
Any tales from your very early days or a road tale from Trapeze. . (Re Glenn — did you ever read his book? )
I remember coming back from Hamburg before Trapeze days I was friends with Glenn even then. I had bought a suede coat with tassels like Wild Bill Hickock style. Glenn went crazy over that coat, he loved it. I think he would have killed to own it. I did sell it to him so he let me live. He later wore it on stage with moccasins to match. He looked great.. He looked like an apache Indian with his long hair. I did not know he wrote a book. Am I in it? I should be. Even when he joined Purple he never changed, not with me anyway. He picked me up to play golf one day. I heard this loud music coming around the corner, yes it was him driving a Bentley open top!
Aside from the Texas Jam gigs with Trapeze, do you have any particular favorite memory of that band [and members] ?
A guy that does not get much of a mention is my dear friend Pete Wright, great player to work with. He is nearly as funny as John Sinclair. Pete was always reliable, great bass player, great person to be in a band with. If we were down Pete would cheer everyone up. Very happy all the time. Nothing seemed to upset him apart from when Mel kept changing the radio station in the car. It drove us all mad. For Christ sake Mel!
Prior to joining Heep, what did you know about the band, (aside from all the line up changes)?
I knew of them of course they were a huge band worldwide. I do remember Mel saying to me that my musical career was going backwards by joining Heep . I did prove him very wrong on that one.
Had you ever seen Heep live in the ’70s with David Byron? or know any of the actual songs that you would later sing?
Never saw Heep before I joined . I had heard ‘Easy Livin’ , ‘Gypsy’. ‘The Wizard’. That’s all I think.
Ashley Howe was key to you joining Heep and was great for you and the band as producer. Can you talk a bit about your connection to Ashley and how he got the best out of you and his importance to the band at the time (81-83)?
Ashley I love you . Ashley found my big voice. He was the greatest. Abominog would not have happened without him. Simple. He brings out the best in everyone he works with. I learnt so much from him on that record. Why we did not use him on Equator – God only knows. History may well have been re-written had he produced Equator
Were you happy with Heep’s take on ‘Blood Red Roses’, and do you think (or how) you would’ve done it any differently?
I wrote that song for Mick Box ’cause he asked me for a song for Raging Silence. I think they did a great job and I am glad it was a success for them. They got it nearly spot on . I would have been more laid back and moody in the verses. But I might have been wrong . Bernie did a great job, thank you Bernie.
Obviously you are happy with the response to Easy With The Heartaches. Has the experience (so far), inspired you to want to clean out your vaults of more recordings from your past?
I have been asked for another record , we will have to wait and see.
AND – has it inspired you (at all) to want to pick up a guitar and play – even if for yourself or family members? No
*You can order Pete’s debut solo album Easy With The Heartaches, as well as Leavin’ The Hard Times Behind : The Best Of Trapeze – check out http://www.cherryred.co.uk
*If anyone out there happens to have any photos or stories of the band Fable, please let me know. Would like to revisit this album in the future.
