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 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.”
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.”
“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.”
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
In the late ’60s Vanilla Fudge were known for their slow extended heavy rock arrangements of contemporary hit songs, including their take on the Supremes smash ‘You Keep Me Hangin’ On’.
Now all of the original line-up have come together to release a ‘fudged up’ version of another Supremes classic in tribute to departed bandmate, Tim Bogert, who died in January.
The original Vanilla Fudge line-up of Mark Stein, Carmine Appice, Vincent Martel and Tim Bogert, came together one final time for a psychedelically-tinged version of the ‘Stop In The Name Of Love’.
Vocalist and keyboard player Mark Stein put the idea to the others back in 2019 with the idea of recapturing some of the magic of their classic arrangement of ‘You Keep Me Hangin’ On’, which has enjoyed an extended life thanks to it’s appearance in the soundtracks of several Hollywood blockbusters.
Stein:“So back in mid 2019, I put together a blueprint for an arrangement for ‘Stop in the Name of Love’, while the Fudge was out there doing shows later that year. We went into the studio and recorded the track. We planned to complete it, there were delays, and then the pandemic put everything on hold.”
They planned to complete the recording with bass-player Tim Bogert on the track. However, the band ran into some unavoidable delays due to the pandemic but Bogert had been living with cancer for some time and didn’t know how much time he had.
Drummer, Carmine Appice took the matter into his own hands and when he went to Los Angeles’ NAMM show in January of 2020; he arranged for Tim to record at Jorgen Carlsson’s (the bass player for Gov’t Mule) studio in LA.
Vince Martel:“It was very cool that we were able to get Timmy on the track. I’m glad he was strong enough and gracious enough to record with us one last time – he gave me a great template to build on with my guitar. I created an East Indian raga intro in the spirit of our early albums and rocked out at the end. Hold on tight everybody,’ cause here comes The Fudge…”
Pre-Save/Pre-Order ‘Stop In The Name of Love’ HERE
Following Bogert’s passing the band also recorded tributes to their departed bandmate with producer Leslie Gold and a special tribute recording ‘To The Legacy Of Tim Bogert’ aslso scheduled for release.
‘Stop In The Name of Love’ released September 6th 2021
Scarfoot are a three piece hard rock/metal outfit from Merseyside. A video for their latest release ‘Cactus Killer’ was unveiled back in June and has already clocked up an impressive 8,000+ views.
The band are Oliver Carins (guitar and vocals), Phil Eakins (drums and vocals) and Rhys Jones (bass). Formed back in 2018 their line-up has now settled with bass-player Rhys joining the two founder members.
I get the lowdown on the video:
“We were intending to make a more… budgetarily weighty video,” confesses Rhys. “But lockdown after lockdown after lockdown made us just decide – balls to this, we’ll have some cactuses fight and animate them. It isn’t the video we originally intended to make, but in a pandemic you do what you gotta do to keep the ball rolling. We had cactuses, we’re a bit daft, so this is what we made!”
And how would the band describe their sound?
Rhys: “A yet to be defined genre. Probably stoner metal would be the closest I think but we do argue about it.“
Mark Farner was one of the founding members of American rock legends Grand Funk Railroad. As well as being their lead singer and lead guitarist he was also the band’s principal songwriter. In this interview we look back at Mark’s career: forming Grand Funk, performing at the Atlanta Pop Festival in 1969 and London’s Hyde Park in 1971 as well as discussing the inspirations behind his songs, his collaborations with the likes of Ringo Starr and Alice Cooper not to mention his brand new DVD ‘From Chile With Love’ which is due out on 6th April.
DJ: When we think of Grand Funk Railroad we think of one of the legendary American stadium bands of the 1970s. But you actually started off as a stadium band pretty much from the get-go. One of your very first gigs was at the legendary Atlanta Pop Festival in 1969. How did that come about?
MF: Well, the attorneys that did the legal work for that pop festival were the same attorneys that Terry Knight, our manager, used for his legal work in New York City. So they worked a deal with the promoters of the pop festival to put us on first and we’ll play for free. Grand Funk plays for free just to get the exposure and then they gave him an adjusted fee for the legal work. So, you know – one hand washes the other. That’s how we landed that gig. What a lucky thing for Grand Funk!
DJ: Incredible! And how did it move on from there – from that spectacular opening?
MF: Well, of course, the record companies had a lot of acts there and Capitol, being one of the companies, were very interested in talking to Terry Knight at that festival about signing. And then he did a deal with Capitol – a production deal – and signed the band to himself under this production deal and told the band that the 6% that we were receiving and dividing was more than the Beatles was getting. And we said, “More than the Beatles! Wow, that’s cool.”
