Category Archives: new wave of British heavy metal

Original lead singer of glam metal pioneers, Wrathchild, finally wins right to the band’s name

Glam rock, Music news, new wave of British heavy metal, Rock music, , , , ,

Like a number of bands riven by personnel disputes, artistic differences or simply shafted by the music industry, early 1980s glam metal pioneers, Wrathchild, were one of those outfits that had long ago divided into rival factions, each touring with their own version of the band and a series of long-running disputes about use of the name.

However, in a statement this week on his Facebook page, original lead singer and over-the-top mascaraed frontman, Rocky Shades, posted a statement to say his own version of the band had finally won the right to use the Wrathchild name:

“Rocky Shades Wrathchild will now be officially known as “Wrathchild” since the ownership of the much disputed and controversial trademark and legacy has been returned to its co creator and motormouth frontman Rocky Shades.“

“The new Wrathchild is the five-piece band that should have been since day one and is considerably heavier than its older incarnation. The original members have either retired or turned their back on the genre that made them.“

The band were originally formed in Evesham, Worcestershire, in 1980, with the debut album Stakk Attakk coming out in 1984.

The current line-up of the band is now original vocalist, Rocky Shades, accompanied by Gaz Wilde (drums), Jonny Suicide (bass), Oz Paul (guitar) and Bret Patrucci (guitar).

In the band statement, Rocky Shades adds: “Wrathchild are currently in talks with a major American management company and a few interested record labels but are set to release their own single imminently called ‘Still Here In The Freak Show. This will be uploaded to a brand new pending website and a video will follow later. The B-side of said single is a reworked rerecorded version of fan favourite ‘Trash Queen’.“

The band are currently rehearsing for appearances at:

Hard Rock Hell – Great Yarmouth – Saturday 11th March 2023

The Billsley Rock Club – Birmingham – Saturday 8th April 2023

Live review: Diamond Head and Saxon, De La Warr Pavilion, Bexhill 13/11/22

Live reviews, new wave of British heavy metal, Rock music, , , , , , , , ,

Back in the day Diamond Head seemed to be one of those bands I constantly read about but somehow passed me by, neither seeing the live nor owning one of their albums. I’ve made up for it in recent years and this is now the third time I’ve seen them. Hugely influential as early pioneers of the NWOBHM (New Wave Of British Heavy Metal) era and later lauded by bands on the US thrash scene, like Metallica, they never really quite got the recognition they deserved to make it into the big league. But after being absent for the latter part of the 1980s and much of the 1990s the band reformed in the early 2000s and have been solidly active ever since.

Lead guitarist, Brian Tatler, has been the one constant presence in every line-up of the band from the start but the latter-day Diamond Head are a really strong unit and seem to have carved out a niche for themselves as a go-to support act. I saw them at this same venue three years ago supporting Uriah Heep and it’s great to see them, once again, now supporting Saxon. While there may be something of an ‘always-the-bridesmaid-never-the-bride’ about that, it is nevertheless fantastic to see them perform on a big stage in decent-sized venues like De la Warr. The band’s combination of hard riffing and bona fide heavy metal classics assure them a hugely appreciative audience tonight. Definitely,  a support band you don’t want to miss.

While some veteran rock acts might be content to ease off on the writing and recording of new material and focus primarily on a greatest hits set for their live shows, Saxon continue to deliver some excellent albums and this tour is very much about promoting the latest, Carpe Diem, released earlier this year. Indeed, the name of this tour (‘Seize The Day’) comes from a line in the album’s title track. There’s no shortage of material from the new album on this tour and the first part of the set is heavily dominated by tracks from Carpe Diem. Having bought the album when it first came out back in February, I’ve had a good few months to familiarise myself with it. So as the band blast out tracks like the aforementioned ‘Carpe Diem (Seize the Day)’, ‘Age Of Steam’ and ‘Dambusters’, they sound more like welcome old friends than strangely unfamiliar new material. It helps, of course, that Saxon have always had that knack of turning out memorable songs with great riffs.