I can’t remember many of the recordings, it was so long ago. The thing I remember more than anything was the excitement I had when it was time to record Pete’s vocals. He made it look effortless, and for me, the guy on the other side of the glass, it was a dream. He knew how to deliver a vocal, not just with ballads but with the rockier songs too. It was great that, other than the guitar solos, it was just me and Pete on the recordings. The technology was just getting interesting at that time and allowed us to work without the confines of other musicians. I’d like to think we had a chemistry that allowed us to work without evening speaking at times! I knew what he wanted from me, he knew what I wanted from him. Having heard the recordings again for the first time in many years, I can almost feel that relationship in the music. I guess Easy with the Heartache would be the song that gets me every time! When I heard the mix, I could picture a 20 something me smiling back at myself, also with a tear in my eye. I love Pete, with all I am! –Paul Hodson
Recorded in the immediate few years following Peter Goalby’s departure from Uriah Heep, the songs on Easy With The Heartaches show that he had not only gotten better as a songwriter, but also that his voice was in fine shape [contrary to news at the time]. One fellow Heep fan commented that Peter “sounds better than he did with Heep!” Upon hearing this, as a fan, you might have a number of questions that all start with ‘Why’ – like why did no one pick this up and sign him at the time, why did no other artists record a bunch of these songs already, and why did it take over 30 years for them to get a proper release. All these answers are probably what lead to Peter’s frustrations that lead him to leaving the music business in the early 90s, and not looking back. But I think the ‘legend’ of this ‘lost’ solo album, and the feedback so far since the announcement of Easy With The Heartaches shows just how many fans are still eager to hear more from Peter and what he did after Heep. Heck, dare I say – many many be much happier with this than Equator 🙂 If you’ve heard these songs on the internet, with crappy sound, having been passed around for many years on audio cassettes and computer files, you will be happily surprised to hear a proper remastered and authorized set of these songs. The sound is excellent, and the songs chosen are some of the best Peter wrote in his career. These songs were done in a studio in Wolverhampton with Peter, keyboardist Paul Hodson, and guitarist Eddy Morton [guitar solos]; Robin George also co-wrote 3 songs and plays guitar on those. Many Heep fans may gravitate to “Mona Lisa Smile”, a track that saw a single release in 1988, and more so for it’s being the basis for the track “Voice On My TV” on Heep’s 1989 Raging Silence album [the first studio after without Peter]. it is an easily likeable song and Peter used the original recording of it here. For me it is those punchy 80s pop rock tracks that really jump out here. I think what Peter was best at was writing those catchy and most memorable choruses. “Hold The Dream” is the standout (IMO), such a great chorus, you can easily imagine this on a Heep album, and more so see it as hit single; it might’ve suited nicely in an 80s movie somewhere [heck, a number of these tracks sound like they could’ve fit right in to an 80s movie]. But, there are a number of tracks that are upbeat and listeners will easily get in to, such as the title track, which one might (like Peter) imagine Tina Tuner singing. “Chance Of A Lifetime”, “I Built This House” (both with Robin George; the latter sounds like it would’ve fit nicely on Heep’s Head First!) and “They’ll Never Find Us (Running For Our Lives)”. Another favorite here is “Take Another Look”, it start’s out soft, but gradually picks up, and by the time it gets to the chorus I am thinking of Foreigner, A shame Peter never got an offer to join Foreigner beyond Heep, because this song would’ve been a huge hit. (It reminds me slightly of Foreigner’s “Heart Turns To Stone” & Lou’s “Just Between You And Me”.) That track is one of a handful of excellent lighter songs, along with “Used To Be Your Lover” and “Perfection” – another favorite here.
If you liked the ’80s, the sounds that came from that era, the keyboards, classy AOR rock, or recall Goalby’s performances on Uriah Heep’s 3 albums in that decade you will want to check this out. Also for those who might’ve appreciated the likes of Lou Gramm (Foreigner), Richard Marx, and perhaps even John Parr (who Peter would write songs for) For being deemed as ‘demos’ at the time, the sound and performances are outstanding, and well produced, It’s a great collection of songs from a guy who sadly disappeared at the end of the decade (see his comments on the CD liner notes), but hopefully is back (enough) to clear out his archives for fans, and who knows …..!?
Paul Hodson recalls the technology and recordings – “If my memory serves me I think I used a program call C Lab Creator running on an Atari 1040 st computer. It was the the beginning of computer based sequencing and, despite it limited technology, it was really stable! Synth wise I guess I would have used a Roland D110 and an early sampler, either a Sequencial Circuits Prophet 2000 or a Casio FZ1 I guess. There may have been other synths but it was a long time ago! I think we were running a 16 track recorder onto 2 inch tape back then. I always remember we had a huge box of spare relays and a few hours before Pete came in I’d be swapping parts just to make sure it worked! We had a newer 24 track machine soon afterwards so the later recordings were done on that. I can’t remember which desk I used at the time, I think it was a TAC Scorpion! Showing my age now! For Pete’s guitar we used a Tom Shultz Rockman, it was the sound of the 80s, I think we used the same on John Parr’s album. Pete had got the best Telecaster I have ever heard, a real old one, I hope he still has it! I don’t do much now. I retired a few years ago from music and a enjoying my free time! I had a solo album out in 2004 and maybe I’ll do another but I guess nobody would buy it! Been away too long!”
