On the current US tour which sees Uriah Heep & Saxon co-headlining, Heep will have Adam Wakeman guesting on keyboards, Wakeman mentioned this in his Twitter feed a while back. Uriah Heep posted that “Due to family commitments Phil Lanzon will not be appearing on this run of dates and filling in on keyboards will be Adam Wakeman (Ozzy Osbourne/ Black Sabbath/ Deep Purple)….”
Adam Wakeman
Both bands will play 80 minute sets, and alternate every few shows of who’s on first. Saxon will be promoting their excellent latest album Hell, Fire, and Damnation, while Uriah Heep will finally get to perform a number of songs (4?) from last year’s awesome Chaos & Colour release. Following the Heep tour, Adam Wakeman will be performing shows with his band ‘Jazz Sabbath’s.
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.”
SAXON released Hell, Fire, And Damnation in January, the band’s 24th studio album (excluding their 2 recent collections of covers). if you haven’t heard the new album, it is one of the band’s best in the past few decades (well, their best since 1999’s Metalhead, for me). See my review elsewhere on this site. In this conversation, Biff discusses the band’s change in guitar players, the songs and artwork for Hell, Fire and Damnation, and the band’s upcoming US tour (co-headlining w/ Uriah Heep).
*Check out the links and tour dates below.
First of all, the new album if you can tell me a bit about the title where the what inspired the title and the title song obviously in that context. I posted a review the other day.
Yeah, the first song’s about the battle between good and evil, really, that’s been going on for 1000s of years. I suppose it’s based on the prophecy, you know like the Omen films, that type of thing. I suppose it was good to write a song about good and evil and just a lot of bands just write about devils and demons and things, or occult. And it’s a saying my dad used to use when he was upset – ‘hell, fire and damnation’. That’s where the title came from, the idea for the words, anyway.
You got Brian in the band now. Prior to, when Paul announced he was leaving did you have Brian in mind already, when that came up?
Paul’s been thinking about leaving for some time. I think when we were touring during that particular period, he was quite tired and not really into metal music anymore. So he just wanted to play blues music and relax a bit. So that’s what he wanted to do. So we asked Brian – Brian was the first guy we asked actually. And the thing about Brian, is apart from Metallica connection, you know, the songs that they recorded of his; He’s a bit sort of frustrated, writing great riffs and things and playing great guitar and not being able to play in front of a lot of people, so he jumped at the chance to join Saxon. He’s still in Diamond Head, but he’s really enjoying himself, you know, getting the sort of interest that he deserves.
Yeah, did that change kind of give you guys a bit of a spark with the new album, so I think it’s great album. It’s very consistent, the songs are really good.
Well he wrote the title track with me, we wrote that time together – “Hell, Fire and Damnation”, so he’s come in to the band and done some writing. So dynamically, we’ve changed a little bit, which I think is for the better really. The album sounds fantastic.
A lot of the songs you write are kind of history lessons or history topics. So I always find myself when I get a Saxon album I gotta go look up something that – ‘what is this moment he’s talking about or this event’?
Haha… A lot of people do Google, you know – if they don’t know what happened in 1066. Or the Salem witches, you can go on Google and Wikipedia it gives you a short story of what it’s all about. I think in that way it’s interesting you know. And some of the Maiden tracks are quite history based. I’m sure some people google and find out what the tale of the “Ancient Mariner” is, you know!?
What kind of inspires each topic that you come up with – is it reading or a book or movie..?
A lot of it’s documentaries and things you see on Netflix or something. I read articles and watch films and things, so I’m always looking for something to write about. I was doodling with a song called “Remember the Alamo” for this album, but it didn’t quite make it. So that might end up on the next album (haha); you never know!
You also had a change with the artwork on this album?
Again, it’s dark and light – good and evil. So I wanted to an album cover that basically mirrored what I was saying in the song really – the fight between good and evil. And I got my friend, the actor. Brian Blessed to do the intro for all sounds pretty precious metal to me. I mean, I do like it.
Now you got Peter Selye doing the artwork this time? That’s first person you’ve had somebody new for, I guess for quite a few years, I guess. We do usually use our other friend Paul Gregory who’s done a lot of albums since Crusader. But he wasn’t able to do this album. So I had an idea, you know, an idea of a cover, and we sent my ideas to different artists. And he (Peter) came back straight away with that concept of you know, the super angel and the shield in the middle of the battle. And it looked really great to me, you know,
How involved are you with each cover from album to album? Is it your ideas?