There’s room, of course, for plenty of the old classics, too.  ‘And The Bands Played On’, ‘Wheels Of Steel’, ‘747 (Strangers In The Night)’, ‘Denim And Leather’ and ‘Princess of the Night’ all get a welcome airing before the end of the evening. Unforgettable anthems of heavy metal all of them, they have ensured Saxon have remained up there as my personal favourite to come out of the NWOBHM scene.

Biff Byford is in fine voice and remains a compelling frontman, the band power through the songs with incredible energy as those trademark heavy riffs are unleashed and the songs, whether new or old, make for a hugely memorable gig. Thank you, Saxon!

https://www.saxon747.com/

Setlist:

Carpe Diem (Seize the Day)

Sacrifice

Age of Steam

I’ve Got to Rock (To Stay Alive)

Dambusters

The Thin Red Line

Living on the Limit

Dallas 1 PM

Heavy Metal Thunder

Metalhead

The Eagle Has Landed

Black Is the Night

And the Bands Played On

Wheels of Steel

The Pilgrimage

Strong Arm of the Law / Solid Ball of Rock

747 (Strangers in the Night)

Denim and Leather

Princess of the Night

Related reviews:

Diamond Head and Uriah Heep at De La Warr Pavilion, Bexhill 6/12/19

Saxon / Fastway / Girlschool at Shepherd’s Bush Empire 5/11/16

Saxon – album review: Battering Ram

‘Denim & Leather: The Rise And Fall Of The New Wave Of British Heavy Metal’ by Michael Hann

Book review: ‘Denim & Leather: The Rise And Fall Of The New Wave Of British Heavy Metal’ by Michael Hann

Book reviews, new wave of British heavy metal, Rock music, , , , ,

My early teen years neatly coincided with the ascendancy of the New Wave Of British Heavy Metal (NWOBHM). I missed the first Monsters of Rock at Donington in 1980 but was there for the second. I went out to get the first issue of Kerrang! (which I still have) and bought (or taped) albums by many of the bands featured in this book. Unlike many other genres or musical movements that I’ve grown to love over the years, this one perfectly aligned with the period when I was seriously getting hooked on music for the first time.

Taking the form of a transcribed oral history, Denim & Leather features contributions from a plethora of figures, from artists to managers to promoters to writers to fans, who were around during the short life of this grassroots phenomenon which gave a much-needed shot in the arm to the world of hard rock at the tail end of the 1970s and the dawn of the 1980s.

Sometimes books of this nature, featuring an endless stream of quotes and half-remembered (and often contradictory) anecdotes but little in the way of context or analysis, can be a bit of an exhausting and not always particularly satisfying read. But Denim & Leather is cleverly done and author, Michael Hann, has skilfully organised it in a way that allows for clear narratives to emerge. The various chapters take us through key events chronologically but also give us an in-depth look at particular aspects of the scene. There’s chapters on the importance of things like The Friday Rock Show, Sounds and later Kerrang! mag as well as the first ever Monsters of Rock Festival but it also looks at some of the less rose-tinted aspects of the scene, like the all too frequent misogyny.

Wisely, the book doesn’t get too hung up on rigid definitions of what is and what isn’t NWOBHM and there is a chapter devoted to the influence the movement had on that trio of post-Purple bands, Rainbow, Whitesnake and Gillan, as well as lots of mentions of Judas Priest, whose members were all making music well before NWOBHM became a thing although they certainly benefited from it.

Given the importance the two bands had in influencing the later sub-genres of thrash metal and black metal respectively, there’s a whole chapter devoted to Diamond Head and another whole chapter devoted to Venom. I never really got the whole extreme metal thing, personally. But at the other end of the spectrum I never really bought into that overproduced very Americanised direction that Def Leppard soon headed in either. That also takes up a considerable chunk of the book and, in the end, is what pretty much did for NWOBHM.