From Robin George – My first recollection of Peter is, I bought a Gibson 330 guitar which was fab! A friend was opening a music store, and he asked me to lend it him for a window display. The first night, the shop got robbed and my guitar was stolen! He had no money so he gave me an MG Midget sports car as recompense. I loved the car so all was cool. The next time I saw the Gibson was at the Lafayette club where Trapeze were live (great band)… Peter was playing my 330 so I was really pleased it went to a really good home. Later Dave Holland, Trapeze drummer (later Judas Priest) introduced us and we got on well, so we started writing and recording together at my home studio. Peter would arrive with the titles and the choruses mapped out, so as he put it ‘I brought my guitar and played you the choruses and any other bits then you would add from there putting verses together and finished the JIGSAWS.’ I played the instruments and produced what we both agree were great songs. Peter later signed a deal with RAK records on the strength of the tracks, and Mickie Most produced Mona Lisa Smile, as a single. My memories of the sessions were mostly losing the great groove and atmosphere of the song, even a great gospel choir didn’t help. It was released, but I don’t know if it sold.
Peter later told me, ‘The Mickie Most Session WELL ? You can mention the fact that I have used our original version and NOT the Mickie Most version!’ You can tell Kevin about me doing the vocals in your kitchen LOL’ – He was in good company at the kitchen sink, Robert Plant Glenn Hughes Ruby Turner Pete Way Daniel Boone to name just a few of the stars who sang there… nobody washed up though 🙂 Later Peter contacted me to say Estrella, the band, wanted to do a version of Mona Lisa for their album ‘Come Out to Play’ ( a good version it is too) which we were both pleased with. They also covered our song ‘Chance of a Lifetime’. Later Peter asked if I had the recordings we did for his new project (he only had a cassette tape of the sessions) so I tracked them down and had the 5 tracks re-mastered and they sound really good! We’re still very much in touch and I’m really pleased with the interest in Peter these days… His new album ’Easy with the Heartaches’ is out on 19th November on Sanctuary Records and includes Chance of a lifetime, I built this house, and Mona Lisa Smile of course. Cheers (www.robingeorge.co.uk)
*Easy With The Heartaches can also be found on Amazon sites, and various online shops. When you get it – come back and let me know what you think in the comments!
Peter Goalby had a long and successful career throughout the ’70s and ’80s. From Wolverhampton (England), Peter was in such bands as Fable and Trapeze as a singer, guitarist and writer. He also had a solo deal with Magnet Records in the ’70s, releasing a few singles. Following a final tour and live album with Trapeze he joined a revamped Uriah Heep, lead by Mick Box. As a frontman and writer he played a major role in the band’s resurrection in 1982 with the successful Abominog album, followed by Head First, and then Equator. In this interview [his first since his interview with the Uriah Heep Appreciation Society in 1992, and his first since walking away from the music business] Peter explains his reasons for leaving the band, as well as a few events that lead him to leaving music all together in the early ’90s. He took other jobs, put away his guitar, and moved on, having little contact with the music industry. However, November 5th marks the return of Peter Goalby in a way – it is the release date for his brand new album – songs that he’d recorded over 30 years ago! Songs he feels strongly about, and that he needs to see released. Easy With The Heartaches will be his first album since 1985! Peter says he is “thrilled” with this new album. And here’s hoping that it generates enough interest that we might hear more from the man!
*Check out the link at the bottom to order Easy With The Heartaches.
To go back a bit, I just want to clarify that you did not leave Uriah Heep because your voice was gone – it was the relentless touring along with personal matters at the time!? Can you talk a bit about that decision and how it came about ? Did the lack of success with Equator play a part as well?
