John Sloman’s new album Two Rivers has recently been made available digitally, but CD copies are coming soon, John posted that the CD will be ready as of April 25. Amazon UK has it listed as available by May 6. Still hoping there’ll be a vinyl release some day!
I am posting Part 2 of my interview with John shortly – which will discuss his time in Lone Star and with Uriah Heep, and I should have a Part 3 soon after touching on his time with Gary Moore, Paul Young, his first solo album, and John reveals previous band offers & auditions.
John also has a book on the way [hope to see ordering info soon], and returns to live performances in June.
Originally released last year on CD & vinyl, Ken Hensley’s posthumously released My Book Of Answers will get a special white & black ‘splatter’ vinyl reissue in May, on Cherry Red Records.
The album came months after Hensley’s passing, featuring 9 tracks, and cover art by Olesya Vasilieva, package design by Hugh Gilmour, and lengthy liner notes from Ken Hensley, as well as from Steve Weltman (manager & friend). Each track on this album was accompanied by a video. Stand-out cuts included “The Cold Sacrifice”, “Stand (Chase The Beast Away)”, and “Lost (My Guardian)”.
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
Among the Heep faithful there are 3 albums that tend to stir up the most controversy and conversation, and often one of them is cited as the band’s ‘worst’ album by many fans or rock historians. I’ve already written previously my support for Conquest and for Equator, both albums that land at the bottom of any Heep album ranking, and the 3rd in that trilogy would be 1976’s High and Mighty – the last to feature original singer & founding member David Byron. Frankly, none of these 3 land in the bottom 3 for me, in particular High and Mighty, an album I rank in the top half of the band’s catalogue.
High and Mighty came at the end of a very busy period for the band. In ’75 – the band had changed bass players, adding John Wetton in place of Gary Thain, who had been fired, and the band got down to releasing Return To Fantasy in the summer of ’75. Ken Hensley also had his 2nd solo album Eager To Please released not too far off from that. A huge world tour followed the release of that Heep album, followed by David Byron’s solo album Take No Prisoners, and a Best of Uriah Heep issued in most markets (except for North America). So, to say High and Mighty might’ve been rushed soon after is more than likely. Despite Return To Fantasy being a huge success in the UK, the band’s last few albums were selling less in North America, and with this perhaps was the motivation to ‘fire’ Gerry Bron as the new album’s producer and produce it themselves. But, where as RTF had many more band co-writes and member contributions, High and Mighty would consist of entirely Ken Hensley penned tracks, with Wetton getting 2 co-writes. Ken has stated in the past the album felt more like a solo album, and both he and Wetton noted that not much of the band were around at the time, leaving the 2 of them to take on most of the production, aided by engineer Ashley Howe.
John Wetton’s presence is felt immediately on the opening track “One Way Or Another”, in which he takes the lead vocal. A fantastic beginning to this album with the opening guitar riff coming in with a fresh new strong sound, before Wetton’s bass, then drums and organ join in. This is a standout track, and a shame it never got a proper single release. There would be no global single from this album, with this song being issued in the UK (limited), and nothing in North America. David Byron was apparently off with chicken pox at the time of recording this track, so that was the reason given for Wetton’s lead vocal. John recalled in an interview that when David did come back he went in to sing the song, part way through stopped, saying that it was fine the way it was. “Weep In Silence”, a heavy guitar driven ballad, with Hensley’s distinct guitar sound throughout and a great vocal from Byron remains a fan favorite from this album, though it was never played live. “Misty Eyes” starts out gently with Byron singing the opening lines alone before the band comes in softly with acoustic guitar, organ and drums. A good lighter pop song that would’ve made a catchy single, IMO. The first side ends with “Midnight”, the longest track on the album, and most progressive,. An often overlooked epic in the band’s catalogue, and although Wetton didn’t get a co-write on this Or on “One Way Or Another”, his performances (bass, guitar, keyboards, vocals or backing vocals) make these 2 tracks his greatest contributions to his time with the band.