Yeah, a lot of them are based on my ideas, yeah, and where I think they should from. The album can do what he wants, but it all comes back from an idea I have. They’re not always great, and don’t always work, so we might have to move on to a different cover. but this one is pretty much how I wanted it to be really.
Well it’s a great cover
Looks great on a t-shirt!
And the title is very memorable…
And you can buy a box set with a patch in it, and put it on a jacket, and that’s pretty cool. I’m going to be wearing one of them on stage, I think.
If we can touch on some of the songs, because there’s a lot that stand out on this here for me – “Madame Guillotine”, “Fire And Steel”, “Pirates Of The Airwaves”… Can you tell me a bit about a few of the songs and if you’ve kind of decided or have an idea what you might put into the live show?
“Pirates Of The Airwaves” was based on the ’60s really. When I was a boy listening to music on a little transistor radio because the BBC the British government, wouldn’t allow people to listen to rock music, like The Rolling Stones in the 60s, so we used to listen in our in our bedrooms late at night, midnight, listening to these tracks coming through from these pirate stations. That’s what that song is about. You know, it’s just reminiscing from my youth, really.
“Fire And Steel” is basically it’s about a city in Yorkshire England called Sheffield, and that was a very behemoth city. It’s the place I used to go when I was a teenager to see all the bands. You know I saw David Bowie there, and I saw Uriah Heep, and Deep Purple – all the big bands used to come through this city called Sheffield, and I used to go so that’s what the song’s about really.
And obviously “There’s Something In Roswell”, I think a lot of people know what that’s about already.
Well, I’m a believer. I don’t know about you, but I think there’s something in Roswell. I think something happened there. Roswell was ground zero for UFO enthusiasts. Really.
Do you follow a lot of that stuff?
It’s interesting. I like conspiracy theories. Like something happens and then the government tells you something else. It’s interesting, isn’t it? I mean from Roswell millions of UFO sites and people talk about UFOs, Investigate UFOs, and it all started from Roswell, really.
“Kubla Khan And The Merchant of Venice”?
Again, that’s a bit of a history lesson really. You know Genghis Khan was a big warlord in Europe who conquered most of Europe and some of the Roman Empire. And one of his great grandsons was the Emperor of China, his name was Kubla Khan. And the first guy to go there and write about it was a guy called Marco Polo, who was from Venice. He discovered the Chinese used gunpowder, this fantastic pottery that they used to make – a great story really. I think that’s the most historic song on the album, but you can google it again if you want to find out what it’s about.
You guys are consistently putting out albums, like yearly – even when we were off during the pandemic you still managed to put out the two covers’ albums. What kind of drives you and how important is it to keep putting out new material when there’s a lot of bands at this stage who are just content to do one every five or six years or whatever?
We still have lots of things to prove. And we’re still always trying to write that perfect song on that perfect album. And we’re songwriters basically, well you know, I mean I look at myself as a songwriter not just a singer, so I’m very dedicated to make and produce new material. And then tour with it. We could obviously tour and just do the big hits from the ’80s, but we don’t really want to do that you know; we want to want to make music that’s relevant – you know people like it, like this album’s getting good reviews from around the world. It’s a good feeling you know; it’s good feeling that we can still write great songs – in my opinion that are just as good as the early songs.
Yeah, I like following bands who have something new because it’s easy to fall off if there’s nothing new for a long time right, so yourselves and well Magnum, Uriah Heep… bands have that still put out albums consistently every year Or few years that are well worth having.
I think especially in the metal genre like Saxon, Judas Priest, and Maiden – we put out albums because you know we like to tour on those albums and that’s what really gives us the juice you know that keeps us alive, keeps us feeling young, playing music that’s new. It’s a really great feeling.
You’ve got a tour coming up in the US with Uriah Heep. So a couple things – when you go out on the road for these long journeys, like you’d be out here for a couple of months. What do you guys do? You know, what’s your kind of your routine as far as do you go visit a lot of historic sites yourself and or is it kind of all business?
Well we drink a lot definitely! (haha) And we keep ourselves busy really. And then we don’t have many days off, so, if we have a day off in a cool place then we’ll go off and visit the area or go shopping or something, just to break the monotony of traveling every day. We’re pretty much a family, it’s like a gang on the road. There’s a lot of fun, a lot of joking about, you know, it’s like being out with your friends really, like being out with your mates.
You’re touring with Heep, and you’ve mentioned them before, I know I read you’d picked Demons And Wizards as one of your favorite albums. And you covered “Gypsy” on the last covers album. How far back do you go with them as far as seeing them the first time?