The touring was relentless from day one. Everything revolved around the live shows . Just to give you some idea, we once did 22 countries in 30 days. My longest run was 16 nights back to back. I remember checking in to the Hamburg Hilton and I bumped into Gary Moore in reception. I told him that this was show 16 on the bounce, he said “Sack your manager!” Our manager was standing next to me, so I said “Gary meet Harry!” LOL. Equator was a major part of the end for me. I have never understood why we did not use Ashley Howe on this third album > I was told we were using Tony Platt because he had worked with Mutt Lange. The album flopped mainly because the sound is awful. It’s drenched in Reverb and difficult to follow. Way too many overdubs. We arrived in Australia to do our second tour in two years. We were met from the plane by three people from CBS Records. They had no idea that we had a new album out (Equator). We were so pissed off – I could not believe it . What a cockup! So. as the first Aussie tour went so well. this time they put 36 shows into 40 days . We got about three quarters through it, then one afternoon Lee took me fishing off the rocks. All I caught was a throat infection – Laryngitis. I lost my voice completely for 4 days. I was not allowed to speak at all. We resumed the tour and my voice was fine. My voice did not give up, I did! Many reasons added up to me wanting to leave but my voice was fine. I hope you will agree when you listen to my album . I am so proud that finally people will listen to my very best work. I love the songs – all of them! It’s the real me, what I always wanted. The story of me having problems with my voice suited the band at the time, it fitted in . No one ever asked me if it was true. This is my first interview since those days [ed – UHAS int] .
Can you touch briefly on the highlights of your career – with Heep, Trapeze, as a solo artist… Any tracks you were most proud of or favorite concert moments?
There are so many Highlights in my career – Fable was a great band, all 5 of us sang; I loved the harmonies and all that stuff. We were a cover band really but we did the songs live better than the original artists. I was thrilled when I was asked to join Trapeze. Mel was a great guitarist, very unique style of playing. I wrote three songs for Trapeze – “Livin’ On Love”, “Don’t Ask Me How I Know”, “When You Get To Heaven”. All three ended up on side one of the album, Yea! My favorite Trapeze track I sang was “Don’t Break My Heart Again” – I think I did a fine job on that one !? Castle Donnington was the start of the Heep story – we blew all the other Bands off the stage, as we did so many times, at many festivals over the years. We headlined so many, all over Europe, it was great! I remember waking up one morning in a hotel in Europe, I could hear the riff to Golden Earing “Radar Love” live – It was 11am, the show had started and we were not on until 9pm. I thought to myself “Wow that’s where I am, great stuff!” I loved working with Def Leppard – Joe, Phil and the boys – great people, they really were. We were all great buddies at the time. Joe and I played golf in Las Vegas. We used to share a taxi when doing the radio interviews before every show. I was watching Sky Arts TV channel the other day, watching the Eagles live, and I thought “look at the size of that gig!” – then realized it was the LA Forum. I have played that gig! I loved playing India, that was incredible, And yes, I really do have a scar on my back, where I was bitten by a naked Indian guy who jumped on the stage. I regret not doing Russia; that must have been fantastic for the boys.
Was the possibility of a trip to Russia in talks before you left?
Just before we went to Australia for the second time , we were offered Russia but it was not officially on . I did not realize it was going to be that big , must have been incredible . Well done Mick.
Too Scared To Run was a great intro for the band!?
When I wrote “Too Scared To Run”, as I did with a lot of songs, I always pictured certain bands playing it or what would they would they do. And I wondered what would Phil Lynott and Thin Lizzy do? And it’s really weird because looking at some of the comments on the internet about ‘Too Scared To Run’ one guy actually said that it reminded him of Thin Lizzy! So, I thought ‘yeah, I got it right.’
Immediately following Heep, was your initial plan to get on with a solo career or was there other options, offers, things you wanted to do? And what lead to eventually writing and recording these tracks that make up Easy With The Heartaches?
