Tag Archives: classic rock

Deep Purple’s Smoke On The Water: so who actually was the “stupid with a flare gun”?

As most rock fans know, Deep Purple’s most famous song ‘Smoke On The Water’ was based on an actual real life event. In December 1971 the band were planning to record their forthcoming album Machine Head at the Montreux Casino in Switzerland. Used for live concerts throughout the year, Frank Zappa’s performance on 4th December was to be the last of the season, after which Deep Purple would be able to have the run of the place to themselves and the Rolling Stones Mobile Studio would be parked up outside to capture everything on tape.

Unfortunately, as we all know, it didn’t quite work out that way. As the song goes:

Frank Zappa and the Mothers
Were at the best place around
But some stupid with a flare gun
Burned the place to the ground

But who was the “Stupid with a flare gun” who burned the place to the ground?

Step forward one Zdenek Spicka, a Czechoslovakian national living in Switzerland at the time. According to a local newspaper article published later that month Spicka is alleged to have fired some capsules and then a small flare into the ceiling of the venue that started the fire and cause the entire place to have burnt down. Spicka fled the scene immediately afterwards and although a police ‘Wanted’ operation was mounted he was never located.

The above cutting was tracked down and posted to a Spanish Deep Purple blog back in 2009. It was subsequently translated into English by another Deep Purple fan as follows:

“Here is the release concerning the Montreux Casino fire. As previously already stated in the press, a fire completely ravaged the Montreux Casino on Saturday, 4 December, 1971, at the end of the afternoon where a pop concert had attracted some 2000 listeners. By exceptional luck, this accident did not claim a victim. On the other hand, the damage in numbers was between 12 and 15 million francs. The investigation performed by the police can identify the perpetrator of the act that caused this catastrophe. It was one Spicka Zdenek, born 4 November 1949, Czech refugee, previously of Epalinages, currently on the run (see photo). He was placed under arrest by the [local judge] in Vevey.

The matter is that Spicka fired a flare gun in the [concert] hall, first some [capsules] and then a small flare that lodged into the ceiling which set it on fire. The cause of the accident is therefore clearly established. Although his details had been widely circulated in police bulletins, no trace of Spicka has been found in Switzerland. It has been suggested that he shaved off his beard and mustache. Anyone who can give information regarding Spicka should contact the police…

It is practically certain today that Zdenek Spicka, who had elected to live in a small commune established in a villa located near Epalignes, took flight the same night of the fire. According to his Czech compatriots, he left as soon as possible because he was afraid of being lynched by the crowd–understandably afraid of the consequences of his actions–even if he had not had the intention of starting the fire. Intentional fire can bring 20 years confinement with a minimum of three years, whereas fire due to negligence can bring a maximum of three years.

Regarding the pistol, it is a firearm that one can obtain without authorization in large stores, for example. It was an Italian-made device which could be adapted to flares used to signal distress.

Such an incredibly dangerous, foolhardy and unbelievably selfish thing to do at a packed gig, it was a miracle that no-one was killed.

However, the incident did, at least, leave the world with an unforgettable song and an immortal riff.

Sources:

Discussion Thread: “Did they ever identify the “Stupid with a Flare Gun” who started the fire in the Montreux Casino, and inspired “Smoke on the Water,” a song which has probably made enough to rebuild the casino twenty times over?” on Quora

Newspaper article: Deep Purple – Curiosidad “The Stupid” of Smoke on The Water

Translation: It died with an awful sound on the Deep Purple blog The Highway Star

Related Posts:

Book review: ‘Chasing Shadows – The Search for Rod Evans’ by Adrian Jarvis

Glenn Hughes, Bexhill 2019

Glenn Hughes, London 2015

Deep Purple, London 2015

Ritchie Blackmore’s Rainbow, Birmingham 2017

Whitesnake – The Purple Album

July Morning – a fifty-year-old British rock song and an annual celebration of life and summer in Bulgaria

July Morning is a 1971 song by English hard rock band Uriah Heep. Written by the band’s keyboard player, Ken Hensley, and vocalist David Byron with its distinctive organ sounds it has remained a significant highlight of the band’s live set. In most places the song is taken at face value for what it is – a classic slice of early 70s hard rock with lyrics celebrating the beauty of an early morning sunrise. In Bulgaria, however, the song has taken on a significance all of its own.

