There’s another Ken Hensley release coming which will offer 4 of his albums from 1999 to 2005. This is the period Ken decided to return to recording music and performing live, as well as moving out of the US. Past & Present (Songs In Times) – A Ken Hensley Anthology 1972-2021 follows recent CD box sets The Bronze Years : 1973-1981, and Tales of Live Fire & Other Mysteries. The 4 albums included in full are A Glimpse Of Glory (1999), Running Blind (2001), The Last Dance (2003), and Cold Autumn Sunday (2005). All these CDs are welcomed as a few of them have become pricier and/or harder to find over the years. For whatever reason there is the omission of 2004’s The Wizards Diary, Volume One – which was Ken’s retakes of a number of Uriah Heep classics that he wrote. But for those 4 CDs alone, this package will be worth it to most fans. The first and last CDs here are not necessary IMO, but presumably included to make this a career spanning anthology package. CD one titled ‘Solo‘, consists of a ‘best of’ from Hensley’s Bronze era solo albums, as well as a half dozen Heep gems from Demons And Wizards and The Magician’s Birthday (and not the predictable hits). CD six is titled ‘Collaborations‘ , and includes tracks from Faster (2011, w/ LIve Fire) right through to a pair from Ken’s last album My Book Of Answers. Absent are some of Ken’s real collaborations and guest appearances with some acts (notably the Toni Rowland album Ken produced and played on in 2007); these would’ve been nice gems to add. Also excluded not included here or elsewhere (yet) is Ken’s 1994 CD of unreleased songs & rarities From Time To Time, or any of Ken’s live collaborations with John Lawton, John Wetton or his guest appearances with Uriah Heep. But hopefully some of these will be included on something further down the line.
Uriah Heep have released the first single & video from their forthcoming 25th studio album – Chaos & Colour – to be released in January of the new year! Details, ordering links, track-listing below.
November 8, 2022 – British hard rock legends and progenitors Uriah Heep announce the release of their 25th studio album, Chaos & Colour, set for release January 27th, 2023 via Silver Lining Music. Pre-orders available from November 8th on this site https://lnk.to/ChaosandColour
“Save Me Tonight” is another powerful melodic rock track which we have chosen to be the first single as well as the opening track of the album,” says Mick Box, Uriah Heep’s venerable and effervescent founding member, “it is made for rock radio and will surely be included on our new set list in 2023.”
Chaos & Colour is an album which bristles with explosive classic rock guitars, supreme harmonies, and Heep’s famously generous keyboard foundation. It is, unsurprisingly, an album that found its extra thrust during the COVID-19 pandemic, which was as bizarre for Uriah Heep as it was for humanity in general. “The album title reflects that we were in chaotic times with being locked down, tours being cancelled, businesses folding, and all the chaos that was thrown into the world,” explains Box, “and as far as I could see it, the only colour people had was through music. It helped so many people get through those difficult years, using that strength and power which music has, to make those bad times not quite so bad.” There were still the looming spectre of protocols and rules to follow in the middle of 2021, as the world tried to find its feet. Heep slowly found their way into Chapel Studios in London during the summer of 2021 as restrictions were tentatively lifted, working once again with Jay Ruston (Anthrax, Corey Taylor, Black Star Riders). “Jay was completely on board with what we are trying to achieve in the studio,” says Box. “We’re a band that has a fantastic heritage and to carry on that tradition it was vitally important that the band recorded in the studio all playing at the same time. Jay understood that and he pulled out the best of us as a band, as well as individual players, while getting us some amazing sounds.” Led by Box, it is no surprise that themes of light, love and, ultimately, positivity are constant through the album eleven tracks. “One Nation, One Sun” is a journey of soaring balladic contemplation, “Fly Like An Eagle” takes the listener on a journey of meditation, whilst “Closer To Your Dreams” is a battle cry for all rockers to get out there and do it, with Shaw imploring that “So many have tried but slipped away/Now it’s time for you to have your say.” During the entire album, Bernie Shaw’s timeless vocals sit expertly beside the band’s phenomenal artistry (Mick Box – guitar, Phil Lanzon – keyboard, Russell Gilbrook – drums, Dave Rimmer – bass), rounding out exceptional performances throughout. Produced by Jay Ruston, and engineered by Pieter Rietkerk, Chaos & Colour is a superb album of quality hard rock from the pioneers of the genre who continue to create top class material. Old fans will be reinvigorated whilst new fans will surely find Chaos & Colour an exceptional discovery.