Straight after leaving Heep I I was introduced to Mickie Most. He had just bought back RAK records from EMI. He signed me and we made two singles which he produced . “Mona lisa Smile” an d then a great song called “I Don’t Wanna Fight”. I then got a publishing contract with Rondor Music. They treated me very well. I was allowed to go into the studio any time I had new songs and record them . Which I did; that’s how these recordings came about. I would wait until I had three or four songs ready to go, then book the time in Mad Hat studio in Wolverhampton . We would record three songs complete in a couple of days . To be honest I was thinking maybe I would get an offer from a band. I never thought of me doing a solo thing or having my own band. My writing was getting better and better at the time; I felt like I was in the zone. The songs were getting stronger and stronger. Had I stayed with Heep they would have ended up as Heep songs I am sure. I also think part of the reason the songs were getting better was that I now had the time to concentrate on being a writer. Really that’s all I wanted to do, be a writer of songs. The songs on Easy With The Heartaches were written after I left Heep, there was nothing left laying around with the band, nothing. John Parr contacted me, he had heard some of my songs and loved them. He asked if we could do some co-writes for his next album I said YEA. We wrote “It’s Startin’ All Over Again”, “Everytime”, and “This Time”, which John put on his Man With A Vision album. John played all guitar solos, I played all other guitars. I also did some co-writes with Robin George. Robin is from Wolverhampton, so we knew each other for many years . I have put three Goalby / George songs on my album : “I Built This House”, “Monalisa Smile”, and “Chance Of A Lifetime”. They were recorded in Robin’s home studio.
In talking about some of the tracks – Monalisa Smile is one many will know [as it was a single], but it also created a bit of controversy in comparison to a Heep track on Raging Silence!?
When Heep were doing Raging Silence, Mick asked if I had any songs they could do. I had “Monalisa Smile”, and I wrote a new song especially for the album, I called it “Blood Red Roses”. It is a great song. So I sent those two songs to Mick. Then when I heard the album I played “Blood Red Roses” and thought “WOW – I should have recorded it myself”. I loved it . But the next track came on and my father-in-law said “that’s your song too ?” I phoned Mick and said that “Voice On My TV” was the same as “Monalisa Smile”. He told me it was a co-write with the new keyboard player. Mick apologized and it has not been mentioned since that day.
[Peter Goalby: Rantarock Festival, June 1985. Photo courtesy of Juha Kivinen]
Do you have any personal favorite tracks on this album? Anything specific that you felt would’ve made a great single at the time you recorded them?
I love every track on Easy With The Heartaches. I chose that song as the title track because of the lyrics. They are rather fitting. they mention ‘too scared to run’ and ‘Rainbow’. I think my very favorite has to be “They’ll Never Find Us”, it fits together so well, and I sing it well (I hope).
These songs have always been noted as being demos!?
I call them demos, but they sound as good as anything else that’s out there from the 80s.
What happened following these recordings that they ended up getting shelved [and eventually bootlegged] and you eventually leaving the music business as a writer / performer?
Mickie Most went to America with “I Don’t Wanna Fight” and “Monalisa Smile”, and got me an album deal. And they offered him 15 points [percentage breakdown], and he wanted 19, and he walked away! So yet again – this is the story of my life! There would’ve been a Pete Goalby album a few years after I’d left Heep.
This single started to do well, it was on round table, which is a Friday night radio show where they play new singles and comment on them UK DJ Mike Reid was on that night .I remember it well, I was listening to the show. They played my record and Mike said – “What a song. The vocal is a hit vocal, but the production sounds so old fashioned . It sounds like the sixties. Awful”. Monday morning Micky pulled the record from release. He withdrew the record .
I remember there was a shake up at Rondor, my contract was up for renewal. The guy that had signed me got fired and so did all of his Artists – including me . So that was the end of that. I decided enough was enough and quit the music industry. I had given my all for so many years but decided there were other things in life like being happy.
In the years since leaving the business did you miss it at all – not so much the ‘business’ end, but the writing, recording or performing live? And do you still play on occasion [in private, for company or yourself]?