Every year on 1st July thousands flock to the Black Sea coast before dawn for their own ‘July Morning’ celebrations built around that 1971 song by Uriah Heep.

in 2012 some 12,000 people were said to have greeted the sunrise at Kamen Bryag where July Morning was performed live by former Uriah Heep singer John Lawton and his band.

Here is a July Morning celebration from 2015.

It is said that the song grew in popularity during the 1980s and became a feature of impromptu summer gatherings of young rock fans. Although formal protests were banned under the Communist regime, the gatherings and by extension the song, were seen as a subtle way of expressing one’s defiance towards the authoritarian regime and celebrating life and freedom.

Bulgarian communism may have collapsed in 1989 but there is no sign of a collapse in the popularity of the song – or indeed of the dawn gatherings which have remained an important part of the summer calendar each year.

Now the song has never enjoyed anything like this degree of significance in the country where it was actually created. It’s loved as a great rock song in Britain but that’s as far as it goes.

How appropriate, however, if this July 1st Uriah Heep where to actually play the song at a dawn gathering here Britain – celebrating the fiftieth anniversary of the song and paying tribute to the life of of one of its creators, Ken Hensley, who sadly died last November.

Uriah Heep – let’s do it – we can even have the gig socially-distanced if need be!

Ken Hensley 1945-2020

Ken Hensley image by Paul Hasselblatt

Sunset header image: July morning over the Black Sea by Boby Dimitrov

Related posts:

Uriah Heep’s 50th anniversary – interview with Mick Box

Uriah Heep, London 2014

Uriah Heep at Giants of Rock 2018

Uriah Heep, Bexhill 2019

News: Back down to earth! Graham Bonnet to link up with old Rainbow bandmate Don Airey

New studio album scheduled for release this summer

Former Rainbow vocalist, Graham Bonnet, has announced that his forthcoming album will feature ex-bandmate Don Airey. The two who performed together on the classic Down To Earth album back in 1979 will appear on a new album Graham Bonnet solo album. Bonnet is currently recording with bandmates Beth-Ami Heavenstone (bass), Conrad Pesinato (guitar) and Mark Zonder (drums). In addition to the core band and the legendary Rainbow and Deep Purple keyboardist, more special guests will be announced in the coming weeks.

Bonnet says: “Similar to the first two albums with my band, it will reflect different eras of my career, but with a contemporary twist. Also, we have some heavy hitting guests including Don Airey and others yet to be announced. I’m very excited to be playing on an album again with Don. Aside from being my longtime friend and former bandmate, he is one of the most incredible musicians I have ever had the pleasure to play with, he’s a ‘real’ keyboard player and a classically trained pianist. “

He adds: “I’m also delighted to be playing with the original members of the Graham Bonnet Band: Beth-Ami Heavenstone, who has been my constant partner on and off stage since meeting back in 2012; guitarist Conrado Pesinato, whose innate musical style elicits some of my best songwriting, and the iconic Mark Zonder (Fates Warning, Warlord) on drums.”

The album is anticipated to be released in summer 2021 and will be Bonnet’s third release with Frontiers Music – following the Graham Bonnet Band albums The Book and Meanwhile, Back In The Garage.

facebook.com/AlcatrazzMusic

Related posts:

Michael Schenker Fest at Shepherds Bush Empire 2017

Graham Bonnet Band at Giants of Rock, Minehead 2016

Graham Bonnet Band at The Garage, Islington 2014

Ritchie Blackmore’s Rainbow at Birmingham Genting Arena 2017

Deep Purple at the O2, London 2015

Mick Bolton: 1948-2021

Some sad news to start off 2021 was waking up on New Year’s Day and finding out, via social media, that Mick Bolton, the talented pianist who played with Mott The Hoople in the 70s and Dexy’s Midnight Runners in the 80s, has passed away.