Following the intense disruption to live music caused by the pandemic, the band are ecstatic to be back on the road and continue to bring their live show across Europe this winter. For a full list of confirmed dates, tickets, and additional information visit this this location – http://www.uriah-heep.com/2020Site/Index.html
Tour Dates:
12 November – Nürnberg, Germany – Löwensaal*
14 November – Vilnius, Lithuania – Compensa Concert Hall
15 November – Tallinn, Estonia – Alexela Concert Hall
17 November – Helsinki, Finland – Helsinki Ice Hall
19 November – Turku, Finland – Konserttitalo
20 November – Oulu, Finland – Madetojan Sali
22 November – Umeå, Sweden – Idun
23 November – Stockholm, Sweden – Göta Lejon
24 November – Oslo, Norway – Sentrum Scene
26 November – Kristiansand, Norway – Kilden Performing Arts Centre
27 November – Stavanger, Norway – Stavanger Kuppelhallen
28 November – Bergen, Norway – USF Verftet
29 November – Trondheim, Norway – Olavshallen
1 December – Sundsvall, Sweden – Tonhallen
2 December – Gothenburg, Sweden – Gothenburg Studios
3 December – Randers, Denmark – Vaerket Teatre & Musikhus
4 December – Copenhagen, Denmark – Docken Koncerter
5 December – Malmö, Sweden – Slagthuset Teater
7 December – Stuttgart, Germany – Liederhalle*
8 December – Dresden, Germany – Culture Palace*
9 December – Suhl, Germany – Congress Centrum Suhl*
10 December – Prague, Czech Republic – Forum Karlin
11 December – Budapest, Hungary – Hungexpo Hall C
13 December – Sofia, Bulgaria – National Palace of Culture, Hall 1
14 December – Thessaloníki, Greece*
15 December – Athens, Greece* (*Celebrating 50 years of Uriah Heep)
Chaos & Colour will be available to pre-order from November 8, in Black and Coloured Vinyl configurations, as a standard CD Digipak, a Deluxe CD packaged in a hardcover book with Uriah Heep’s Chaos & Colour signature patch and in digital formats.
“Save Me Tonight” is the first single from the upcoming album Chaos & Colour. Available to pre-order from November 9th here: https://lnk.to/ChaosandColour, Out via Silver Lining Music on January 27th, 2023.
The buoyant, blistering single “Save Me Tonight”, feels at once like a cry for lost love and an expression of COVID era pain. “I think that’s the beauty of a good lyric,” smiles founding member Mick Box. “A good lyric means that you can interpret it in many ways, and it’s so important to me when writing a lyric that it has those avenues to go in.” enthuses Box.
The single was written by bass guitarist Dave Rimmer and Jeff Scott Soto, who has been the vocalist for the likes of Journey and Yngwie Malmsteen. “’Save Me Tonight’ comes from a place of frustration and helplessness living through these unprecedented past couple of years but hanging on to this raging hope that we would all meet again! Once again, collaborating with Jeff Scott Soto has been a natural and very creative experience and the perfect platform for me to express these feelings and to carry on the Heep legacy.” Rimmer comments.
Chaos & Colour Track List:
Save Me Tonight / Silver Sunlight / Hail The Sunrise / Age Of Changes* / Hurricane / One Nation, One Sun / Golden Light / You’ll Never Be Alone / Fly Like An Eagle / Freedom To Be Free / Closer To Your Dreams* / Save Me Tonight (demo)**
*CD and Digital only
**Deluxe CD only
URIAH HEEP:
Mick Box – Lead Guitar / Vocals
Phil Lanzon – Keyboards / Vocals
Bernie Shaw – Lead Vocals
Dave Rimmer – Bass Guitar / Vocals
Russell Gilbrook – Drums & Percussion
Produced by Jay Ruston
Engineered by Pieter Rietkerk
Recorded at Chapel Studios, UK
Mixed by Jay Ruston at TRS West, Sherman Oaks, California
John Sloman has a new video out. It’s “Blind”, on Red Steel Music. The track has been produced by John & Robert Corich, and remastered by Bella Corich, who adds a livelier sound to an already excellent song from 2016. “Blind” will be featured on John’s forthcoming retrospective double album The Missing Link. Art for the single also by Callum Fernandes-Clarke.