The first time I saw them, I mean, they’ve been going on quite a long time. I didn’t see them in the late ’60s, I must’ve seen them on their second album tour, I think…and I think they were out with Purple. I’d seen them in Sheffield actually. So it must’ve been very early ’70s. But I didn’t need them until much, much later on. Because they weren’t really on our touring circuit, if you know what I mean, in the ’80s. I think they stopped touring the UK in the ’80s and had a bit of a hit in America in the ’80s with one of their albums. (Ed: Abominog, w/Peter Goalby). I didn’t see that band, but I saw Uriah Heep with a guy called John Sloman. Yeah, so I do like Uriah Heep, and I do know them, but we’d see them in restaurants and airports and it’s only in the last 3 or 4 years that we started playing shows together.
Metalhead was kind of my rei-ntroduction to you guys because I know you’d been over here in the ’80s, but when Metalhead came out, that really got me back into you guys and I’ve kind of picked up from there and been following ever since.
A lot of people got in to us on Metalhead. It’s kind of a dark album. It’s a great album, actually, I think it’s a really underrated album. It now ended up in a lot of people’s like, you know, top 10 albums they play Saxon, so it’s getting the recognition, I think.
You did the King Crimson cover on the next album? Do you remember touring or sharing bill with a Canadian band named April Wine in 1980?
Yeah, we did some shows together. We did the Monsters Of Rock together, the very first big one in the UK. I remember watching them, they were a good band.
Yeah, because they had a bit of a radio hit with their cover of “21st Century Schizoid Man”? So, when you guys did “In The Court Of The Crimson King”, I thought that was a great connection there.
A lot of people do “21st Century Schizoid Man”, it’s such a hidden track, but I wanted to do something a bit more proggy, a bit more prog-rocky. which is why we used the other one.
What else do you have on the go as far as other projects you’d like to do or anything else you’re working on?
At the moment, we’re not really working on much. We only finished this album in October last year, so we’ve been working pretty hard on this album. No real plans yet, just to promote this album, tour this year and promote the album. We might do more videos, maybe I don’t know. Just to concentrate on the album. That’s the next thing.
I’m looking at the dates. And I don’t see any Canadian dates yet. So I’m hoping if there’s going to be dates added on, because there’s not really a lot of room in between all those shows that are listed.
We have some space after the summer to maybe come back and do some Canadian shows, and some West Coast; we’re not doing West Coast shows either. It would be a good plan to do Canada, then shoot over to Vancouver and then on the West Coast and maybe go into New Mexico. So there’s a few areas that we aren’t playing on this part of the tour, but it’s just part one, basically. So we’ll see what happens.
The recording machine who is Israeli guitarist/songwriter AVI ROSENFIELD has released a new album in his ‘Very Heepy Very Purple’ series, making this one ‘XV’, featuring 10 original tracks than are in the vein of that classic heavy early 70s sound. This one features a number of guests, most notably Canadian singer Nick Walsh (Slik Toxik, Moxy, Famous Underground), American singer Harry Conklin (Jag Panzer, The Three Tremors), American guitarist Brian Young (David Lee Roth, Jeff Scott Soto), singer Bryan Ketelaars (August Life), and Argentiian singer Pablo Sanchez. A series of albums worth checking out. Highlights on ‘XV’ include “Metal Tears”, a Rainbow inspired rocker (reminiscent of “Stargazer”), one of a few tracks featuring Nick Foley on Hammond organ and “Lady Luck” features Nick Walsh on vocals, with a Gillan era Purple vibe and Heep-ish backing vocals, as well as a cool Hammond organ intro and performance by Niall Temple (of UK band Lost In Thought). Later on “Wheels Are Turning” lightens things up a bit here, and features Italian guitarist Claudio Acampora, while Atomic Punks’ guitarist Brian Yooung (and ex David Lee Roth) lays down a killer solo on “It’s Alright”. Check it out!
German band LUCIFER’S FRIEND released their 2nd album in 1972 (’75 in the US & Canada). The band’s self-titled debut is often hailed as a proto-metal classic, lumped in alongside albums from Deep Purple, Black Sabbath and Uriah Heep in that year, 1970. But, despite being not quite as ‘heavy’ or early metal, the band’s follow up album, with the odd title of Where The Groupies Killed The Blues is pretty impressive as well. Lucifer’s Friend would expand their sound, adding more piano, acoustic guitars, ballads, while using more instruments, such as keyboardist Peter Hecht on electric piano, moog, Hammond organ, mellotron, as well as being credited with string arrangements. Engineered by the legendary Conny Plank, and produced by the band and Herbert Hildebrandt (The Rattles, Randy Pie). Songs written by the band, along with some lyrics from another English musician – John O’Brian Docker (who also wrote for Randy Pie). An interesting cover by Klaus Witt (Witt Studio, Hamburg), with a strange photo of band members in some hippy party-type feast (or something! Anyone?); with the original German press coming in a gatefold cover, lyrics inside, and other prints being a single sleeve with a printed inner sleeve. Tracklist order also changed from Germany to North America editions.