Side 2 opens with the anthem “Can’t Keep A Good Band Down”, a response and dig at the band’s critics. A good upbeat rocker that would’ve (again) made for a fine single. A shame the song would never feature in the band’s live show back then or ever. Next up was the pop-rock of “Woman Of The World”; a good tune, tho’ a bit on the lighter side. Might’ve made a decent single, but like a number of tracks here it lacks an extended solo or something unique as the song merely fades out quickly after the last chorus. “Woman Of The World” would include the band’s message to Bron in the harmonies – You can stick this contract up your flue “Footprints In The Snow” is a favorite of mine on this album, co-credited to Wetton. Love the mix of acoustic and electric guitars organ, and harmonies. An underrated classic from the Byron era, IMO. From here, despite how much I love this album, I can see how critics might disagree with my enthusiasm, as the next 3 tracks drop off a bit, especially the funky keyboardy “I Can’t Stop Singing”. I never ‘got’ this song, and listening to it now, I still don’t. . tho’ it’s not bad, and David sounds convincing on the verses, but the chorus… meh…. “Make A Little Love” is a guitar blues n boogie number, featuring slide guitar. Sounds like it could’ve been a good old school jam rocker, but it ends too early, like a few tracks here, sounding rushed . This one did make it in to the live set on the High & Mighty tour, but like the rest of the album was never played again (aside from Ken resurrecting a track live with John Wetton). The album ends on a high note, but a sad one with “Confession”, with David delivering an apologetic lyric on Ken’s piano ballad. It’s an excellent, moving ballad that sits behind the band’s previous ballads “Rain” and “The Easy Road”. A shame it ends so soon.
In 1995 I interviewed John Wetton and he recalled no leftover tracks being recorded, but sure enough 2 outtakes would eventually be released. “Sunshine”, a good upbeat number; love Lee Kerslake’s intro and playing here. The other cut is the guitar heavy “Name Of The Game”. This song appeared in another version on Ken Hensley’s From Time To Time album in ’94 (an album of solo outtakes and demos), as Ken had recorded the track in the late ’70s with members of Bad Company. A great heavy riff to open this song, fantastic delivery from David and slide guitar from Ken. To me, this sounds like it wasn’t totally completed or mixed well enough, hence it’s lack of inclusion on the album, but a crying shame this wasn’t totally finished and cleaned up and included – could’ve made for a very different outcome of an album that is often brushed off as “lightweight”.
High and Mighty received a huge press bash at the time in Switzerland, where James Bond was filmed. But after that the album dropped – with no worldwide single, and little push. As the band toured the US before it’s release – with no single on the radio or record in the shops, High and Mighty was kinda doomed. The tour saw Ken Hensley leave the band and return, and David Byron fired at the end of the European tour. John Wetton had already made up his mind due to the internal conflict, and and left as well. Many fans wrote the band off after David Byron was dismissed, and the band’s profile and album sales would continue to sink in North America.
But really, I kinda love this album. I realize it may be seen as lightweight or too much of a Ken Hensley solo project by many old Heep fans, but to me it had a new fresh approach and sound following Return To Fantasy and Wonderworld. The band experimented, did something new, and High and Mighty offered up a number of tracks that would’ve made fine singles. With John Wetton having a major hand in it, it sounded much more modern in tune with UK nd Asia, and a forward step from the band’s previous albums. Heck, I even think the album cover art is pretty cool!
It has been a lengthy journey for John Sloman, once seen as a rising star, after stints with Uriah Heep and Gary Moore, along with his unique voice and wide range, his talents on multiple instruments, his songwriting, and his looks then that drew comparisons to Robert Plant. But after 1989’s Disappearances Can Be Deceptive solo album wasn’t a huge hit, not much was heard from John for years until he resumed making solo albums in 2003, mainly by himself. One thing that is evident on John’s latest creation, Two Rivers (on Red Steel Music) is that there is no one like him. John does write formatted pop-rock songs, or produce with any commercial approach in mind. There’s no simple 10 tracks of riff / verse/ chorus/ verse/ chorus/ solo/ chorus/ fadeout. What you get on John’s journey in time dealing with his childhood and past (I haven’t grasped all the lyrics, so I can’t be precise on the entire concept) is a very atmospheric, very different type of album. everything flows together nicely with John often having a few words between songs or during the intros. It makes more sense and more enjoyable listening to the whole album as opposed to picking out single songs. But, if I had to pick out highlights – the title track, “Scenes From An Old Biscuit Tin”, “Charing Cross Moon”, and “Walking Along The Taff”. Much of what is enjoyable about this album is listening to the stories John tells in the songs. Again, if you’re expecting any kind of conventional rock type album, this is not it – this is 14 storytelling tracks put to John’s unique musical approach. This is all acoustic guitars, piano, bass ,vocals [lots], choirs [all John], keyboards, etc….. no electric guitars, no big solos or riffs. Influences of Zappa, acoustic Led Zeppelin, and Pink Floyd.