John Sloman recently posted – “This is the new video for the soon to be released single (Blind) taken from the retrospective album ‘The Missing Link’ which will be released in a couple of months. The video is brilliantly directed by Callum Fernandes-Clarke who directed all three of my previous videos. Blind originally featured on the album ‘Don’t Try This At Home’.”
Further, the track was recently featured on Classic Rock’s Louder Sound‘Tracks Of The Week‘. You can check that out And vote for “Blind” there!
I’ll admit I don’t read a lot of books…in full, but rock bios are always of interest, and this one penned by Welsh musician John Sloman definitely is of interest. Sloman has had a lengthy roller-coaster ride of a career in the music business, having once fronted Lone Star (featuring Paul Chapman, pre UFO) and then Uriah Heep, and going on to tour with Gary Moore, Paul Young, and has recorded a number of solo albums (his latest Two Rivers, having just recently come out!). Lost On Planet Artifice takes us through John’s journey growing up in Grangetown, Cardiff (Wales) – his childhood, his intro to music, girls, his first band,… I do not usually read a book beginning to end, but more so pick out chapters and bits I want to know about first, then go back and forth, so picking up this 400+ page monster I went right to the Heep content to start! It goes without saying that this book should be a must-read for any Heep fan, and in particular those that either brushed over John’s 18 months in the band or lay the blame of the band’s demise in 1980/81 squarely with him. John finally gets to tell his version of events after decades of being dumped on by former band members, misguided fans, and unknowing journalists. So some stories may be a bit shocking, but worth the read. John has a natural knack for writing, and relaying recollections and events, as well as a pretty detailed memory.
Beyond the Heep era, John’s career would come across even more painful periods, such as the details of his time with Gary Moore, his solo album deal(s) and recording with Todd Rundgren. John’s story is a very brave and honest one, as he not only gets out all the things he’s bottled up over the years, but also talks about the depression and anxiety various situations and setbacks brought up, and how he dealt with them. Despite the ‘name’ and rock star tag, John’s story is. about his everyday struggles – as a musician trying to earn a living, as well as dealing with family and personal tragedies. Lost On Planet Artifice is Not one of those retrospective rock star books that simply recounts how great they once were! It also includes John’s insight into worldly issues, which some may take or leave (John’s well read on many topics, so I’m good with it). Throughout this you want to route for the guy that some big break or payday with finally go his way, as in later years John has threatened a few times to quit making music altogether, but he carries on, and anyone who’s heard his latest album Two Rivers, knows he still has plenty to offer. I think Two Rivers makes a great companion to his story here, so I’m guessing it won’t be his last! John seems a natural at writing as well, so hopefully there’ll be another book!? *There’s also a few pages of black & white photos, most of which have never been seen.
An excellent read and can be easily purchased for a good price on Amazon.
Released ahead of the Uriah Heep’s sixth album in September of 1973 (Sweet Freedom), “Stealin'” would become one of the band’s best known and most played classics. It is still one of the few Heep classics that gets fair play on classic rock radio and has been covered numerous times. But the single that started out strong would not become a huge hit single. The band had finally had a top 40 hit in the US with the single “Easy Livin” (from Demons & Wizards) in 1972, and a minor hit with “Sweet Lorraine”, later that same year, so another big single follow up was due and should’ve been with this track. The band signed a new record deal with Warner Brothers in North America (who had so many great acts), and “Stealin” was Heep’s first single for their new label.
However, the song’s lyrics based on the imagination of Ken Hensley included the line “I done the rancher’s daughter”. It was term ‘done’ that seemed to put a damper on the single, as many radio stations would choose to pull the song based on that line.
