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.
John Sloman is firmly established as one of the ‘voices of rock’. Famed for his octave straddling voice, John has performed with Gary Moore, Uriah Heep, Lone Star and UFO, among many others, and he is to release a new album titled ‘Two Rivers’. Two Rivers will be preceded by a 2 track digital single on Red Steel on October 29th 2021.
Lifted from his magnificently strange and exquisite album Two Rivers the single is called “This River Is A Time Machine”. This digital-only 2 track single is backed with an alternate take “This River – The Instrumental”, as the ‘B-side which is not included on the forthcoming album.
Please credit Jeff Moh
The album is described as – “having traces of a major stage production with elements of acoustic Zeppelin evident along with several other references. Even Zapperesque at times.”
John is also working on a retrospective collection with tracks drawn from his deep well of solo albums titled ‘Conspectus’. Furthermore, there is a full series of back catalogue remasters for release in 2022 as well as more new material to follow…
The album’s cover-art is based on a photo by Jeff Moh then painted by Callum Fernandes-Clarke, all put together with Callum and John.
For Lucifer’s Friend fans, despite the recent deaths of both Dieter Horns and John Lawton [Dec ’20 / June ’21], there are a couple of upcoming releases that will [hopefully] lift fans’ spirits. October will see the second solo release – Night Drive 2, from guitarist Peter Hesslein, and in December there will be the Lucifer’s Friend compilation The Last Stand. In this exchange Peter Hesslein gives some answers regarding both of these new releases, as well as future releases that fans can look forward to.
The reaction to the first Night Drive album was a huge surprise for me, with unanimously positive reviews, I had planned the album for myself to relax and to bridge the gap until the next Lucifer’s friends album for the loyal fans, I was initially a little insecure as the rock lovers can be felt, I was immediately motivated to find a successor with many good reactions, especially since John still had not started with the vocals, although the playbacks were completely finished.
When was the 2nd Night Drive recorded? and does it differ much from the first one?
Night Drive 2 was finished in May 21st, it’s a little more rocking than number one.
After so many years of working in bands or with other people, how did you enjoy recording solely for yourself?
Working while listening to top musicians from all over the world naturally shaped me, as I have already done everything myself for Lucifer’s Friend and John had given the vocals, it was a habit for me.
Do you foresee yourself doing another such solo album, or is there something else [musical direction] you’d like to record in?
I finished the recordings for Night Drive 3 and I even aimed it towards Brazilian music, inspired by my long-time friend and percussion player Pablo Escayola
Nice. when is this planned for release?
In May 2022.
Lucifer’s Friend :
The Last Stand compiles songs from the LF albums ’94 to 2019. Is this basically your own choices or how did you choose the tracks?
The Last Stand was supposed to be the new Lucifer’s Friend album, as this wasn’t possible now, management decided to turn it into a sampler of tracks from the last four albums. I chose these songs in the sense of being John’s favorite songs.
Is there more Lucifer’s Friend stuff in the vaults that could be released — be they leftover studio tracks, demos…?
Lucifer’s Friend only have playbacks without vocals.
You had mentioned previously a LF recording from Japan. Might this be something you could still release, and is there any other live recordings that was could be issued?
There is a live recording from Japan, but unfortunately the quality is too poor to be released.
Regarding the unfinished LF album – I understand that everything was done except for the vocals!? If so, is this something that could be finished musically OR with ‘guest’ singers?
The management has decided to close the chapter of Lucifer’s Friend for the time being.
Curious if there were any song titles [?]
Since John always wrote his lyrics shortly beforehand, so unfortunately, none exist.
Is there any chance we could still get proper CD reissues of the entire Lucifer’s Friend catalogue? [maybe a box set]
When the management gets the rights for a box set from the different companies, maybe at the end of ’23.
Is this something that is being planned with a particular record company?
That is planned with Cherry Red.
Might you consider writing a memoir of your career in music?