Best listened to on headphones -with an open mind, without any ‘rock’ expectations, and enjoy the journey. Love the artwork, btw, and am told the packaging is excellent (might we see a vinyl release?) .
Red Steel plans to follow up Two Rivers with a compilation containing tracks from John’s previous solo albums to be titled Conspectus.
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.
Gifted with a multi-octave vocal range and also a multi-instrumentalist musician, John Sloman is a renaissance man with a singular musical vision brought to mesmeric life on his magnificent new solo album “Two Rivers”. As a personal record, “Two Rivers” documents John’s journey from his childhood home city of Cardiff to treading the well-beaten path to London and his encounters in the music business fronting major headline bands.
Photo by Jeff Moh
“Two Rivers” is a compelling cocktail of songwriting that blends crucial chapters of John’s life in song and verse. In essence, “Two Rivers” is a distillation of Sloman’s eclectic musical progress from Lone Star to Uriah Heep, his adventures with UFO and The Gary Moore Band and his Todd Rundgren produced debut solo album “Disappearances Can Be Deceptive”. Adopting Cardiff’s River Taff and London’s River Thames as metaphors, John’s stream of consciousness observations pour forth from his deep well of memories. Populated with sublime songs wrapped around sharply observed personal postcards of a remarkable life “Two Rivers” simply has to be heard to be believed.
This soundtrack to a life less ordinary begins with the title track’s prophetic opening lines: “Two rivers flow through my mind – the one I see before me and the one I left behind.” As John says: “The River Taff and the River Thames have come to personify this unrelenting tug of love I have experienced for most of my adult life. I left the one with a spring in my youthful step. But with so many of those who once walked beside me now gone to that great river in the sky, I regret all the days I was away. This album is for them – and for those of you still being torn in two by your own two rivers.”
This memorial theme is taken further on the new single “This River Is A Time Machine” that explores the memory bank simile of these constant yet fluid and life-giving channels delivered with a heartfelt passion by John. Revisiting his childhood on the song “Scenes From An Old Biscuit Tin,” John explains the song’s inspiration: “On school mornings, as I ate my porridge, I would lose myself in images of Elizabethan London adorning the family biscuit tin, while dreaming that I might one day go there – London, that is.” And going to London is exactly what John did, which he superbly documents on “Londinium” and “Charing Cross Moon,” and achieving a substantial measure of success in doing so that established him as a major player in the late 70s and 1980s rock music scene and his continuing solo career. There is a pleasant surprise in store for fans of John Sloman with the Avant-Garde nature running right through this record. Think experimental Frank Zappa and late-period Scott Walker meeting the acoustic elements of Led Zeppelin and your imagination will be stoked by the captivating contents of this unique and exceptional album.
Two single releases “This River Is A Time Machine” followed by “The Last Coalminer” have non-album B sides and both are accompanied by videos for each single release.
Release date: March 25, 2022
“Two Rivers” track list:
1-Two Rivers 2-This River Is A Time Machine 3-Caerdydd (City On The River) 4-Scenes From An Old Biscuit Tin 5-From The Taff To The Thames 6-Londinium 7-Blackweir 8-When I Go Home 9-Rest In Peace (For Sylvy) 10-Charing Cross Moon 11-70s Sunday 12-Walking Along The Ta13-The Last Coalminer 14-Farewell To London Town
Well, I don’t much about Alan Simon or this series of Celtic rock opera Excalibur releases. This being my first take on the project which previously released 4 studio and 2 live albums featuring different musicians on each one, though there are a few holdovers. I do know that Cherry Red recently released the first 4 Excalibur studio albums plus a couple of live shows in a 6 CD box – https://www.cherryred.co.uk/product/excalibur-the-20th-anniversary-box-set-6cd-2dvd-boxset/
As a fan of many of the artists involved this is an outstanding concept release that features singers such as Bernie Shaw, Roberto Tiranti and Michael Sadler singing in styles they may do with their respective bands. And with that said, that contributes to the appeal here as these singers deliver performances like they have never before. Amazing performances, as well as from the various musicians such as Steve Hackett, Martin Barre and John Helliwell, among others. The last track is a wonderful surprise, as it features the late great John Wetton singing a ballad, “The Vision”.