In an interview with Jeb Wright (ClassicRockRevisited.com), Hensley recalled: “I went to Gary´s flat in London…. We smoked a couple of joints and played a bit and I wrote ¨Stealin¨ from that moment. The story is purely imaginary as I didn´t know any ¨Rancher´s Daughters¨, or ¨Gypsy Queens.¨”
Hard to imagine such a line being remotely controversial nowadays, but in 1973 radio stations (perhaps more so in the US south) might’ve felt pressured in to passing on playing the song. That did not stop the song from becoming legendary though, as it is often regarded as one of the band’s most recognizable songs with it’s quiet bass start, joined by the Hammond organ, David Byron’s distinctive and clear vocal, convincingly delivering the tale of a man on the run, and then the band kicking in with Mick Box’s guitar, Lee Kerslake’s powerful drumming, the band’s harmonies…and it all builds up to a classic Mick Box solo, and the band coming back in with more energy to the end.
Though the band still plays a great rendition of this to this day (I love the John Lawton-fronted version from Live in Europe 1979) and there are plenty of excellent cover versions — nothing comes close to the original production. In Canada the single made it to #65 on the Cash Box chart, while in the US it merely cracked Billboard’s Top 100 at #91. In Norway, however, the song reached #9!
Below is a list of cover versions of the Heep classic. I’ve included those that have been released commercially, and not the numerous live versions found on youtube (OK, i did slip 1 in at the end!). Enjoy.
Karma (1973)
This must be the first cover of Stealin’, recorded and released in 1973 by Finnish band Karma. They translated the words to Finnish and released it on their debut album for CBS! The song was also issued a single, with a (translated) cover of Elton John’s “Goodbye Yellow Brick Road” on the B-side!
Panorama (1986)
An interesting pop version by this Italian group. The 12″ single also came with an instrumental version (hmm).
Zoid (1988)
Released by this LA band in ’88. It was the band’s only other release following their lone album in ’87, on Third Orbit Records. Interestingly, the band featured keyboardist Lou Segreti, who went on to record an album with the band Bloodline (1994) – which also included Joe Bonamassa. This is an interesting extended version of the song (with a lengthier mid section, minus guitar). The 12″ single included both a long and short version of the song. The band’s producer had been Matt Forger, who worked on a number of Michael Jackson albums.
EZ Access (1990)
Detroit hard who rock band who released this lone album 10 track album titled One Track Mind, on U.S.A. Records – and on cassette only, in 1990. “Stealin” was the only cover-version included. The band recorded a follow up album, but it was never released. Both albums can be found on youtube.
Satrox (1992)
Swiss band who released this cover on their 2nd (of 2 albums) titled Energy. Pretty 80s ‘metal’ sounding. Interesting that there is a few Heep connections on this albums – Daniel Boone (David Byron) on backing vocals, Derek Holt (who recorded with Gary Moberly… see Heep’s Equator!) also on backing vocals, and produced by Mark Dearnley (who was an assist. engineer on at least 1 Heep album in the late 70s).
Night Crawler (1996)
Night Crawler, from Minneapolis, released their debut album World Of Make Believe in 1996, which included their version of “Stealin'”. It’s a good version (and hard-rock/aor album). The band’s follow up (and last) album was 2001’s Second Nature – which included a cover of “July Morning”! The band’s drummer Billy Thayer is the brother of Kiss guitarist Tommy Thayer.
This band from Saskatchewan originally released this track on their debut 4-track CD, which also included covers of songs by Nazareth, April Wine, and Nick Gilder. The band released one album: Triple-Ply, from 1997, which was largely covers, along with a few originals.
Native Son (2000)
Originally included on the 2000 2Cd tribute album Heepsteria on Red Steel Music. (The band also did a cover of the unreleased John Lawton era track “That’s How I Am”). Native Son had previously released 3 albums… not sure after this.
Nightingale (2003)
This was recorded for the 2003 Heep tribute album A Return To Fantasy. Nightingale was a Swedish prog/metal act, featuring singer Dan Swano . Many years ago I’d corresponded with this guy, and he sent me a CD of a couple of Heep covers he did way back. He also did a cover of “Gypsy” as part of Odyssey for their 2010 album Reinventing The Past.
Tesla (2007)
Included as part of Tesla’s 2007 ‘covers’ album Reel To Reel. An interesting collection. The band made it big in the ’80s with hits like “Little Suzi”, “Heaven’s Trail (No Way Out)”, and their 1990 cover of “Signs” (originally by Canada’s Five-Man Electrical Band).