Peter Goalby had a long and successful career throughout the ’70s and ’80s. From Wolverhampton (England), Peter was in such bands as Fable and Trapeze as a singer, guitarist and writer. He also had a solo deal with Magnet Records in the ’70s, releasing a few singles. Following a final tour and live album with Trapeze he joined a revamped Uriah Heep, lead by Mick Box. As a frontman and writer he played a major role in the band’s resurrection in 1982 with the successful Abominog album, followed by Head First, and then Equator. In this interview [his first since his interview with the Uriah Heep Appreciation Society in 1992, and his first since walking away from the music business] Peter explains his reasons for leaving the band, as well as a few events that lead him to leaving music all together in the early ’90s. He took other jobs, put away his guitar, and moved on, having little contact with the music industry. However, November 5th marks the return of Peter Goalby in a way – it is the release date for his brand new album – songs that he’d recorded over 30 years ago! Songs he feels strongly about, and that he needs to see released. Easy With The Heartaches will be his first album since 1985! Peter says he is “thrilled” with this new album. And here’s hoping that it generates enough interest that we might hear more from the man!
*Check out the link at the bottom to order Easy With The Heartaches.
To go back a bit, I just want to clarify that you did not leave Uriah Heep because your voice was gone – it was the relentless touring along with personal matters at the time!? Can you talk a bit about that decision and how it came about ? Did the lack of success with Equator play a part as well?
The touring was relentless from day one. Everything revolved around the live shows . Just to give you some idea, we once did 22 countries in 30 days. My longest run was 16 nights back to back. I remember checking in to the Hamburg Hilton and I bumped into Gary Moore in reception. I told him that this was show 16 on the bounce, he said “Sack your manager!” Our manager was standing next to me, so I said “Gary meet Harry!” LOL. Equator was a major part of the end for me. I have never understood why we did not use Ashley Howe on this third album > I was told we were using Tony Platt because he had worked with Mutt Lange. The album flopped mainly because the sound is awful. It’s drenched in Reverb and difficult to follow. Way too many overdubs. We arrived in Australia to do our second tour in two years. We were met from the plane by three people from CBS Records. They had no idea that we had a new album out (Equator). We were so pissed off – I could not believe it . What a cockup! So. as the first Aussie tour went so well. this time they put 36 shows into 40 days . We got about three quarters through it, then one afternoon Lee took me fishing off the rocks. All I caught was a throat infection – Laryngitis. I lost my voice completely for 4 days. I was not allowed to speak at all. We resumed the tour and my voice was fine. My voice did not give up, I did! Many reasons added up to me wanting to leave but my voice was fine. I hope you will agree when you listen to my album . I am so proud that finally people will listen to my very best work. I love the songs – all of them! It’s the real me, what I always wanted. The story of me having problems with my voice suited the band at the time, it fitted in . No one ever asked me if it was true. This is my first interview since those days [ed – UHAS int] .
Can you touch briefly on the highlights of your career – with Heep, Trapeze, as a solo artist… Any tracks you were most proud of or favorite concert moments?
There are so many Highlights in my career – Fable was a great band, all 5 of us sang; I loved the harmonies and all that stuff. We were a cover band really but we did the songs live better than the original artists. I was thrilled when I was asked to join Trapeze. Mel was a great guitarist, very unique style of playing. I wrote three songs for Trapeze – “Livin’ On Love”, “Don’t Ask Me How I Know”, “When You Get To Heaven”. All three ended up on side one of the album, Yea! My favorite Trapeze track I sang was “Don’t Break My Heart Again” – I think I did a fine job on that one !? Castle Donnington was the start of the Heep story – we blew all the other Bands off the stage, as we did so many times, at many festivals over the years. We headlined so many, all over Europe, it was great! I remember waking up one morning in a hotel in Europe, I could hear the riff to Golden Earing “Radar Love” live – It was 11am, the show had started and we were not on until 9pm. I thought to myself “Wow that’s where I am, great stuff!” I loved working with Def Leppard – Joe, Phil and the boys – great people, they really were. We were all great buddies at the time. Joe and I played golf in Las Vegas. We used to share a taxi when doing the radio interviews before every show. I was watching Sky Arts TV channel the other day, watching the Eagles live, and I thought “look at the size of that gig!” – then realized it was the LA Forum. I have played that gig! I loved playing India, that was incredible, And yes, I really do have a scar on my back, where I was bitten by a naked Indian guy who jumped on the stage. I regret not doing Russia; that must have been fantastic for the boys.