I missed it all, big time! That’s why I stopped completely. That was the only way to deal with it. I was in denial. It took a long time to get over it all and become normal again. I could not figure out why I could not get it off the ground. So I stopped. I have not picked up a guitar in many years. And the same with the singing. The last singing I did was for Uli Roth, 1992, I think. Looking back, I hated the music business, but loved the music . This album is so important to me. I truly believe these are my best songs.
What sort of lead you at this stage to get these recordings out? Curious if you’ve seen a lot of positive comments about your recordings with Heep and Trapeze, and if that played a part? Can you kind of go through what got you motivated, and the whole process to get to this release? {i believe it was late 2019 when you first mentioned it].
I had been looking on YouTube etc , and was blown away with the comments about the songs. People totally get it! And that’s great. So many people saying they like the songs. A very important thing happened to me when I was 60 years old – my Mother told me the man who I thought was my Dad, actually was not my Dad. My real father was a singer and piano player – Wow! Then it all made sense. I finally knew who I was and where it all came from. Had I known this before I would not have stopped singing and writing etc (isn’t it a strange old world?) Losing Trevor, Lee and Ken made me think real hard about things. I thought when I go, some one will buy the rights to my songs and release them anyway. So I decided to stick around and hopefully enjoy releasing the album and all that goes with it.
Has this release inspired you to want to see more stuff from your past get released [or reissued] – like Fable, various singles…..?
As I said when I am gone , it will all get released so, if that’s what people would like . Then let’s go for it now Kevin.
Why did you decide on Easy With The Heartaches as the title?
I wanted to call it Easy With The Heartaches because it could be about me, if you listen to the words.
As you had more than enough songs to pick from [people who have the ‘bootleg’ out there will say there’s songs missing]. So curious how you chose the songs for this release? And what might become of the ‘leftovers’?
I was not even aware there had been a bootleg album of my songs. I thought some one had been nice enough to put a couple of my songs on You tube. I wanted the album to be punchy. After being in such a great band with Mick. I think that is what people will expect. I have more songs and we will see how things go with this album.
How happy are you with this album being released [finally]?
This is my first album since Equator and it’s been such a long time. It’s weird but I can detach myself from them ’cause it’s been so long since recording them. It’s as though I am listening to some one else. I think he is good, I like his voice! But I love the songs and style of the songs. It’s the kind of music I love. So it makes me very happy.
Could you foresee yourself recording anything new – be it reworkings of old songs or perhaps writing something new?
I am not sure about singing or writing new songs but lately I have learnt – NEVER SAY NEVER!
How involved and happy were you with the Trapeze compilation that came out in 2019?
I had a nice surprise last year with the release of the Trapeze compilation. I don’t know why but they did not use “When You Get To Heaven”. I think that was a strong song… Anyway, never mind. I was not involved at all with the release. I was asked to do something for the sleeve notes, which I was very happy to do.
There are a number of things in the Heep vaults from your time – the Ridge Farm stuff, the live in Auckland show, there’s also a live show from Glasgow [radio broadcast]. . Would you be keen to seeing some of this stuff ever released?
No! The live in New Zealand I think is fab. I’ve watched it. That was done properly, it sounds good, we’re playing [what I call] proper songs. That wouldn’t be a problem. But all this stuff like Ridge Farms, and stuff I’ve seen over the years like backing tracks, I’m thinking ‘who is doing this, what is the point?’ , it’s crap – it’s not very good. [Q- stuff on the box sets?] . Yeah, I don’t agree with any of that, it was never meant to be released. You wouldn’t release them at the time. The reason something doesn’t get released is because it’s not strong enough or it’s not in the right style, or whatever. So you pick and choose what’s going to be on the album, and all these songs get fallen by the wayside, and a lot of them aren’t even finished because you think there’s no point in finishing it because it’s not going to make it; it’s a no-go. And to hear them coming out as bonus tracks, I’m embarrassed, because it was never meant to be!
You remained a very private person since leaving the business, even avoiding social media. Can you give fans an insight in to how you are doing and what you’re into these days?
So, it’s all looking great, I have been very lucky in many ways. I am enjoying my Retirement, although I think I will be very busy after November 5th. We are still very much into our horses and horsey stuff.