Out There (2015)
A very interesting version, as it features Stephen (Steff) Fontaine – who briefly fronted Heep in 1986. As he never recorded anything with Heep, I’ve included it here. Out There is an Arizona band (where Fontaine was originally from), and this came from their 2015 album Out There Again, which Fontaine sang all the vocals on. Out There Again is a pretty decent album with a couple of other covers as well.
Jason Kane – Jason Kane (of JK & The Jive) recorded a version acoustically, on his own (not totally sure of the yearbut about 2014). This version is excellent, and can only be found on Youtube, as he made a video for it. A shame it’s not been included on any actual release as it’s the most interesting cover to be heard.
Grenzgang (1994) – Austrian band who released a few albums did this cover for a compilation titled Metal Freak Sampler – Cover Me, on CCP Records.
Talas (2001) – Buffalo based band that features Billy Sheehan, included “Stealin” as part of their encore many times. This can be found on Youtube, as it was included in the band’s set at the Buffalo Guitar Festival concert (also on dvd). I would love to hear an archival live release from the band with their version included.
LOST ON PLANET ARTIFICE: Rock musician John Sloman writes rock- memoir-cum-survival-manual for 21st Century.
John Sloman – singer/songwriter/multi-instrumentalist , has released his book Lost On Planet Artifice, which is his own story.
“Over the years, family members and close friends have suggested I write a book about my time in music. My response has always been the same: “I’d write it, but who would read it?”
Having been in such bands as Lone Star, Uriah Heep, and Gary Moore, Sloman would be hosed over on a number of occasions (such as the story of his 1989 solo album!), and grew to dislike the music business. In the 2000s he began recording a number of solo albums, mainly all on his own. His latest is Two Rivers. Both that album And Lost On Planet Artifice can be purchased on Amazon. (Kindle edition for under $5 Canadian!).
The first review on the book states – “Reading John Sloman’s book was a revelation in the sense that here’s a man who has been shafted and betrayed by the powers that be and it is outrageous that few in the ‘business’ give a damn. His prose is very well constructed and his stories are, in places, hilarious. It certainly makes a change reading this work from all the usual drivel of so many rock stars writing about life on planet ‘Orifice’. Well done to this brave Welshman.” (Derek Pringle).
I am looking forward to this, and highly recommend, whether you’re just a Heep fan or not – you check it out.
Very Heepy Very Purple XIIIis the latest in Avi Rosenfeld’s series of original hard rock influenced by …..Uriah Heep and Deep Purple! Rosenfeld, born in 1980, is from Netany, Israel and has 63 albums to his credit (tho he says it may be 64 by the time I publish this article!). The 2 bands that Avi sites as his favorites are obviously noticeable throughout this album – there’s harmonies, Hammond organ, various keyboards, and plenty of hooks and solos sounding like Blackmore was his major guitar influence. But there’s more than just a Heep/Purple combo thing going on here -lead off track “Icarus Dream” starts off with a symphonic rock keys and piano before the riff [band] kick in, which sounds fairly Iron Maiden, but the song quickly progresses with harmonies, lead vocals, some Hammond organ in the mix, … a good lead off track. There’s bits of blues, symphonic rock, even a bit of an Indian inspired intro on the non-lyric track “Nigun”. Fave cuts include “Silver Shines” [gotta love when the Blackmore-type solo kicks in and it all speeds up], the fast paced “Knights Of The Castle” [Rainbow?], and “Marching To Nowhere”.
Avi Rosenfeld writes all the music & lyrics here, and works with a number of players and different singers on this album, presumably through online connections. He also plays some great guitar throughout. Cool album artwork, as it seems to be with all of Avi’s releases. Very Heep Very Purple – sounds like an interesting series I’ll need to check out further. Avi notes of the album – “Heavy Metal is the cure for these crazy times that we live in. This is another chapter in the Very Heepy Very Purple saga with influences from times where music at its best and played from the heart. From times where people actually had patience to listen and waited for the cool guitar solo, or even to the end of the song. From times where you could hold up the cover art and imagine the sounds and feelings. Times where every power chord made you move, and every note had a meaning..”