Was the possibility of a trip to Russia in talks before you left?
Just before we went to Australia for the second time , we were offered Russia but it was not officially on . I did not realize it was going to be that big , must have been incredible . Well done Mick.
Too Scared To Run was a great intro for the band!?
When I wrote “Too Scared To Run”, as I did with a lot of songs, I always pictured certain bands playing it or what would they would they do. And I wondered what would Phil Lynott and Thin Lizzy do? And it’s really weird because looking at some of the comments on the internet about ‘Too Scared To Run’ one guy actually said that it reminded him of Thin Lizzy! So, I thought ‘yeah, I got it right.’
Immediately following Heep, was your initial plan to get on with a solo career or was there other options, offers, things you wanted to do? And what lead to eventually writing and recording these tracks that make up Easy With The Heartaches?
Straight after leaving Heep I I was introduced to Mickie Most. He had just bought back RAK records from EMI. He signed me and we made two singles which he produced . “Mona lisa Smile” an d then a great song called “I Don’t Wanna Fight”. I then got a publishing contract with Rondor Music. They treated me very well. I was allowed to go into the studio any time I had new songs and record them . Which I did; that’s how these recordings came about. I would wait until I had three or four songs ready to go, then book the time in Mad Hat studio in Wolverhampton . We would record three songs complete in a couple of days . To be honest I was thinking maybe I would get an offer from a band. I never thought of me doing a solo thing or having my own band. My writing was getting better and better at the time; I felt like I was in the zone. The songs were getting stronger and stronger. Had I stayed with Heep they would have ended up as Heep songs I am sure. I also think part of the reason the songs were getting better was that I now had the time to concentrate on being a writer. Really that’s all I wanted to do, be a writer of songs. The songs on Easy With The Heartaches were written after I left Heep, there was nothing left laying around with the band, nothing. John Parr contacted me, he had heard some of my songs and loved them. He asked if we could do some co-writes for his next album I said YEA. We wrote “It’s Startin’ All Over Again”, “Everytime”, and “This Time”, which John put on his Man With A Vision album. John played all guitar solos, I played all other guitars. I also did some co-writes with Robin George. Robin is from Wolverhampton, so we knew each other for many years . I have put three Goalby / George songs on my album : “I Built This House”, “Monalisa Smile”, and “Chance Of A Lifetime”. They were recorded in Robin’s home studio.
In talking about some of the tracks – Monalisa Smile is one many will know [as it was a single], but it also created a bit of controversy in comparison to a Heep track on Raging Silence!?
When Heep were doing Raging Silence, Mick asked if I had any songs they could do. I had “Monalisa Smile”, and I wrote a new song especially for the album, I called it “Blood Red Roses”. It is a great song. So I sent those two songs to Mick. Then when I heard the album I played “Blood Red Roses” and thought “WOW – I should have recorded it myself”. I loved it . But the next track came on and my father-in-law said “that’s your song too ?” I phoned Mick and said that “Voice On My TV” was the same as “Monalisa Smile”. He told me it was a co-write with the new keyboard player. Mick apologized and it has not been mentioned since that day.
[Peter Goalby: Rantarock Festival, June 1985. Photo courtesy of Juha Kivinen]
Do you have any personal favorite tracks on this album? Anything specific that you felt would’ve made a great single at the time you recorded them?
I love every track on Easy With The Heartaches. I chose that song as the title track because of the lyrics. They are rather fitting. they mention ‘too scared to run’ and ‘Rainbow’. I think my very favorite has to be “They’ll Never Find Us”, it fits together so well, and I sing it well (I hope).
These songs have always been noted as being demos!?
I call them demos, but they sound as good as anything else that’s out there from the 80s.
What happened following these recordings that they ended up getting shelved [and eventually bootlegged] and you eventually leaving the music business as a writer / performer?
Mickie Most went to America with “I Don’t Wanna Fight” and “Monalisa Smile”, and got me an album deal. And they offered him 15 points [percentage breakdown], and he wanted 19, and he walked away! So yet again – this is the story of my life! There would’ve been a Pete Goalby album a few years after I’d left Heep.