Following the departure of Verden Allen and his eventual replacement by Morgan Fisher, Mick ended up touring with Mott The Hoople throughout the second half of 1973 and can be heard on the much-celebrated ‘Mott The Hoople Live’ album.

Reflecting on his introduction to the world of Mott, Mick wrote on his website:

“In May 1973 I auditioned for Mott The Hoople as piano player. They had a huge hit in 1972 with David Bowie’s song All The Young Dudes and, following the release of their 1973 album Mott and the departure of organist Verden Allen, they were about to take on a piano-player and a Hammond organist to promote their new album. I didn’t get the piano job – it quite rightly went to Morgan Fisher. But a couple of days later Stan Tippins the band’s manager phoned to ask if I could play Hammond organ. When I answered yes I was told I had got the job.”

“The US and UK tours were virtual sell outs and we played some memorable concerts with some great support acts.”

Former Mott The Hoople colleague, Morgan Fisher, paid tribute on social media, writing:

“RIP Mick Bolton. My organ buddy in Mott the Hoople, 1973. One of the sweetest of men, and a fine musician.”

I met Mick at several Mott The Hoople related events over the years, where he was always happy to discuss his time with Mott and his fond memories of touring with the band.

However, when I moved to Hastings in 2016, where Mick and his wife also lived, I would see quite a bit more of him. He was a much in-demand performer on the local music scene around Hastings and Rye. Indeed, the first ever gig I attended as a Hastings resident, as opposed to occasional seaside visitor, was seeing Mick perform at a local bar. You can read my write-up here.

I’d often see Mick and his wife Carol out and about, walking along the seafront in St Leonards or enjoying gigs from a plethora of visiting bands at the De La Warr and other local venues, spanning everything from classic rock to folk.

A talented pianist and a warm-hearted man his passing is a real loss to music and to the local community here in Hastings.

https://www.mickboltonmusic.co.uk/

Further reading:

Mick Bolton and Simon Shaw at Gecko, St. Leonards 2016

Mott The Hoople Fan Convention, Hereford 2016

Mott The Hoople at Shepherd’s Bush Empire 2019

2020 in Darren’s music blog – the ten most popular posts of the year

I wish everyone a happy New Year. My special thanks go to all those who have visited (and hopefully enjoyed) Darren’s music blog during 2020. Weirdly, although I originally started this blog nearly seven years ago mainly to cover live gig reviews, I’ve had far more visits to my site this year than any previous year. This is in spite of all the gigs (and the gig reviews!) stopping in March.

Anyway, as we look back over the year here are my ten most popular blog posts from 2020. Although I’ve covered the usual eclectic range of metal, folk, Americana, brit pop, rock n roll and glam rock this year, it seems that people were particularly seeking out my glam content this year. Glam ended up pulling in eight of the ten top slots. Here they are in order of popularity…

1. Veteran drummer Don Powell out of Slade

When Don Powell announced he had been sacked from Dave Hill’s continuing version of Slade it came as a shock to many, eventually being covered extensively in the music press and the tabloids. I posted the sad news up on my blog within minutes of it being announced on Don Powell’s Facebook page – I was first to report it and for the first 24 hours pretty much the only one to report it. My post went viral and was shared all around the world.

Read full post here

2. Glitter, glam and Blackpool rock: interview with glam rock legend John Rossall

Following the release of his highly acclaimed new album ‘The Last Glam In Town’ I talk to former Glitter Band legend, John Rossall. Our chat covers glam rock, show bands, growing up in Blackpool and, of course, John’s new album and the prospect of touring again post-Covid.