The album itself featured the single “Hobo”, released in Germany & Spain, but more so it included such classics as the heavy “Prince Of Darkness” (highlighted by Peter Hesslein’s guitar soloing & Peter Hecht’s piano), as well as more proggy epics like “Mother”, the title song, and “Rose On The Vine”. Best known track here though has to be the ballad “Burning Ships” (nicely covered a few years back by Jason Kane & The Jive!). Hard to believe this wasn’t the single, just a great song and performance. Singer John Lawton stood out again throughout this album.
A shame this album never got a better deal or is seen by casual rock fans as a great album alongside the debut, but those of us who know the band dig this one. As the band went on making regular albums throughout the 70s they covered many other styles from jazz rock, fusion, prog, and pop. But Where The Groupies Killed The Blues remains a favorite for me.
John Lawton – lead vocals RIP, Peter Hesslein – lead guitar, acoustic guitar, percussion, vocals, Peter Hecht – piano, Hammond organ, electric piano, moog, mellotron, Dieter Horns – fender bass, bass-fiddle RIP, Joachim Rietenbach – drums, percussion RIP
British bands URIAH HEEP and SAXON will be co-headlining a US tour throughout April, May and June of 2024. (Dates to be announced in a few weeks). Heep who released their 25th studio album, Chaos & Colour, in January (this year) and Saxon have a new album set to be released January 19 titledHell, Fire And Damnation.
Earlier this year Saxon released their 2nd album of cover songs titled More Inspirations, which included their rendition of Heep’s “Gypsy”. Guitarist Paul Quinn retired from touring, and Brian Tatler (Diamond Head). Heep played shows to commemorate their 50th anniversary last year, and recently finished a tour of Brazil, but haven’t featured Chaos & Colour songs in their show as of yet, so presumably 2024’s performances will see some of these great tracks performed. Prior to the US , Saxon and Heep, as well as Judas Priest, tour as the European Metal Masters.
My fellow Uriah Heep friend & fan Mike Shannon has written a novel ‘A Ribbon Of Sand’. As a Heep fan Mike manages to make a few Heep references in the book, as he tells me – “The book takes place in 1982, Abominog gets several mentions and pops up in pivotal segments. The album cover is also the focal point of a pivotal scene.” The main character is even shares the same name with longtime Heep engineer, and producer of a few Heep albums –“The main character’s name is Ashley Howe () who’s a metal and classic rock fan, and there are several Heep song/album references, along with a bounty of classic rock and NWOBHM bands like Tygers of Pan Tang, Iron Maiden, Cirith Ungol, Venom, Motorhead, Sabbath, Purple, Witchfinder General, Thin Lizzy and so on. This music is the main character’s coping mechanism as he tries to navigate his precarious position in the backward community he lives in.”
*For more on A Ribbon Of Sand check out Mike’s bio below, and the back cover. Easily available on Amazon (hard cover, paperback, Kindle)
Ribbon of Sand is Mike Shannon’s first novel. He spent several years of his youth in the South Carolina Low Country; the culture and natural wonders are woven into his soul. His fascination with folklore and the supernatural stretches back to those boyhood days—and he’s had paranormal experiences signposting his life’s journey.
Before turning his attention to fiction writing, Mike had poetry published in various literary journals in America and the U.K. He has also had articles in several publications, including a major piece in the English music magazine Shindig. Finding music as essential as air, he listens to everything from Black Sabbath to Bartók. Mike has a Bachelors degree in anthropology from Loyola University, Chicago, and presently lives in Westmont, Illinois with his wife Julie and cats Scrimm and Magers.
URIAH HEEP’s sixth studio album since their inception in 1970, was released in September of 1973.Sweet Freedom marked a change in direction for the band following the favorites – Demons And Wizards and The Magician’s Birthday, both released in 1972, both including fantasy themes and Roger Dean artwork. But following the band’s Live album released earlier in 1973, the band spoke of the unwanted attention that the previous 2 albums drew in based on the song titles and lyrical topics, and that they’d be steering clear of that on their next album. The band’s contract with Mercury Records was also up and they were signed to Warner Brothers in North America. Warners was a bigger label, and had loads of the big name heavy acts at the time, so Heep would make a fine addition to their roster. With Sweet Freedom the band began a more mainstream approach. This new album came in a brightly colored cover featuring the band on the front in a sunset, and a tri-fold sleeve to include individual photos,lyrics and credits (gone would be Ken Hensley’s liner notes). Cover and photos by Fin Costello.