This single started to do well, it was on round table, which is a Friday night radio show where they play new singles and comment on them UK DJ Mike Reid was on that night .I remember it well, I was listening to the show. They played my record and Mike said – “What a song. The vocal is a hit vocal, but the production sounds so old fashioned . It sounds like the sixties. Awful”. Monday morning Micky pulled the record from release. He withdrew the record .
I remember there was a shake up at Rondor, my contract was up for renewal. The guy that had signed me got fired and so did all of his Artists – including me . So that was the end of that. I decided enough was enough and quit the music industry. I had given my all for so many years but decided there were other things in life like being happy.
In the years since leaving the business did you miss it at all – not so much the ‘business’ end, but the writing, recording or performing live? And do you still play on occasion [in private, for company or yourself]?
I missed it all, big time! That’s why I stopped completely. That was the only way to deal with it. I was in denial. It took a long time to get over it all and become normal again. I could not figure out why I could not get it off the ground. So I stopped. I have not picked up a guitar in many years. And the same with the singing. The last singing I did was for Uli Roth, 1992, I think. Looking back, I hated the music business, but loved the music . This album is so important to me. I truly believe these are my best songs.
What sort of lead you at this stage to get these recordings out? Curious if you’ve seen a lot of positive comments about your recordings with Heep and Trapeze, and if that played a part? Can you kind of go through what got you motivated, and the whole process to get to this release? {i believe it was late 2019 when you first mentioned it].
I had been looking on YouTube etc , and was blown away with the comments about the songs. People totally get it! And that’s great. So many people saying they like the songs. A very important thing happened to me when I was 60 years old – my Mother told me the man who I thought was my Dad, actually was not my Dad. My real father was a singer and piano player – Wow! Then it all made sense. I finally knew who I was and where it all came from. Had I known this before I would not have stopped singing and writing etc (isn’t it a strange old world?) Losing Trevor, Lee and Ken made me think real hard about things. I thought when I go, some one will buy the rights to my songs and release them anyway. So I decided to stick around and hopefully enjoy releasing the album and all that goes with it.
Has this release inspired you to want to see more stuff from your past get released [or reissued] – like Fable, various singles…..?
As I said when I am gone , it will all get released so, if that’s what people would like . Then let’s go for it now Kevin.
Why did you decide on Easy With The Heartaches as the title?
I wanted to call it Easy With The Heartaches because it could be about me, if you listen to the words.
As you had more than enough songs to pick from [people who have the ‘bootleg’ out there will say there’s songs missing]. So curious how you chose the songs for this release? And what might become of the ‘leftovers’?
I was not even aware there had been a bootleg album of my songs. I thought some one had been nice enough to put a couple of my songs on You tube. I wanted the album to be punchy. After being in such a great band with Mick. I think that is what people will expect. I have more songs and we will see how things go with this album.
How happy are you with this album being released [finally]?
This is my first album since Equator and it’s been such a long time. It’s weird but I can detach myself from them ’cause it’s been so long since recording them. It’s as though I am listening to some one else. I think he is good, I like his voice! But I love the songs and style of the songs. It’s the kind of music I love. So it makes me very happy.
Could you foresee yourself recording anything new – be it reworkings of old songs or perhaps writing something new?
I am not sure about singing or writing new songs but lately I have learnt – NEVER SAY NEVER!
How involved and happy were you with the Trapeze compilation that came out in 2019?
I had a nice surprise last year with the release of the Trapeze compilation. I don’t know why but they did not use “When You Get To Heaven”. I think that was a strong song… Anyway, never mind. I was not involved at all with the release. I was asked to do something for the sleeve notes, which I was very happy to do.
There are a number of things in the Heep vaults from your time – the Ridge Farm stuff, the live in Auckland show, there’s also a live show from Glasgow [radio broadcast]. . Would you be keen to seeing some of this stuff ever released?