For me, NWOBHM was at its very best when it melded the uncompromising heaviness of the first generation of heavy rock acts with the catchy choruses and three-minute tunes of the early 70s glam rock scene and the DIY ‘get-up-and-do-it’ spirit of the punk era. The bands that most closely adhered to that template were the ones I warmed to the most – and still do. My favourite quote in the book – from former Saxon bass man, Steve Dawson, thus perfectly sums up why I always had more love for Saxon than Iron Maiden:

“Without sounding elitist, I think the tunes we wrote were more catchy songs. Not just a riff with some fucking twat screaming. A lot of the so-called NWOBHM wrote riffs with singing, and not songs – melodic tunes that you could whistle. Iron Maiden were sort of in that bracket to me.“

Denim & Leather is a well-researched and highly readable look at a crucial but often overlooked period in rock and metal history, with many insightful, entertaining, thought-provoking and occasionally downright disturbing contributions from some of the key players in the NWOBHM scene at the time.

Published: February 2022 by Constable

April 16th: Story of an 80s heavy metal band – new CD out ‘Epitaph’

Album reviews, Music news, new wave of British heavy metal, Rock music, , , , , , ,

Playing their first gig in April 1985, the band April 16TH were late to the party in terms of the UK’s New Wave Of British Heavy Metal scene. By then many of the bands that had started up in the late 70s and early 80s had either packed up, moved on or dramatically changed their style – bringing in keyboard flourishes and, with an eye on the more lucrative American market, a more commercial sheen. April 16TH resolutely didn’t go down this route, opting for a gutsy raw feel reminiscent of the likes of early Tygers of Pan Tang et al.

April 16TH at the Marquee

April 16TH were John Fisher (drums), Chris Harris (guitar), Lawrence Mills (lead guitar), Eric Puffett bass) and Dave Russell (vocals) – and unlike many bands of the era their line-up remained stabled throughout their entire tenure 1985-91.

“Musically APRIL 16TH always preferred a raw guitar base sound to that of the cleaner and ‘less real’ sound afforded by keyboards. The bands rough edge was further enhanced by the use of a single vocalist instead of the more traditional backing vocals set up,” states the band’s retrospective biog.

“Philosophically the band truly believed in the power of rock music as a form of expression. Their stage presentation was a totally unpretentious and honest, yet powerful and exciting experience. “APRIL 16TH” despised the use of stage clothing and over-hyped theatrical performances with larger-than-life egos. At gigs you could find and could talk to the band at the bar or the pub next door, not locked away in the dressing room.”

APRIL 16TH meet Lemmy

Gigging extensively around the south east the band’s early recordings began generating interest from regional radio stations and bookings started to come from further afield. An album Sleepwalking followed in January 1989 which led to further exposure for the band.  Radio One invited April 16TH to record a session for the Tommy Vance Rock Show and there was also a slot for London Weekend Television. Sadly, however, financial woes put paid to any future success, bankruptcy forced their departure from the music scene and April 16TH played their last ever gig at the Cartoon in Croydon on Saturday 13th July 1991.

The story doesn’t quite end thee however and thirty years later we now have a newly released CD chronicling all of the band’s studio recordings.

Why now? I asked guitarist, Chris Harris, who kindly sent me the CD.

Chris: “During our ‘career’ we produced two audio products. The first was a C60 cassette recorded at Cherry Studios in Croydon that we called the Cherry Jam tape. The second was a vinyl LP also recorded at Cherry Studios entitled Sleepwalking. The Cherry Jam tape was essentially a gig getting Demo tape but the Sleepwalking album was a ‘FOR SALE’ LP released by our record company – High Dragon Records of Paris. After the band went bankrupt it was always my intention to self-release a CD containing all the tracks that appeared on both the C60 and the LP. But this dream did not become a reality until July 2021.”

The Cherry Jam tape cover

 “I don’t like the word compilation,” adds Chris. “The title Epitaph was chosen to reflect the sombre memory of our demise and to present all the (recorded) material that the band had available. And so Epitaph was compiled by using the original 1986/87 master tapes. The CD is an exact duplication of the original sound of the band and was not enhanced or re-mixed in any way.”

The Sleepwalking vinyl album

Although not one of the big names of the era Epitaph is a hugely enjoyable compendium of April 16TH’s recorded output and should be of interest to anyone with a love for the NWOBHM scene and in particular those who enjoy those bands who went for the hard, rootsy, gutsy approach and weren’t like the proverbial kids in a sweetshop when they got inside a recording studio but stuck to the basics.