Sweet Freedom featured the single “Stealin'”, penned by Ken Hensley. Although it be de-railed from being a massive hit single due to radio stations, at the time, not playing it because of the line “I done the rancher’s daughter”, it would go on to be a huge favorite amongst fans, and a live favorite regularly for decades to come. Based on a story Hensley claimed was pure imagination, it is one of the best examples of David Byron interpreting his words so convincingly. And add in Gary Thain’s bass (intro) and Mick Box’s brilliant solo, “Stealin'” is Heep at their best. But there’s 7 other cuts here, and they’re all classic Heep. “Dreamer”, penned by Box & Thain is a solid rocker that opens the album, telling the tale of a fan who hangs around the band, the feel-good short rocker “One Day”, and title track round out the first side.
“If I Had The Time”, opens side 2 with Hensley using more keyboards, giving this a more prog & psych feel. He would later in life disagree with some of his own lyrics here, commenting that he wouldn’t do things the same given the chance ‘if I had the time to re-live my life’. “Seven Stars”, another Hensley tune based on a dream would be the album’s 2nd single. The last 2 tracks tho’ are huge favorites – the acoustic “Circus”, another penned by Box & Thain would’ve made an excellent single (much more so than “Seven Stars”, IMO). Heck, I would suggest between Gary Thain’s songwriting contributions and playing throughout, that Sweet Freedom would be his best record with Heep. The album closes with the Hensley & Byron epic “Pilgrim”. It’s a theatrical heavy rocker, with some cool changes, and a great vocal. Clocking in at over 7 minutes, about as long as post-’72 Heep would get, as they abandon the longer pieces as they moved to a more mainstream approach (the band’s next few albums would feature more shorter tunes).
Sweet Freedom was another big charting album for the band in many countries, notably in Canada where it reached top 10. Odd that I never hear anything from it on Canadian classic rock radio, tho “Stealin'” still gets played on many American stations (like Buffalo’s 97 Rock). Sweet Freedom was also the first album Heep recorded outside of the UK (for tax reasons), at France’s Chateau D’Herouville, which was a popular studio at the time. They would stumble a bit with the next album which they also recorded out of country, in Germany. Sweet Freedom though is essential Uriah Heep listening from the band’s golden era.
*Leave a comment and let me know where Sweet Freedom sits amongst your favorite Uriah Heep albums.
*Songs from Sweet Freedom can be heard live on the release of the band’s 1973 King Biscuit Flower Hour, as well as a decent audience bootleg from the band’s show in Buffalo, New York, a few weeks prior to the album’s release. Aside from “Stealin'”, a few other tracks have been brought back to the live show on occasion, so live versions of “Sweet Freedom”, “Circus”, and “Seven Stars” exist with Bernie Shaw & Phil Lanzon. Ken Hensley also released an early take of “If I Had The Time” on his 1993 compilation of outtakes From Time To Time.
URIAH HEEP, “SWEET FREEDOM.” Uriah’s first album for the Brothers Warner is loaded with explosively driving rock that should leap to the top of the charts. “Stealin’ ” looks like a giant hit single and Ken Hensley and Gary Thain have written a heap of solid tunes, including “One Day,” “If I Had Time,” “Pilgrim” and “Seven Stars.” Warner Bros. BS 2724 (Record World, 09-29-1973)
SWEET FREEDOM-Uriah Heep-Warner Brothers-BS 2724 On their debut for their new label, Uriah Heep comes on stronger than ever and look ready to storm American shores as they have in their native England. Spearheaded by their current single release, “Stealin’,” this Heep disk is a very powerful demonstration of what the group is capable of delivering and one which should impress the masses upon first listening. Along with the single is the power driving title track and “Dreamer” other Heep compositions that score heavily, and only do more to increase their already high level of respectability. If you’ve been waiting for the vehicle to really get this group on their way, the wait is over. “Sweet Freedom” is here. (CashBox, 09-23-1973)
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.
) who’s a metal and classic rock fan, and there are several Heep song/album references, along with a bounty of classic rock and NWOBHM bands like Tygers of Pan Tang, Iron Maiden, Cirith Ungol, Venom, Motorhead, Sabbath, Purple, Witchfinder General, Thin Lizzy and so on. This music is the main character’s coping mechanism as he tries to navigate his precarious position in the backward community he lives in.” 
Outsider Rock 