No! The live in New Zealand I think is fab. I’ve watched it. That was done properly, it sounds good, we’re playing [what I call] proper songs. That wouldn’t be a problem. But all this stuff like Ridge Farms, and stuff I’ve seen over the years like backing tracks, I’m thinking ‘who is doing this, what is the point?’ , it’s crap – it’s not very good. [Q- stuff on the box sets?] . Yeah, I don’t agree with any of that, it was never meant to be released. You wouldn’t release them at the time. The reason something doesn’t get released is because it’s not strong enough or it’s not in the right style, or whatever. So you pick and choose what’s going to be on the album, and all these songs get fallen by the wayside, and a lot of them aren’t even finished because you think there’s no point in finishing it because it’s not going to make it; it’s a no-go. And to hear them coming out as bonus tracks, I’m embarrassed, because it was never meant to be!
You remained a very private person since leaving the business, even avoiding social media. Can you give fans an insight in to how you are doing and what you’re into these days?
So, it’s all looking great, I have been very lucky in many ways. I am enjoying my Retirement, although I think I will be very busy after November 5th. We are still very much into our horses and horsey stuff.
Though it’s been a long time – have you occasionally been recognized or approached by fans while out in public?
I am still recognized, yes. I have always played it down though. A lot of our friends still don’t know I was a singer in the 70s and 80s. It’s great fun when they find out.
You spent a lot of time with Trevor and Lee, and were friendly with Ken. Any special memories or tales of any of them?
We lost Trevor, Lee, Ken , and then John Lawton . I did not know John but he was part of the family and all are missed .
I loved Lee, he looked after me . Bob Daisley said , if Lee tells you anything you must either half it , double it, or completely ignore it LOL
Bob called Lee ‘Grenade Head’ ’cause he was likely to go off at any moment LOL. Bob and Lee were very close right until the end .
Lee was an absolutely fantastic drummer. To stand to in front of the drum riser with Lee playing behind me, his bass drum used to blow out my trousers, he was so loud, he was like Cozy Powell. Cozy was exactly the same. A fantastic drummer. But Dave Holland was a great drummer too.
Trevor – What a bass player! I still see him all the time on all the Spiders From Mars videos on TV. Trevor was also a funny guy; very quiet but in a calm way I loved sharing a stage with Trev.
Ken, what a talent – so many classic songs . I wish I could have shared a stage with Ken. It did cross my mind to do an album with him but I left it too late . He was a great keyboard player; a different style to my mate John Sinclair, Both fantastic.
You’ve kept in touch with Mick over the years, and presumably John Sinclair. And Bob Daisley was in the band prior to Trevor…
Yes I am in touch with Micky but more so with my mate John, he is the funniest man in the world, so funny. He said to me a few months ago – “Pete you are the best singer I have ever worked with… Oh, apart from OZZY!” LOL
When Bob left the band I was so upset, as we were great together. He is a great bass player and writer – ,everyone knows that. Bob and Lee together, WOW – bloody fantastic! It was an honor Bob.
If you were to ever join Heep onstage for a couple of songs from the ’80s — what would you like to do? 🙂
If I ever joined Mick on stage for a couple of songs from the 80s – “To Scared To Run” – for sure, as it’s my song. And I think maybe “The Other Side Of Midnight.”
A new compilation from German progressive / hard rock band Lucifer’s Friend marks the end of this great band, following the losses of founding members Dieter Horns [bass] last year, and singer John Lawton earlier this year. The band had began in 1970, and continued until 1981 with Lawton leaving the band in 1976 to join Uriah Heep, then returning for one album in 1980 following the departure of his replacement Mike Starrs. The band regrouped in 1994 as Lucifer’s Friend II, minus founding member – keyboard player Peter Hecht, and with a new drummer, and released the album Sumo Grip. They disbanded again, but Lawton, Horns, and guitarist Peter Hesslein would reunite again in 2014 to record some new songs for the compilation Awakening in 2015. They then played some shows in 2015, when they would record Live At Sweden Rock [issued the next year]. 2016 also saw the release of a brand new studio album titled Too Late To Hate, which was followed by 2019’s excellent Black Moon album. During this time health issues prevented the band from playing live before the Covid pandemic started in 2020. At the time of Black Moon John Lawton stated that another album was largely done, and was just awaiting his vocals. But Covid had closed the studio John would normally work out of, so no chance to record seems to have shelved this project. Sadly, In December of last year Dieter Horns, who had had recent health issues contracted Covid-19, and passed away in hospital. Further tragic news came when John Lawton suddenly passed away on June 29 of this year, leaving fans shocked. Late last year Peter Hesslein released his first solo [instrumental] album Night Drive, and is set to release the follow up, Night Drive 2.