An amazing production from Alan Simon, who has written and assembled a stellar cast here. As a Heep fan it is really something to hear Bernie [who delivers quite a theatrical intro] and Roberto [Ken Hensley’s Live Fire] sing in such a different project.
*For more info check out these links, as well as the press release below….
John Wetton (Asia / King Crimson) Steve Hackett (Genesis) John Helliwell, Jesse Siebenberg (Supertramp) Bernie Shaw (Uriah Heep) Martin Barre (Jethro Tull) Jeremy Spencer (Fleetwood Mac) Michael Sadler (Saga) Roberto Tiranti (Labyrinth) Jerry Goodman (Mahavishnu Orchestra) Shira Golan & Miriam Toukan (The Peace Tent Project)
Move, Cry, Act, Clash! is the fifth part of French musician and producer Alan Simon’s legendary Celtic rock opera series Excalibur.
Featuring Alan Simon, John Wetton, Steve Hackett, Bernie Shaw, Jerry Goodman, Martin Barre, Jeremy Spencer, Michael Sadler, Roberto Tiranti, John Helliwell, Jesse Siebenberg, Shira Golan and Miriam Toukan.
Move, Cry, Act, Clash! concludes its 12 tracks with “The Vision” featuring the legendary John Wetton (King Crimson/Asia) in a beautiful tribute to the friendship and respect between these two musical giants.
Alan Simon is a Breton songwriter and director. Author of modern operas, his works are performed in various national theaters (Russia, Germany, France …). More than 300,000 spectators came to applaud Excalibur or Tristan & Yseult. Alan has obtained several gold and platinum records and his creations have received several awards. In the USA, Alan won the Grammy for best producer in 2008 and for best song, “Circle of Life,” performed by Jon Anderson of Yes. His album Big Bang (2018) is the soundtrack of the City of Space in Toulouse (an educational park about the conquest of space). After the film O Gengis in 2005 (with Omar Sharif and Jean Reno), he has just finished Monsieur Constant, his second film for the cinema, which is in production during 2021. Today Alan wants to go on tour around the world with his extraordinary musical round table where many legends of folk and rock meet.
“‘Excalibur’ brought me a lot of happiness because by creating this musical round table, I had the great chance to collaborate with incredible rock and folk legends, pillars of mythical groups: Yes, Supertramp, Fleetwood Mac, King Crimson, The Moody Blues, Alan Parson, Asia, Barclay James Harvest, Genesis, Fairport Convention, Runrig, Jethro Tull, Saga, Uriah Heep… Since its creation 20 years ago ‘Excalibur’ has represented 5 studio and 3 live albums including 120 original tracks. Offering a new album is not trivial. You have to give everything. So I made this opus V by investing myself 100% with an ‘old-fashioned’ production. No home studio but the joy of living in a large studio (Drums code studios in Italy) with great soloists and a fantastic symphony. Then I contacted magical interpreters that I like. What a joy to hear the guitars of the legendary pillars of Genesis and Jethro Tull: Steve Hackett and Martin Barre or the voices of Supertramp from Saga and Uriah Heep: Jesse Siebenberg, Michael Sadler and Bernie Shaw without forgetting this incredible talented singer Roberto Tiranti. We spent 6 months in a mixing studio with an average of 100 tracks per title. I hope that this more rock album than the previous ones will sign a real return on stage of this universal legend, ‘ever green’ say the English. Thank you to all those who supported ‘Excalibur.’ After 300 000 spectators in 4 tours, I hope that this musical round table finally finds its audience under the aegis of sharing. These 12 new songs underline the urgency to get moving for our planet. More than ever our destiny is in our hands. And everything is good to take. The concept of Excalibur and its musical knights must contribute to this new start. Artists can (and must) get involved more than ever.” – Alan Simon
Track Listing:
1 Move, Cry, Act, Clash 2 The Prisoner 3 The Last Bird 4 Messaline 5 I Said Shout 6 Heaven 7 The Lady of the Lake 8 When Your Feelings Grow 9 Wake Up (Before the Last War) 10 Hey 11 A Brand New Day 12 The Vision
WONDERWORLD is the name of the power trio consisting of Roberto Tiranti, Ken Ingwersen, and Tom Fossheim. From 2013 until last year the band played alongside Ken Hensley, as his LIVE FIRE band (including 2013’s Trouble album and 2019’s Live In Russia). During that time the band also doubled as their own heavy rock outfit releasing 3 albums under the Wonderworld name. So, it is most fitting that Wonderworld’s 4th album pays homage to their former mentor and band leader via a newly recorded collection of songs they performed as part of Ken’s support band, under the name Live Fire!