We didn’t know. We’re twenty years old, Brother. So, we finally find out years and years later – there was a contract between Knight and Capital Records for 16%. So he was keeping ten, giving the band six to split and then taking a management commission of that 6%, Dude. Aargh – the tales I could tell you!
DJ: I’m pretty sure virtually every successful musician of your generation has a similar tale to tell!
MF: Oh, absolutely.
DJ: In 1971 you came over to the UK to London and headlined at Hyde Park? Have you any memories of that particular day?
MF: Darren, I gotta tell you. There I was ready to tear things apart because I always got worked up before I go out on the stage. I had to burn it off. You know, do some boxer shuffles and stuff – with my guitar on just to burn it up. Then it’s like busting out…shoot number four.. dynamo… the bull’s riding you know! So, here I come and I did not know that the lighting director had put dance wax on that stage, Brother.
Ohhhh my god. I hit that stuff and my cord – because we didn’t have cordless back then, you had a coil cord. I had two twenty-footers that would lock together with XLR connectors in the middle like a mic cable and it gave me a great distance. I could run any stage. But I was not prepared for what happened. Here I am. I hit that stage and I come sliding out on the dance wax and I’m going, “Oh, shit. I’m not gonna stop! Oh, no! I’m going right over the front of the… Woo!” And there I was, standing in front of the audience with the stage ten feet up and I’m at the very end of that cord. That guitar cord was still in my axe and I still played from that position. I just made like it was part of the show, Dude. What a breaking in I had at Hyde Park!
DJ: That was a great welcome to Britain really, wasn’t it?
MF: Oh my god, yeah. It was wonderful.
DJ: Grand Funk Railroad were always portrayed as one of those archetypal down to earth blue-collar type bands, but your lyrics weren’t always just the traditional rock n roll themes of cars and girls and rock ‘n’ roll. Your lyrics often dealt with some of the themes that the more esoteric bands were dealing with – ecology and peace and war and so on.
MF: Yeah. That was a kid from Flint, Michigan who lived in the outskirts of town. I was not a city boy by any means. We lived on my great grandfather’s farm in the farmhouse he built. It was an eleven-room farmhouse, and we had an orchard to run in and we had a river to play in. No houses back then, you know. What a great place to grow up. And that’s what I had in me when I left Flint, Michigan, and I first got in an airplane. I had never flown before it was like, “Oh, my god. This is cool. Look at this.” You know, I was just at that stage of life and that stage of my maturity and it came out in my music. I think people appreciated the heart behind it. There was always a sincerity because I meant what I said. And when I show up in Santiago, Chile, and I walk on that stage, I am who my songs say I am
DJ: Looking across your entire career which songs would you say you are most proud of?
MF: Well, I would say first of all I’m your captain. Because of the vast audience – it really crosses a lot of lines. And for some reason – I mean I prayed for that song. I asked God to give me a song that would reach and touch the hearts of those that love wants to get to – because God is love and love is unconditional. And that’s really, you know, what we’re made of. But we’re convinced by somebody to believe in some form of indebtedness to something and that took us away from the truth – and that awareness that we had in that setting of love, the strength and the power of love. So, we’ve gotta get back to it. And that’s what the music says to the people. Even in foreign countries, Darren. There in Santiago and Lebanon – a friend that I got to know he learned English because he wanted to know what the lyrics to ‘Heartbreaker’ meant. And he said that it was tearing him up. He loved the song so much he learned English. Then he moves to Detroit and he owns a lot of property. His family came over. It’s a good thing.
It’s a good song. And it reached the hearts of our military because it came out at the end of the Vietnam era and it really touched the hearts of a lot of Vietnam veterans. In fact, they voted my song number one when they had the twenty-fifty anniversary of the Wall – the monument there in DC. And they asked me if I would come and play that song. Just bring an acoustic guitar and, you know, play the song. And I said, “If you’re gonna have a stage and lights and you’re gonna have a PA I’ll bring my whole band. We won’t charge you a cent. We’ll put a whole show on.” An entire show for the veterans. And there was not just the Vietnam American veterans, but our Canadian brothers and sisters were there, too. And there’s family and it was a community feeling. And when we got to sing closer to home to that particular crowd, Brother, it was hard because I had a softball right here (holds throat). I’m so choked. I’m looking at everyone crying and hugging just for what that song does for them. Oh, my god.
DJ: That feeling must come to you every time you perform it now?
MF: It does. It’s my reward for being true and getting my ass outa bed and writing that song. Because a lot of times prior to that I can tell you, I had songs going on in my head and I thought I could hold em – I’ll remember this until… It was gone! So, that one stayed, and it became what it is to people because of no video – there was never a video of that song – and because of that it’s the same as ‘Bridge Over Troubled Water’. At WNEW in New York City they polled, they asked an audience of a hundred people, “What is the definition? What does this song mean to you?” And they got a hundred diversely different definitions. Not any two were even close, the guy’s telling me. I said, “Out of a hundred people not even close?” “Not even close,” he said. So that’s the same thing that happens, I believe when people read a book and then they go see the movie and they say, “Oh, that movie sucks.” Because that movie that they were running, that one was their own imagination and we come up with a whole lot better stuff!