Visit April the band’s Facebook page at April 16TH

And join their Facebook group here

News: Best of Heavy Pettin released 27th November

Album reviews, Music news, new wave of British heavy metal, Rock music, , , , , , ,

Following a reissue of the band’s three 1980s albums a year ago, a fourteen-track Best Of Heavy Pettin compilation is set to be released on 27th November.

The compilation features tracks taken from the Scottish hard rockers’ three studio albums: Lettin Loose, Rock Ain’t Dead and The Big Bang, including the hit singles ‘Love Times Love’, ‘In and Out of Love’ and ‘Rock Me’.

The cover is a previously unseen photo by David Plastik taken at The Louder Sound festival in France in 1984. Ross Muir provides liner notes on the band’s history.

The group dissolved in 1988 with the final album, The Big Bang, being released the following year. Heavy Pettin reformed in 2017. The new version of the band, featuring original members Gordon Bonnar and Hamie, recently recorded a 4-track EP, the first batch of new material bearing the band’s name in over 30 years.

Original Heavy Pettin drummer, Gary Moat, meanwhile, now fronts his own band, Burnt Out Wreck, who have released two well-received albums: Swallow in 2017 and This Is Hell in 2019.

Delivering punchy yet polished hard rock Heavy Pettin were often regarded as a cut above many of their contemporaries in the New Wave Of British Heavy Metal. It is good to see their legacy given the treatment it deserves, with this new compilation now joining the reissues of their original three studio albums.

Best Of Heavy Pettin – Track List:

  1. IN AND OUT OF LOVE
  2. SOLE SURVIVOR
  3. BORN TO BURN
  4. NORTHWINDS
  5. LOVE TIMES LOVE
  6. LONELY PEOPLE
  7. DEVIL IN HER EYES
  8. TWO HEARTS
  9. CHINA BOY
  10. 10.DON’T CALL IT LOVE
  11. ROCK ME
  12. THROW A PARTY
  13. ROCK AIN’T DEAD
  14. HELL IS BEAUTIFUL

Best of Heavy Pettin released 27th November 2020 by Burnt Out Wreckords/Cherry Red

Order link: https://www.cherryred.co.uk/product/heavy-pettin-best-of/

Related posts:

This Is Hell – Album Review

Interview with Gary Moat

Heavy Pettin Reissues

Anvil / Burnt Out Wreck / VOiD at The Underworld, Camden 2018

Burnt Out Wreck at Classic Rock Weekender 2018

Burnt Out Wreck at Classic Rock All Dayer 2018

News: 40 years of Thunderstick celebrated with limited-edition live album – released 20/3/20

Album reviews, Music news, new wave of British heavy metal, Rock music, , , , , , ,

Something Wicked This Way Came – Live in France

Released 20/3/20 on Roulette Records

Order from: https://www.roulettemedia.uk/thunderstick-store

By way of marking forty years since the emergence of the infamous masked drummer ‘Thunderstick’, who became the iconic figure for the then burgeoning ‘New Wave Of British Heavy Metal’ movement, his eponymously-named band are ready to release their first ever official live album. The limited-edition CD will be released by Roulette Records on 20th March.

Thunderstick’s alter ego and creator Barry Graham Purkis announces: “I am so happy to announce that after 40 years of ‘Thunderstick’ a live album will be released this month to celebrate. Comprising both Thunderstick and Samson material with the odd ‘cover’ thrown in for good measure, there has never been any official recordings of the band in concert before so for us this is pretty damn special..!!”