Read full post here

3. Sweet launch video to promote new single ‘Still Got The Rock’ and forthcoming album ‘Isolation Boulevard’

Sweet’s ‘Still Got The Rock’ single was released in digital format in December followed by the digital release of new album Isolation Boulevard. The single is reworking of a song that first appeared as a newly-recorded bonus track on the 2015 Sweet compilation album Action: The Ultimate Story, by the band’s previous line-up. The new version features the current line-up of Andy Scott, Bruce Bisland, Lee Small and Paul Manzi.

Read full post here

4. Before glam: the debut 60s singles of Bowie, Bolan, Slade, Mud and Sweet

When glam rock burst into the UK pop charts in the early 1970s the genre may have appeared all shiny and new and suitably outrageous but many of its lead players had been trying to make their all-important breakthrough in the previous decade. Five of the acts we look at here all released their debut singles in the mid to late 60s.

Read full post here

5. Slade legend Jim Lea releases video footage in bid to locate recently stolen guitar

Founder members of Slade were not having much luck at the start of the year. Jim Lea’s cherished Fender Stratocaster was stolen in central London on 31st January. He released a video in the hope that it will prompt members of the public in helping reunite him with his guitar.

Read full post here

6. Live review: Supergrass at Alexandra Palace 6/3/20

The only live review to make the top ten this year, this Ally Pally gig from the Supergrass reunion tour was actually my penultimate live gig before lockdown. (I managed Glen Matlock at the 100 Club the night after). Without a doubt, for me, the greatest band of the Britpop era, I was at the Brixton Academy on the Supergrass farewell tour in 2010 and ten years later I was excited to be their for the their first of two nights at Alexandra Palace on the long-awaited reunion tour.

Read full post here

7. Death of a glam icon – Steve Priest: 1948-2020

Steve Priest, bass-player with the Sweet and an icon of 70s glam rock sadly passed away in June following an illness that had hospitalised him. In an emotional post on his band’s Facebook page, former band-mate Andy Scott paid tribute to the best bassist he ever worked with. A phenomenal bass-player whose harmony vocals were an essential part of the band’s classic sound Steve Priest we salute you – a true glam rock icon.

Full post here

8. Slade at No. 8 in the UK albums chart – their highest position since 1974!

I was well chuffed to see Slade’s new greatest hits compilation Cum On Feel The Hitz go straight in at No. 8 in the UK’s album charts back in October. This was the band’s highest ranking in the UK album charts since Slade In Flame was released back in 1974. Even during the days of the band’s early 80s comeback, a decade after glam, Slade albums were still struggling to make it to the Top 40, even when they had a second run of hit singles.

Full post here

9. Slade’s Don Powell recovering from stroke

The run of bad luck for Slade icons in the early part of the year continued. Don Powell, suffered a stroke on Saturday 29th February at his home in Denmark. Fortunately, his step-daughter Emilie, a doctor, was with him when it happened and was able to act swiftly to call an ambulance and get him to hospital. His wife Hanne released a statement and Jim Lea and Andy Scott both sent their best wishes.

Full post here

10. ‘Confess’ by Rob Halford – a gay heavy metal fan reviews the Metal God’s autobiography

As someone who became a Judas Priest fan not long after my dad brought home a newly-released copy of ‘British Steel’ back when I was a young teenager, and as someone who has known they were gay from around that same time I was particularly keen to read Halford’s memoir. There is a fair bit of revelatory gossip and down to earth black country humour but there are many segments that are deeply, deeply moving, too. One of the best rock biogs in ages.

Read full post here

Related post:

2019 in Darren’s music blog

News: Sweet launch video to promote new single ‘Still Got The Rock’ and forthcoming album ‘Isolation Boulevard’

Sweet have released a new video for their current single ‘Still Got The Rock’. The single is reworking of a song that first appeared as a newly-recorded bonus track on the 2015 Sweet compilation album Action: The Ultimate Story, by the band’s previous line-up. The new version features the current line-up of Andy Scott, Bruce Bisland, Lee Small and Paul Manzi. You can read my interview with Andy Scott about how the new line-up came about here.

Sweet’s new album, Isolation Boulevard, recorded within the necessary constraints imposed by the Covid-19 global pandemic, plays on the title of the mid-70s album by the band’s classic line-up: Desolation Boulevard.