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*
This interview appeared recently on the Uriah Heep facebook group page https://www.facebook.com/groups/1799464413661777 . The site is administered by Heep fan Rikki Fox who set up this Q & A with John and has allowed me to re-post the entire exchange here.
Rikki Fox: From the age of 5 until now, a lofty nearly 63, music has been my passion in life At the age of 14 I got into Uriah Heep 49 (FORTY NINE!!) years later they remain, through all the eras, line up changes and sad losses, my all time favorite group A couple of years back I started my own little site “Friends Who Like Uriah Heep” (Yes, I know it’s a naff name) but it’s great laid back fun and has grown way beyond my expectations I’m honored and humbled to have John Sloman as a FB buddy and suggested a Q & A exclusive for my site To my utter surprise he agreed
What follows are answers that pull no punches given in John’s usual lucid articulate forthright and intelligent manner.
Enjoy, and please check out John’s stunning new release “Two Rivers”
(Understand if the question is too sensitive) Did Ken and you try and work things out or was there too much friction at the time? (Johnny Har)
JS: There was never any friction between Ken and me. We never had a cross word. It was strictly one way traffic. I knew he loathed my singing. And the fact he’d been overruled by the other guys pissed him off. But the real friction was between Ken and the other guys. I just happened to walk in on a climate of distrust which had existed since when I was still in school. I didn’t engage with Ken, because I knew he hated me. And that hatred continued for years after I left the band. If I had my time over again, I wouldn’t have joined Heep…mainly because the band’s main man wasn’t happy with me. But I was young and thought things might turn around. But I had complete respect for Ken’s contribution to the band. And I loved his playing. We never got to sit in a bar and talk. And now he’s gone, the possibility of that has gone with him.
Your solo output has been incredibly and refreshingly diverse, Is this a conscious decision or do ideas just “hit” when you start on a new album? (Rikki Fox)
JS: It’s not a conscious thing. Other than the decision to do what I like. As opposed to what people expect. But once I’m into an album, the subconscious will throw ideas at me. Sometimes I’ll doubt it’s any good. But often, those doubtful tracks can turn into the best thing on an album. The Last Coalminer is a case in point. When I started reciting the lyric as a poem I thought ‘Sloman, are you sure?’ But fortune favors the brave, as they say.
Given the chance once again…would you join Heep?…Was your tenure beneficial to your later career or rather negative? (Richard Pascoe)
JS: If I had my time again, I wouldn’t join Heep. And I don’t think they’d have me either. Nothing good ever comes out of forcing an issue. And some of the criticism I took in the years after I left, proves that. When I talk about the stuff I did way back, it’s like stumbling through a minefield. I’ve never traded on Heep etc. And if it has come up, it’s been seen as a negative. Which is why I never ever talk about the stuff from back then, unless I’m asked a specific question. And whenever that happens, I always give an honest answer. And I can honestly tell you now, that the stuff I did back then, as a larynx for hire was no benefit to me at all. And in most instances, quite the opposite.
Re John’s time with Paul Young – was there any bootleg recordings, video, or promo photos? (Kevin Julie)
JS: I’m not aware of any bootlegs from the tour I did with Paul Young. The very first thing I did with him, months before the tour, was the video for the single “Wonderland”. Felt like a fish out of water. As the tour progressed, I acclimatized to the role. But that first day was awkward. I did various TV shows around Europe with Paul ahead of the tour. But the highlight was Saturday Night Live.
How did you feel about your image in the late 70s -80 being compared to Robert Plant, and in retrospect did Plant influence him in some ways? (Kevin Julie)
Of course Plant was an influence. And I took a lot of stick. But I made it easy for them by wearing Plant style shirts on stage. If I had my time over again, I would crop my hair really short and burn the silky shirts. I was a talented kid who wasn’t as confident as he might’ve been. So I hid my light.
John’s list (top 10?) Of his favorite Heep songs (from before his time)!? (Kevin Julie)
Top Ten Heep tracks? Look At Yourself July Morning I Wanna Be Free Traveler In Time Rain Blind Eye Magician’s Birthday Sweet Freedom Stealin Suicidal Man
Would John please come to London Palladium in October? (Sue Cullen)
So Heep are playing The Palladium? That will be quite an event. I don’t think they’ll need me showing up though after all these aeons. But it will be a great night, I’m sure.