Though it’s been a long time – have you occasionally been recognized or approached by fans while out in public?
I am still recognized, yes. I have always played it down though. A lot of our friends still don’t know I was a singer in the 70s and 80s. It’s great fun when they find out.
You spent a lot of time with Trevor and Lee, and were friendly with Ken. Any special memories or tales of any of them?
We lost Trevor, Lee, Ken , and then John Lawton . I did not know John but he was part of the family and all are missed .
I loved Lee, he looked after me . Bob Daisley said , if Lee tells you anything you must either half it , double it, or completely ignore it LOL
Bob called Lee ‘Grenade Head’ ’cause he was likely to go off at any moment LOL. Bob and Lee were very close right until the end .
Lee was an absolutely fantastic drummer. To stand to in front of the drum riser with Lee playing behind me, his bass drum used to blow out my trousers, he was so loud, he was like Cozy Powell. Cozy was exactly the same. A fantastic drummer. But Dave Holland was a great drummer too.
Trevor – What a bass player! I still see him all the time on all the Spiders From Mars videos on TV. Trevor was also a funny guy; very quiet but in a calm way I loved sharing a stage with Trev.
Ken, what a talent – so many classic songs . I wish I could have shared a stage with Ken. It did cross my mind to do an album with him but I left it too late . He was a great keyboard player; a different style to my mate John Sinclair, Both fantastic.
You’ve kept in touch with Mick over the years, and presumably John Sinclair. And Bob Daisley was in the band prior to Trevor…
Yes I am in touch with Micky but more so with my mate John, he is the funniest man in the world, so funny. He said to me a few months ago – “Pete you are the best singer I have ever worked with… Oh, apart from OZZY!” LOL
When Bob left the band I was so upset, as we were great together. He is a great bass player and writer – ,everyone knows that. Bob and Lee together, WOW – bloody fantastic! It was an honor Bob.
If you were to ever join Heep onstage for a couple of songs from the ’80s — what would you like to do? 🙂
If I ever joined Mick on stage for a couple of songs from the 80s – “To Scared To Run” – for sure, as it’s my song. And I think maybe “The Other Side Of Midnight.”
Peter Goalby left Uriah Heep following 1985’s Equator album and world tour. His first move was to release a single under the name Perfect Stranger in 1988. The singer, who also was a major songwriter during his time in Heep would resurface on the band’s 1989 album Raging Silence, as he wrote the single “Blood Red Roses”. As well he wrote “Falling Apart”, for Smokie on their 1989 album Boulevard Of Broken Dreams. He would also record a number of tracks for a solo project in 1990. A few of these tracks would see the light of day on official releases – “Mona Lisa Smile” was issued as a single in 1988, co-written & arranged by guitarist Robin George [ex Byron Band], and produced by Mickie Most. That track, as well as “Chance Of A Lifetime” [also on Easy With The Heartaches] were also recorded by UK band Estrella for their 2012 album Come Out To Play [an album produced by former Heep keyboardist John Sinclair]. Peter also wrote for a few other artists [notably John Parr], as well as guested on stage with Uli Roth, but would retire from the business, and taking on a job for a guitar company. But these recordings would later find their way out on the internet – bootlegged to download or on Youtube. His 1990 unreleased solo album was no secret amongst Goalby’s fans. Recently retired, and knowing these are the last things he wrote and recorded, and was proud of, the singer finally decided it might be a good idea to get his lost solo album out as an official release. Easy With The Heartaches features 11 tracks personally overseen (from tape transfer, mastering and artwork) by Peter Goalby. And here’s hoping that fans enjoy it, it’s not the last we hear from him!
Track Listing:
1 Easy With The Heartaches 2 Hold The Dreams 3 I Found Real Love 4 Chance Of A Lifetime 5 Mona Lisa Smile 6 They’ll Never Find Us (Running For Our Lives) 7 I Used To Be Your Lover 8 Take Another Look 9 Perfection 10 I Built This House 11 The Last Time
Outsider Rock 