In a statement on the band’s Facebook page, Sweet’s Andy Scott says:

“Once again you, the hard-core Sweet fans have stepped up and reacted positively to the new album Isolation Boulevard. The cover artwork tips a hat to Desolation Boulevard, 1975 and the band’s first Headline Tours in the USA. The comparison between the old and new is obvious as they are both a compilation of the best of Sweet’s recordings, satisfaction guaranteed.

Scott continues:

“Let’s go back to February 2020 and the world was just getting reports of a new virus, identified as Covid 19. Reaction to the news was slow at the start. I had some news of my own that I was dreading at this time, my cancer had returned. After our Denmark trip in March where we had a show cancelled due to new virus rules on social distancing, I started my treatment during the first lockdown in late March. This meant I was out of action until July/August and was naturally kept in total isolation. I have come through all clear thankfully and am looking forward to getting to grips with some new material next year when we as a band can be all together in a studio without restrictions.

“The new album Isolation Boulevard was put together between lockdowns in September and October. It was pointed out to me that it had been more than 5 years since our last successful album release and as we hadn’t got Paul or Lee on any recordings especially the hits, we had better put that right as soon as possible. Most of the recording and editing was done in my studio and the results speak for themselves. The drum tracks and new bass lines are very powerful, the guitars are so clear you can hear the plectrum hit the strings and the vocal performances from Paul and Lee are perfection personified. Bruce and I cannot believe how lucky we are that this line up has hit the ground sprinting never mind running. I would personally like to sing the praises of Tom Cory, TC from the Novatines for his technical know-how and engineering skills during the recording of the album. Genius!

“So, there you have it. Enjoy the single and album and with any luck we may just get back on the road next year.”

The ‘Still Got The Rock’ single was released in digital format on 8th December 2020. 18th December will see the digital release of the album Isolation Boulevard. There will be a limited-edition colour vinyl of both to pre-order on the release dates with delivery early in 2021. There will also be a CD format of the album available sometime in the new year.

Pre-order the vinyl album and single here:

https://www.prudentialmusicgroup.com/store.html#!/Sweet-Isolation-Boulevard-LP-&-7-SINGLE-Bundle-PRE-ORDER/p/260247381/category=28915503

http://www.thesweet.com/

Album personnel:

Andy Scott – All Guitars, Synthesizers and Vocals
Bruce Bisland – Drums and Vocals
Paul Manzi – Lead Vocals
Lee Small – Bass Guitar and Vocals
Guest Musicians –
Steve Mann – Keyboards on Love is Like Oxygen
Producer – Andy Scott
Engineer – Tom “TC” Cory
Studio assistance – Kevin Smith
Recorded, Edited and Mixed at Black Rock Studio, Wiltshire

Album track list:

  1. Fox On The Run (2020)
  2. Still Got The Rock (2020)
  3. Action (2020)
  4. Love Is Like Oxygen (2020)
  5. Hellraiser (2020)
  6. The Six Teens (2020)
  7. Blockbuster (2020)
  8. Set Me Free (2020)
  9. Teenage Rampage (2020)
  10. Turn It Down (2020)
  11. New York Groove (2020)
  12. Ballroom Blitz (2020)

Related posts:

Interview with Andy Scott

News: All change at The Sweet

Review: Sweet at Bexhill 2015

Review: Sweet 50th anniversary concert – Berlin

Review: Sweet live 2017, London and Bilston

Review: Rainbow and Sweet, Birmingham 2017

Review: Sweet, Bilston 2016

The Sweet versus Bowie: the riff in Blockbuster and Jean Genie – origins and influences

Review: Sweet at Dartford 2015

Review: Sweet at Bilston 2014

Hard rock: album review – AC/DC ‘Power Up’

I can remember my disappointment four years ago when AC/DC announced that Brian Johnson was pulling out of their then current tour due to hearing problems but that they would likely conclude the tour with a “guest vocalist”. When Axl Rose came forward to fill in for Johnson I was hugely, hugely sceptical but was completely won over as soon as I saw him actually perform with the band. I even looked forward to the possibility of some sort of Axl-AC/DC collaboration album.