Lead singer Raven Blackwing adds: “I am really excited about the upcoming release of our live album ‘Something Wicked This Way Came’ Thunderstick live in France. The whole gig was a blast from start to finish with so many new friends made, a beautiful way for me to cherish that memory of that performance. It’s my first album with the band and I’m really hoping that people listening to it will pick up on the enjoyment that I and the guys had on stage that night. Much love Raven xx”

Live in France - cover artwork

Recorded live in France in November 2019 the album features a full concert with the following track listing:
Riding With The Angels
Go Sleep With the Enemy (I Dare Ya)
Earth Mother
Buried Alive
Dark Night Black Light Monologue Teenage Suicide)
Dark Night Black Light
Vice Versa
Witches Trial
Blackwing …… The Curse
Dark Princess Thunder
Thunder Thunder
Time Warp

Best known for his time with Samson and an early Iron Maiden Barry Graham Purkis (AKA Thunderstick) has been the legendary icon for the NWOBHM (New Wave Of British Heavy Metal) scene since the late 70s. His eponymously named band, renowned for its female fronted power rock and theatricality, have a considerable heritage. The band played live and recorded for six years both in the UK and in the United States until playing their last gig in October 1986.

Then In 2016 former lead vocalist, Jodee Valentine, tragically died. In recognition of her memory Barry decided to record some songs that Jodee had performed live. This became the ‘Something Wicked This Way Comes’ album, the first new Thunderstick product in over thirty years. It was released in July 2017 to enthusiastic reviews worldwide. Following the success of the album Barry put a live band together who have brought the Thunderstick magic to a series of festival dates and live gigs. Now signed to Roulette Records an eagerly-anticipated follow-up studio album is currently being recorded and is scheduled for release in July 2020.

Baz Crowcroft, the band’s resident artist has, once again, delivered spectacular artwork for the album. He was responsible for the artwork on the last album as well as the recent single ‘Go Sleep With The Enemy’. He will, of course, also be creating artwork for the forthcoming new studio album in the summer.

The full Thunderstick band line-up is:

Vocals – Raven Blackwing
Drums – Barry Graham Purkis aka Thunderstick
Guitar – Vinny Konrad
Guitar – Lee Quenby
Bass – Rex Thunderbolt

Facebook: https://www.facebook.com/thunderstickofficial/
Roulette Records: https://www.roulettemedia.uk/

News: Thunderstick – masked drummer and his band return to Leo’s Red Lion for launch of new single

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Single: Go Sleep With The Enemy/ I Close My Eyes released 7/2/20 on Roulette Records pre-order via https://www.roulettemedia.uk/product-page/thunderstick-go-sleep-with-the-enemy-i-close-my-eyes

First live gig: Leo’s Red Lion, Gravesend, Kent – Saturday 8/2/20 8pm
Tickets via https://www.ticketsource.co.uk/leosredlion/t-amaznk

Following a series of fantastically well-received live dates last year Thunderstick, with their mesmerising singer Raven Blackwing, are back with a new single and a return to live shows. Kent’s legendary rock venue ‘Leo’s Red Lion’ will be the first to support the release on Saturday 8th February.

Barry Graham Purkis aka Thunderstick: “The band will be touring our eccentric ‘Anomaly stage show’ throughout 2020. For those about to experience us live for the first time prepare yourself for the journey. We are the ‘Dark Cabaret Theatre Hooligans’ and we will steal your Rock’n’Roll hearts.”

CD Cover - Front

Raven Blackwing: “I’m very excited about the upcoming release. It’ll be my first Thunderstick recordings. I was given so much love and support throughout my first year with the band, we thought a ‘limited edition’ reworking of a couple of tracks from the ‘Something Wicked This Way Comes’ album would be a cool way to say thank you. My own particular milestone. It also sets the scene for the band’s very first live album ‘Something Wicked This Way Came…Thunderstick Live in France’. I hope that our fans enjoy both. Luv Raven xx”

The single features the tracks ‘Go Sleep With The Enemy’ and ‘I Close My Eyes’ which will be familiar to fans, reworked for the unique voice of Raven Blackwing. The single is available in both CD and digital formats.

Charismatic Raven Blackwing will lead her thunderous band mates Vinny Konrad (guitar), Lee Quenby (guitar), Rex Thunderbolt (bass) and the legendary Thunderstick/Barry Graham Purkis (drums) on a series of UK and European dates throughout the year. UK festivals ‘Breaking Bands’ on 25th May and ‘Cornwall Rocks’ on 20th November have now been confirmed, with many more to be announced. A new live album ‘Something Wicked This Way Came – Thunderstick live in France’ is set for release in March on Roulette, followed by a brand new studio album currently being recorded for release in July.