DJ: And that’s why music is so special and such a universal language because we can all have that connection in our own unique way.
MF: Yes. Absolutely, Brother.
DJ: And for those reading who’ve perhaps not followed your career so closely in recent years give us a quick low-down on your solo career.
MF: My solo career has been doing a lot of dates up until the Covid thing. Going out with a lot of different bands. Jefferson Starship and Blue Oyster Cult and you know, some of our friends that are still sucking air and playing music. It’s great to be able to do that. And I love the setting, like when we go out and do a hippy-fest or Happy Together (festival) and then there was a tribute to the Beatles that we did. Just to get together with other musicians it’s going to be a learning experience.
For instance, when I got together with Ringo Starr to do that gig, Randy Bachman – the guy that made that chord is showing me how to play it – and I’m learning. Randy is a solid guy. He’s a really good-hearted man. He’s a real dude and I appreciate him so much. And we had Billy Preston, John Entwistle, Felix Cavaliere. Oh, my god – just the talent that was there on that stage and nobody ran into each other. I mean, you know, it was like such respect. And when we landed in Tokyo and had the press conference and Ringo was sitting at the table – the band was down both sides, it was kind of like the last supper with Ringo in the middle and the band going down both sides. And a lady came up and she’s from a magazine and she said, “I’d like to ask Mr Farner a question.” So I stand up and she said, “What is it like playing with a Beatle?” And I go, “Let me tell you something, Ringo puts his pants on one leg at a time just like everybody in this room.” Ringo stands up and he goes, “Thank you, Brother. And he comes over and he gives me a big hug. A sincere man thanking me for just giving him this recognition of just being a guy. Because he is tormented by people who want his autograph, who want it – because of their imagination. Their parents had it. Their parents’ parents had it for the Beatles. It just gets passed on and then your imagination carries it to this next level. So I feel for him and I understand why he went on YouTube and he did that thing but he’s a great guy and he’s a good-hearted man. He really is.
DJ: And tell us about your new DVD From Chile With Love – which includes a charitable donation doesn’t it?
MF: It’s going to be released April 6th, the official date. It is Mark Farner’s American Band ‘From Chile With Love’. It is available on my website markfarner.com It is sixteen performance tracks with two bonus videos, one of which is available for a free download right now markfarner.com. It is ‘Rock and Roll Soul’ taken from this live DVD concert and we got five audio tracks. Five bonus tracks – songs that people will hear for the first time. All for $14.99 – such a deal!
DJ: When was the concert recorded?
MF: It was a couple of years back in Santiago, Chile at Teatro Caupolicán. It’s a very good concert. My wife, Lesia, and I take three dollars from each of the DVD sales, and we contribute to Veterans’ Support Foundation. And they are an outfit that is of veterans, by veterans, for veterans that take care of, you know, transitional housing, they take a veteran off the street, if somebody’s had a hard time getting what they’re owed by the government there is somebody who will advocate for them and stand in the gap there and make sure that they get what they served their country to get. And we believe in them because we’ve been working with these same people since the ‘70s and this is a get-it-done operation and there’s nobody getting paid there. It’s all voluntary work – so we put our money where our mouth is and we thank the buyers of this DVD, the fans who will help us contribute to our veterans and their families in this way. We appreciate it so much. And if I could give a number if anybody knows of a veteran who could use some help or knows somebody in a situation call free: 800 882 1316
DJ: You also performed on several tracks on Alice Cooper’s latest album Detroit Stories. How did that come about?
MF: Well my manager, Bobby Steinman, gave me a holler he says, “Hey listen. Alice Cooper’s doing an album. It’s going to be a tribute to Detroit. There going to use some early Detroit funk, some Suzi Quatro, some Bob Seger and I’m thinking, “Wow man, a tribute to Detroit and Alice Cooper’s asking me? What a privilege that would be – yeah count me in.” So, it was getting into the studio with Wayne Kramer – a friend from the past and I have the utmost respect for him. I remember seeing MC5 at Detroit fairground for a concert that was there with all the local acts. That was Iggy and the Stooges, Amboy Dukes and oh my god, yeah, a lot of local acts. And we saw the MC5 take the stage and every head within a half mile turned right towards the stage and went, “What the heck is that?” And I shared that with Wayne. Loved working with him.