However, when rumours began that Johnson, along with recently-departed bass-player Cliff Williams and laid-off drummer Phil Rudd, were reconvening with Angus Young and the late Malcolm Young’s replacement, Stevie Young, such fanciful notions were immediately put to one side. Brian Johnson was back where he belonged and the classic AC/DC line-up, or as near as humanly possible to it, was being resurrected. This felt exactly right. It’s been six years since the last AC/DC album Rock or Bust and twelve years since Black Ice. What could be a more perfect way to end 2020 than with a new AC/DC album?

Of course, absolutely no-one was expecting any musical surprises with Power Up. And there aren’t any. Indeed, when the first single off the album ‘Shot In The Dark’ gave us a sneak preview of what was in store I would have sworn blind, had I not known it was new, that I already had it somewhere on one of the albums recorded since For Those About To Rock was released. That’s not a criticism at all. The fact that a brand new song like that instantly feels so comfortably familiar after all these years and after various traumas and tragedies is testimony to the band’s ability to deploy all their trademark musical tricks to still make a great new classic.

Across the album we have twelve tracks of classic AC/DC – hard riffing, catchy choruses, bouncy rhythms and a lead singer screaming his lungs out as he has for the last forty years. Welcome back Brian. Welcome back AC/DC.

Brilliantly, expertly, joyously predictable, Power Up is exactly what we needed in 2020.

Released: 13th November 2020

https://pwrup.acdc.com/

Related posts:

AC/DC at The Olympic Stadium, London 2016

AC/DC at Wembley Stadium, London 2015

Hard rock: album review – Voodoo Circle ‘Raised On Rock’

This review was originally published by Get Ready To Rock here

Inspired by the likes of Rainbow and Deep Purple, Germany’s Voodoo Circle have been delivering melodic hard rock for a decade now. Recently, Voodoo Circle underwent a metamorphosis that both of those aforementioned bands have had considerable experience of, namely a change in vocalist.

Herbie Langhans replaces David Readman as lead singer for this latest album – Raised On Rock. “I feel that the band sounds even more autonomous, a little less bluesy and much meatier with Herbie at the mic,” Alex Beyrodt, the band’s guitarist, founder and lead composer, enthuses. “This allowed me to work on ideas which would probably not really have suited his predecessor David Readman but are absolutely perfect for Herbie’s powerful voice.”

Virtuoso guitar combined with accessible melodies and unforgettable hooks is, as Ritchie Blackmore discovered long ago, an irresistible combination and there’s some good song-writing and quality musicianship on this album. ‘Running Away From Love’ deploys all of those tricks and opens the album in style. ‘Where Is The World We Love’ and ‘Chase Me Away’ show a slower, more reflective side of the band but, again, strong melodies, memorable choruses and passionate, soulful guitar solos leave their mark on the listener. The Blackmore-esque epic ‘Dreamchaser’ dates back to the earliest days of the band. Originally written for Voodoo Circle’s debut album Beyrodt wasn’t quite happy with the result but, finally, it takes its place on this album. “The arrangement of the number was changed and overhauled repeatedly over the years, now it’s matured to the point where it was ready for recording,” says Beyrodt.

Langhans has a voice perfectly suited for this type of material and long-term fans of the band should have no worries at all about accepting him into the fold. Meanwhile, for those who may be less familiar with Voodoo Circle but have an abiding love of beautifully-played melodic hard rock this is an album well worth checking out.