The album consists of 12 tracks – 6 Heep tracks, 5 from Ken’s later albums, and 1 instrumental opener to the album. It is essentially songs that the band (Live Fire) would’ve performed the most while with Ken Hensley. There are the Heep standards like “Gypsy”, “Easy Livin”, “July Morning”, “Circle Of Hands”, “Look At Yourself”, the first video “Sunrise”…. and despite Ken’s absence [there is a guest keyboard player on various tracks]. These are not simply tired ol’ rehashes, as the band really does an exceptional job performing,. Lots of energy. Both [singer] Tiranti and [guitarist / producer] Ken [Jr] Ingwersen sing and play with a lot of emotion and it shows throughout this album. I love this version of “Look At Yourself”, and how the band work out the ending here. Digging this version of “Gypsy” as well. [*There is No “Lady In Black” on this album! 🙂 ]
For me though the highlights are the post Heep tracks, notably “The Last Dance”, “Ready To Die”, and “The Curse” — 2 of the best songs Ken Hensley wrote in the last 2 decades. I will always hail Ken’s original take of “The Last Dance” as the best [with his own vocal], however Roberto pulls off a strong performance of it that I will gladly take. “Ready To Die”, from the Trouble album is also a favorite here; tho it lacks a bit of the weight without Ken’s Hammond organ, I think Roberto gives a better vocal here, and the band still delivers it with power; a great track for the heavy hitting drumming of Tom Fossheim here. And lastly – “The Curse” – what made this song so great the first time was the interplay from the 2 Ken’s during the 2nd half – the instrumental section of the song. So the keyboards take a different approach here, but Ken Ingwersen plays this so well, as his guitar stands out even more here, definitely the highlight of the album for me! The disc ends with “The Longest Night”, another track I think Hensley really liked from his latter days, and it is the only track here to feature him, as it’s a duet between Ken and Roberto. (not sure where Ken’s vocal came from – an alternate take from ’13?] , but it sounds great.
Cover art nicely done by Ken Ingwersen, which follows nicely in suit with the other Wonderworld covers.
My longtime friend and fellow Uriah Heep fan Mac Steagall from North Carolina has written a book – The Misadventures Of A Boomer. The book is a well written series of stories, essentially an autobiography in short chapters. It’s an interesting and entertaining read, detailing Mac’s life growing up in a close-knit family in a small town in North Carolina. A different time and place for me, which made it very interesting. Mac goes on to cover stories from his youth, school, college, early jobs, and career, with various tales for each period. Later in life it was Mac’s desire to attend a Heep fan convention in St Louis in 1997 {i was there], which would help him overcome his fear of flying, and he talks about further Heep fan conventions and shows he would attend overseas. Not a lot of musical content, but as a friend, fellow Heep fan, and one who likes reading about life in different eras and places [just before my time], it was a fun read.
Not too lengthy of a read, at just over 160 pages [no pics]. and or $5 on Kindle, it was well worth it.
![The Misadventures Of A Boomer by [Mac Steagall]](https://m.media-amazon.com/images/I/41nniZhSyBL.jpg)
Outsider Rock 