Raven Blackwing

Best known for his time with Samson and an early Iron Maiden Barry Graham Purkis (AKA Thunderstick) has been the legendary icon for the NWOBHM (New Wave Of British Heavy Metal) scene since the late 70s. His eponymously named band, renowned for its female fronted power rock and theatricality, have a considerable heritage. The band played live and recorded for six years both in the UK and in the United States throughout the 1980s until playing their last gig in October 1986. Then In 2016 former lead vocalist, Jodee Valentine, tragically died following a five-year battle with early onset Alzheimer’s. In recognition of Jodee’s memory Barry decided to record some songs that Jodee had performed live. This became the ‘Something Wicked This Way Comes’ album, the first new Thunderstick product in over thirty years. It was released in July 2017 to enthusiastic reviews worldwide.

Barry: ‘It was never my intention to put a performing band together but In light of the positive encouragement I received and much deliberation a new Thunderstick was formed. Staying true to its theatrical recognition we have been gathering momentum once more amongst the rock fraternity. The next chapter in this amazing story is ready for the writing.”

Facebook: https://www.facebook.com/thunderstickofficial/
Roulette Records: https://www.roulettemedia.uk/thunderstick

Live review: Giants of Rock, Minehead 24-27 January 2020

Live reviews, new wave of British heavy metal, New Wave of Classic Rock, Rock music, , , , , , , , , , , , , ,

Now into its seventh year the Giants of Rock weekend at Butlins’ Minehead resort has attracted a little bit of scepticism among regulars over the last year or two – namely how many of the acts appearing on the bill these days can really be considered genuine, bona fide rock giants. There’s some truth in this. Contrasting this year’s line-up with that of the first such weekend in 2014 there’s probably far fewer acts that your average not-completely-obsessed ordinary-joe rock fan would be able to instantly recognise by name. However, Butlins in January has become something of a diary fixture in recent years, there were certainly a number of bands that I was still keen to see, the camaraderie among Giants Of Rock regulars (from unofficial bingo to group photos to late night chalet parties) is second to none and my long-time Butlins’ chalet buddy was definitely up for going again.

And so, I found myself on my way to Minehead once again for another year.

My personal highlights of the weekend I can pretty much neatly divide into three main categories:

  • the classic era of classic rock – The Crazy World of Arthur Brown, Hawkwind et al
  • the New Wave of British Heavy Metal – Rock Goddess, Praying Mantis et al
  • and the New Wave of Classic Rock – Scarlet Rebels, Hollowstar et al

On the Friday night I finally got to see Arthur Brown perform ‘Fire’ in all its loopily eccentric over-the-top glory – even if Butlins’ health and safety requirements meant we got a sparkly glittery head-dress rather than actual flames. And on the Saturday night we got a magnificent mix of soulful blues and early Whitesnake classics from Bernie Marsden and a rumbling, rhythmic and suitably spaced-out set from Hawkwind. All three bona fide 100% rock giants in my book – no question.

20200125_203221

Something that’s been a bit of a feature of Giants of Rock over the years has been getting a former drummer along from a big-name band performing some form of tribute to his old band. Last year was the turn of Brian Downey (Thin Lizzy) and Chris Slade (AC/DC, Manfred Mann’s Earth Band and pretty much everyone else). Much as I love these guys these tribute-act-with-added-special-ingredient are perhaps stretching the concept of ‘giants’ a tad. This year was the turn of former Judas Priest drummer Les Binks. Unlike Downey’s tenure in Lizzy, Binks was only in the band for a couple of years 1977-79 and only played on two studio albums and the Unleashed In The East celebrated live album. And, quite properly, he doesn’t play any material the band released after he left – which cuts out a fair few Priest classics and many of my own particular favourites (like everything on British Steel, for example). But, boy, do this band know how to make the most of the hand they’ve been given. In Matt Young, Binks has found a front-man with an absolutely awesome voice who does the early Priest legacy proud. Les Binks’ Priesthood massively exceeded my expectations and were a real highlight. Giants? – well maybe not but certainly very fucking good.