Released: 9th February 2018

http://www.voodoocircle.de/

Voodoo-Circle-Raised-on-Rock-01

 

The changing demographics behind charity shop CDs

Baby-boomers, Brexit and classic rock bargains

I’ve rarely been able to go past a charity shop without having a quick browse through their second-hand CDs. To be fair this usually doesn’t take long. Shops usually have a shelf or two with around 100-150 CDs for sale and usually the majority of them hold no interest for me at all as they fall into two categories:

1. Old-time easy listening – the likes of James Last, Vera Lynn, Max Bygraves, Harry Secombe and so on. You get tons of these in most charity shops. My guess is that they belonged to people in their late 70s/80s who have either died or gone into nursing homes and their CDs have been passed on to the charity shop by their families.

2. 90s/00s chart pop – the likes of Take That, Spice Girls, Ronan Keating and numerous X Factor winners. Again, you see tons of these in charity shops and my guess is they belonged to 30-somethings or early forty-somethings who have offloaded them, either because of changing musical tastes or because they don’t want to have anything as desperately uncool as CDs in the house and have switched to downloads. Occasionally, you see some Britpop-era CDs amongst these and (particularly as I wasn’t able to afford to buy too many CDs back in the 90s) I’ve been able to pick up numerous second-hand bargains by the likes of Blur, Cast, The Boo Radleys, Ocean Colour Scene, The Levellers and so on to add to my collection.

However, what was very rarely seen, until recently, was the kind of classic rock albums that are the mainstay of my CD collection. This is starting to change it would appear and in the past year I’ve picked up numerous CDs for 50p or a pound by the likes of Ray Davies, Lou Reed, Brian Wilson, Fleetwood Mac, Meatloaf, Iron Maiden, Judas Priest, Deep Purple and Thin Lizzy.

It could be that these are the result of people either switching to digital (or switching back to vinyl) and disposing of their CDs in the process. But I doubt that accounts for the bulk of them somehow. My guess is that just as we have seen a dramatic increase in the number of rock star deaths – guys in their 60s and early 70s being tragically taken away from us, we are probably also witnessing a similar trend amongst rock fans as well. A tragedy for their families, certainly, as I know only too well. But good news,perhaps, for the quality of the CD shelves in charity shops.

The baby-boomer generation may have unwittingly cast a huge question mark over their grand-children’s futures by voting for Brexit in such overwhelming numbers but at least their impeccable good taste in music is available for the benefit of future generations and can now be snapped up at bargain prices at a charity shop near you.

2017-03-18 13.15.48.jpg

Have we been seeing a creative renaissance for our vintage rock and metal acts?

OK, so Black Sabbath may have played its last ever tour, we have seen one devastating rock star death after another and a number of acts are no more. But, in spite of all that, have we been witnessing a real renaissance for some of our classic rock and metal bands in recent years? I would contend we have.

After some difficult years in the late eighties and nineties for many of our much loved rock giants, one band after another have been releasing albums that stand up really well against their early classics. The aforementioned Black Sabbath released the brilliant 13 album in 2013, which in my view can happily sit alongside the first four Sabbath albums as a genuine bona fide classic. Uriah Heep’s Outsider released in 2014 can unashamedly sit alongside the David Byron-era material in terms of Heep’s unmistakable brand of melodic hard rock. Girlschool’s Guilty As Sin is every bit as good as their era-defining early albums, with lead track Come The Revolution a match for any of their well-known classic tunes. Saxon’s Battering Ram from 2015 and Judas Priest’s Redeemer Of Souls from 2014, each reviewed elsewhere here, both stand up well and offer everything you’d want to hear in a new album from either band. Even The Stones have got in on the act with their critically-acclaimed back-to-basics Lonesome & Blue album celebrating their R&B roots.

My theory is that all of these bands have reached a stage in their musical careers where, unlike some often painful attempts a decade or two ago, they have more than proved themselves. They now no longer feel obliged to sound contemporary or try to keep up with modern trends but can simply concentrate on sounding like themselves and producing the kind of music and the kind of albums that brought them to the public’s attention in the first place.

Of course, it doesn’t mean we shouldn’t be championing newer rock acts and none of the bands I’m talking about here are going to be around forever. However, I think we could still be seeing a few more classic releases yet from some of our favourite rock veterans over the next few years.

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