The Last Stand is a fitting touch to end the band’s catalogue (unless of course, there’s things in the vaults 🙂 ) . It is compiled by Hesslein, from the albums from Sumo Grip, up until Black Moon.
Track Listing:
1 Heartbreaker 2 Sheree 3 Ride The Sky ‘94 4 You Touched Me With Your Heart 5 Pray 6 Did You Ever 7 Demolition Man 8 When Children Cry 9 Straight For The Heart 10 This Time 11 Black Moon 12 Passengers 13 Call The Captain 14 Freedom 15 When You’re Gone (Live)
Peter Goalby left Uriah Heep following 1985’s Equator album and world tour. His first move was to release a single under the name Perfect Stranger in 1988. The singer, who also was a major songwriter during his time in Heep would resurface on the band’s 1989 album Raging Silence, as he wrote the single “Blood Red Roses”. As well he wrote “Falling Apart”, for Smokie on their 1989 album Boulevard Of Broken Dreams. He would also record a number of tracks for a solo project in 1990. A few of these tracks would see the light of day on official releases – “Mona Lisa Smile” was issued as a single in 1988, co-written & arranged by guitarist Robin George [ex Byron Band], and produced by Mickie Most. That track, as well as “Chance Of A Lifetime” [also on Easy With The Heartaches] were also recorded by UK band Estrella for their 2012 album Come Out To Play [an album produced by former Heep keyboardist John Sinclair]. Peter also wrote for a few other artists [notably John Parr], as well as guested on stage with Uli Roth, but would retire from the business, and taking on a job for a guitar company. But these recordings would later find their way out on the internet – bootlegged to download or on Youtube. His 1990 unreleased solo album was no secret amongst Goalby’s fans. Recently retired, and knowing these are the last things he wrote and recorded, and was proud of, the singer finally decided it might be a good idea to get his lost solo album out as an official release. Easy With The Heartaches features 11 tracks personally overseen (from tape transfer, mastering and artwork) by Peter Goalby. And here’s hoping that fans enjoy it, it’s not the last we hear from him!
Track Listing:
1 Easy With The Heartaches 2 Hold The Dreams 3 I Found Real Love 4 Chance Of A Lifetime 5 Mona Lisa Smile 6 They’ll Never Find Us (Running For Our Lives) 7 I Used To Be Your Lover 8 Take Another Look 9 Perfection 10 I Built This House 11 The Last Time
The latest in the ‘visual biography’ series from Canadian rock writer Martin Popoff just happens to be on the mighty Uriah Heep. A project I had a slight hand in. And having said that – has made it hard for me to write much about it It is a very nice coffee-table book, chalk full of photos from throughout the band’s history, with photos mainly coming from fellow Heep fans who were fortunate to have seen the band over the decades, with different line-ups. So credit must go to those who contributed their photos, and time in scanning as well.
The visual history also comes with a timeline of Heep’s history, noting many birthdays, important dates, related releases, etc…
It is a fine addition to an avid Heep fan’s collection. It is heavy (weight), but will make for a cool conversation piece.
For the record, someone commented ‘enough with the Heep books‘ – well, I for one am in favor of seeing more, and preferably more from those (players & participants) who were there. Uriah Heep was/is a major band in the golden era of heavy rock, an era that will disappear sooner than later. So, if you’ve got something to say, photos you’re stashing, recordings you’re holding on to, unprinted interviews to share — Now is the time!
*For more info and to order please check out the link below. +Martin also has copies of his Thin Lizzy book in the same series.
![The Misadventures Of A Boomer by [Mac Steagall]](https://m.media-amazon.com/images/I/41nniZhSyBL.jpg)
Outsider Rock 