On the NWOBHM front, Rock Goddess on the Saturday and Praying Mantis on the Sunday both delivered superb sets. Once again, Butlins’ ever-reliable last minute stand-ins Oliver/Dawson Saxon got a call at the eleventh hour. Given I wanted to enjoy the whole of Arthur Brown’s set it meant I only got to see the last half from Messrs Oliver and Dawson but they are always brilliantly entertaining and I was there for the irrepressible Brian Shaugnessy leading the crowd sing-along to ‘Wheels of Steel’ which is always one of the highlights of any weekend where they play. Unfortunately, I missed Diamond Head this time but given I’d seen them just a few weeks ago supporting Uriah Heep I plumped for Hawkwind on the other stage. Sadly, ex-Mamas Boys’ boy, Pat McManus, was another one I missed but by all accounts his late-night slot was one of the high-points of the weekend.

OD Saxon 2020

Even if the number of actual rock giants have been less conspicuous on the bill in recent years, one of the things that Butlins has achieved is giving a real boost to newer bands and the nascent ‘New Wave Of Classic Rock’ movement. Not only by giving slots for several bands each day on the Introducing Stage but by allowing punters to select three of them to come back on perform on the main stage the subsequent year. Sons of Liberty, and their eccentrically grizzled but thoroughly entertaining take on southern rock, were able to bag a main stage slot on the Friday night whereas the other two winners Hollowstar and Scarlet Rebels (formerly Void) had to content themselves with the 12-1pm ‘hangover slot’ on the Saturday and Sunday respectively. Both of them more pulled than it off as main stage acts, immediately generating rapport with the crowds, a suitably electric atmosphere and equally electrifying performances.

So, the giants quota may have gone down a bit – but in what was my sixth year here I was still seeing classic acts for the very first time, enjoying some familiar old favourites once again not to mention discovering some exciting new bands. Moreover, splitting the bill 50/50 with my chalet buddy, Elise, I ended up paying out what amounted to £44 per day all-in for my accommodation, meals and entertainment. As my late father used to say (a long-time devotee of their Rock & Blues weekends in Skegness) – it’s cheaper being at Butlins than staying at home…

Related reviews:

Giants of Rock 2019

Giants of Rock 2018

Giants of Rock 2017

Rock & Blues weekend, Skegness 2018

Live review: Diamond Head and Uriah Heep at De La Warr Pavilion, Bexhill 6/12/19

Hastings music scene, Live reviews, new wave of British heavy metal, Rock music, , , , , , , ,

Bexhill’s Grade 1 listed modernist masterpiece have had a really impressive programme this year. In the last couple of months I’ve been here to see Justin Hayward and Glenn Hughes – and I’m rounding off the year with a trip to see the Sweet. But tonight we have not one but two classic British hard rock acts.

Filling the support slot for Uriah Heep on this tour are New Wave Of British Heavy Metal veterans Diamond Head. Quite the heaviest band I’ve seen on the De La Warr stage they hit the crowd with classics like ‘In The Heat of The Night’, ‘Shoot Out The Lights’ and ‘Am I Evil’. As with Heep themselves, it’s the lead guitarist who is the mainstay of the band through many line-up changes. But, like Heep’s Mick Box, Brian Tatler has assembled a talented group of musicians and a strong vocalist in Danish-born Rasmus Bom Andersen and they deliver a powerful set. They work the Heep audience nicely and get a very warm response in return.

https://www.diamondheadofficial.com/

With one exception the songs performed by Uriah Heep tonight are either very, very old or very, very new. Apart from ‘Too Scared To Run’, when the band completely re-invented its sound in the early 80s, the set is either songs from the band’s classic early 70s Byron- fronted era or from the band’s latest album Living The Dream.

After experimenting with a more modern sound (the 80s production sheen of the band’s albums from that period now sounds terribly dated, ironically) with the Heep of today it is forever 1972 – in all its progged up, Hammond pounding, era-defining glory. And that is exactly how we love it!