I hear Motown and Stax as well as some Stevie Wonder and Robert Plant in your voice. What are your influences? (Mike Shannon)
JS: Well, all of the above. Stevie was an inspiration. His version of We Can Work It Out was amazing…changing the emphasis from the word We, to the word Can. I already loved jazz, and could see a link between Stevie and Ray Charles. Motown was everywhere in that late 60s early 70s period. James Brown and Marvin Gaye. Led Zeppelin were a huge influence on me. They were like my big brothers. And, once again, there was a thread running through all the great soul acts to Zep. Especially on the first two albums, where Plant is channeling the Blues, Soul and Jazz. All that while inventing Hard Rock! And, just like Stevie, doing lots of improvisation. I learned a lot from listening to Todd Rundgren. Genius. And of course, Joni Mitchell. But the two people who really inspired me most early on were Stevie and Robert.
If you know what you know now, would you still have gone into the music business ? If not what would have been your career path of choice? (Ian MacLaren)
JS: By the time I was 13, I knew music was the only road I wanted to take. So it’s hard to think of an alternative route. When I left school I worked on a tugboat at Cardiff Docks and served part of an apprenticeship as a fitter/welder. But I knew I was only marking time until I could do music full time. It’s been a bumpy ride, but I can’t let it go. But if you’d asked me what I wanted to be when I was in primary school, I would’ve said ‘Archaeologist’.
You express so much in your music, how else do you use your talent to reach out to the world? Do you teach or mentor ? (Julie Shannon)
JS: Up until the Covid thing, I was doing some teaching. Guitar and a bit of voice stuff. I really enjoyed it. It’s a responsibility I took seriously. Someone placing their trust in you. I taught someone from when he was ten till he was around 16. Natural talent. He was offered a place at The Brits School here in London when he was 14. He declined. But then eventually re-applied and got in when he was 16. He’s now playing around London with his own band. Soon I’ll be publishing a book on Amazon. Kind of a rock memoir. But it’s a bit more than that really. I intend to do more writing. It’s a side of me that is largely unknown. I spent a number of years trying to get a film made, during which I kept recording music as well.
What is your opinion of the Abominog, Peter Goalby sung version of ‘Think It Over’? (Mike Shannon)
JS: I’ve only heard Pete’s version of Think It Over once, many years ago. But my immediate impression was how tailor made for American radio it was. Right on point for that time. Not too fussy. Good vocals…guitar break. Wasn’t it a bit of a radio hit?
Are there any Heep songs you would like to sing today ? (Ian MacLaren)
JS: The first Heep album I heard was Look At Yourself. So the first Heep track I ever heard was the title track. That would fun to sing. The other one is Rain off The Magician’s Birthday.
Is there any chance of you ever appearing to perform a song or two with Uriah Heep as a special guest? This fan would certainly dig it! (Mike Shannon)
JS: If I said yes to that, it would open a floodgate of emotion. Next thing Mick and me are looking at each other across a stage. Our friend Trevor gone. All the people gone out of each of our lives. Lee Gone. Ken gone. And here we are connecting again. And in the same instant reactivating that emotional circuit which lay dormant for decades. People think being in a band is just about music. But it’s so much more than that. Which is why I’ve stayed away. But who knows.
The Bells Of Berlin has rightly achieved iconic status What’s your take on that track John? (Wendy Fox)
JS: The Bells Of Berlin is probably the best thing Lone Star ever recorded. It had something to say about the world at that time (and possibly in future times, given the current situation). Dixie’s drumming is epic. Those guys were so good, they didn’t really need a vocalist. Back a few years, someone gave me a Marshall digital radio for my birthday. I took a break from working on one of my albums one day, turned on this digital radio (which was tuned to Planet Rock). My finger hit the on button and the very first chord of The Bells Of Berlin came thundering out of the speaker. For a moment, I thought the radio also had a CD player which had Firing On All Six inserted into it. But no, it was Planet Rock. Spooky.
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
Outsider Rock 