Vocalist Bernie Shaw and Keyboard player Phil Lanzon may have only come on board in the mid 80s – a good decade after the band’s golden period of the early 70s – but they completely get what the classic Heep sound is all about and know exactly what to deliver, whether that’s on songs originally performed by David Byron and Ken Hensley or songs from their latest album. Following the retirement and tragic death of Lee Kerslake and Trevor Bolder respectively, drummer Russell Gilbrook and bass-player Davey Rimmer have also prove worthy additions to the band. Tracks like set opener ‘Grazed by Heaven’ from their recent album sit neatly alongside those from the Demons & Wizards and Look at Yourself albums.

When it comes to introducing one of the real highlights of the set, Mick Box recalls the time the band were in the studio but he had to take a few days out due to contracting some sort of bug. When he returned the band had worked up three separate pieces. Box, however, observed that all three were in the same key and suggested joining the them together and adding a dramatic introduction to create something really special. ‘July Morning’ was born. The band deliver a truly majestic rendition tonight. That’s followed by a much less complex but no less memorable ‘Lady In Black’, Box donning his acoustic guitar and the crowd all joining in with this folky strum-along.

Back for a quick encore of ‘Sunrise’ and the glorious ‘Easy Livin’ the band have certainly delighted their Bexhill audience tonight.

http://www.uriah-heep.com/newa/index.php

Set-list:

Grazed by Heaven
Too Scared to Run
Living the Dream
Take Away My Soul
Rainbow Demon
Rocks in the Road
Gypsy
Look at Yourself
July Morning
Lady in Black
Sunrise
Easy Livin’

Related reviews:

Uriah Heep, London 2014
Uriah Heep at Giants of Rock 2018

News: “Thirty years and a lot of hard work” – back catalogue of Heavy Pettin’ released on 29th November

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Scottish hard rock band Heavy Pettin‘ see their 1983 debut and two subsequent releases being reissued on CD on 29th November.

Named after UFO’s 1976 studio album the band was formed in Glasgow in 1981 when guitarist Gordon Bonnar, drummer Gary Moat, bassist Brian Waugh, vocalist Steve ‘Hamie’ Hayman and lead guitarist Punky Mendoza joined forces. They gigged extensively before releasing their debut single, ‘Roll the Dice’ in 1982 on Neat Records. The single caught the attention of record bosses at Polydor and the band soon found themselves with a major label deal and Queen guitarist, Brian May as co-producer. Their debut album Lettin Loose was released in 1983 to very favourable reviews.

Hard rocking but more polished than most of their contemporaries on the New Wave Of British Heavy Metal scene, with their punchy choruses and harmony vocals Heavy Pettin’ took some of their cues from the previous decade’s glam and classic rock era. Touted as a possible next-big-thing after the mega success of Def Leppard two more albums followed: Rock Ain’t Dead in 1985 and The Big Bang in 1989. In the latter part of the 80s, however, things never really quite worked out for Heavy Pettin’ and the band had already spilt by the time their final album was released in 1989.

Heavy Pettin’ (now featuring two original members Gordon Bonnar and Hamie) reformed in 2017 and a brand new album is planned for 2020. Original Heavy Pettin drummer, Gary Moat, meanwhile, now fronts Burnt Out Wreck who released their second album last month.

Reflecting on the Heavy Pettin’ re-releases Gary Moat tells me:

“It’s taken 30 years and a lot of hard work from my management and wife to finally have the three Heavy Pettin albums back in safe hands. This time through Burntout Wreckords the royalties will make it back to Universal & Heavy Pettin!”

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This official licensed re-release of Lettin Loose includes newly written liner notes by Ross Muir and two rare bonus tracks: ‘Roll The Dice’ and ‘Shadows Of The Night’

Lettin Loose, Rock Ain’t Dead and The Big Bang are all released on CD on 29th November by Burnt Out Wreckords via Cherry Red Records.

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Related post:

Burnt Out Wreck – interview with Gary Moat