Loved working with Johnny (Bee) Bedanjek on this same project. Jonny Bee played drums for me back in the ‘80s in a solo thing. I did a three-piece with Mark Gaughan and Johnny Bee and we went out down through the south and toured three-piece and rocked the place. It was great. And it was great because Johnny Bedanjek puts it down. He lays such a deep back-beat. You can’t fall out of it. He would drag you into it.
DJ: Did you hang out with Alice Cooper back in the ‘70s or did you just get to know each other through this project?
MF: No, it was because he was a headliner, and we were a headliner we never did. Our paths didn’t cross. But I did play music with Dick Wagner who was Alice Cooper’s guitar player. But it was gas to hang with him. And Alice is a perfect gentleman. He’s a humble person. What really impressed me, Darren, we’re sitting in a restaurant. We just get our food. His fork is half-way between his plate and his mouth, and somebody walks up and says, “Will you sign this?” And he puts the fork down and takes the pen. I’m telling you, he’s a humble guy and to work with Bob Ezrin – what a terrific producer. A talent. That guy is intense. He’s the most intense producer I’ve ever worked with, but I love that intensity about him, and I love the depth of his heart.
DJ: And my final question, and I must ask this on behalf of your British fans, is there any chance of you and your other two original band-mates from Grand Funk ever reuniting for one last time?
MF: It wouldn’t be for lack of participation by me. For over twenty years I have been attempting, for the sake of the Grand Funk fans to put the band back together – the real band. Listen, I don’t know what it is. I know it’s not nice or not good what keeps us apart. But I keep proposing this and it never gets met with any… like it’s for real. “Yeah, well put a plan together.” “Me? A musician put a plan together?” No, you get a promoter to put a plan together. You get somebody that knows what they’re doing, that’s been in the business, that stands to make a lot of money. That’s the person you put in charge. You don’t put the musician – you keep his head in the creative place. Thank god, that’s where mine has lived most of my life and I haven’t had to deal with the business shit that keeps bubbling up. Somebody’s got to deal with it and thank god my better three-quarters, Lesia, has a better grip on it than I do.
DJ: And is there one final thought you want to leave us with today?
MF: Yes, Brother Darren, I just like to leave everybody with the thought of being free in our minds, disconnect ourselves momentarily from every indebtedness, not just monetary indebtedness but the indebtedness that comes from unfulfilled expectations of other people and the like. People are moved from the place of comfort by this weapon known as debt. It is the most foul word in the English language. It encompasses more than it could ever let on, so reckon with yourself in your time, in your heart closet and know that you are free and you are the one that controls the gate. Owe no man anything except to love him.
Thank you to the music legend that is Mark Farner.
The DVD Mark Farner’s American Band ‘With Love From Chile’ is released 6th April 2021 and is available via https://markfarner.com/
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.“
What happened next…
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.
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!
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.
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:
IN AND OUT OF LOVE
BORN TO BURN
LOVE TIMES LOVE
DEVIL IN HER EYES
10.DON’T CALL IT LOVE
THROW A PARTY
ROCK AIN’T DEAD
HELL IS BEAUTIFUL
Best of Heavy Pettin released 27th November 2020 by Burnt Out Wreckords/Cherry Red
Karrakan are a progressive rock outfit who come from a small town called Ostrołęka in the North-East of Poland. The band recorded their first EP in 2016, more a basic hard rock approach that incorporate blues scales and heavy metal riffs. However, the addition of a saxophone into the mix even back then signalled a likely future direction into more proggy territory.
Their second release EP #2, released in 2019 continued down such a path with more complex compositions and more evident prog approach.
Karrakan are now onto their third release, the imaginatively-titled EP #3 – no-one can accuse these guys of lacking consistency when it comes to nomenclature!
“EP #3 contains ‘only’ 3 songs,” say the band, “but they are loaded with variety of musical assets. Thick distorted guitars, odd rhythmic divisions, vocal harmonies, acoustic interludes and… saxophone, which works surprisingly well with all the heavy sound.”
Incorporating blues, jazz, classical and metal influences the band are developing something of a unique approach: tastefully-executed guitar solos and that infamous saxophone interplay with some much harder-edged riffing and there’s also sprinklings of more gentle, folky acoustic guitar here and there, too.
The first track ‘The Shape of Infinity’ incorporates growled pseudo death metal vocals which I’m not convinced entirely work, while the final track ‘Allocation of Beauty’ has a far more conventional melodic rock-style vocal which is considerably better suited to the nature of the material in my view. The middle track ‘Panto Dance’ meanwhile is entirely instrumental and the most obviously proggy composition on the three-track EP.
Piotr Sierzputowski – guitar/vocals
Jan Sierzputowski – saxophone
Domink Górski – drums
Kamil Badeja – bass
As well as promoting this current EP the band are also busy writing material for their debut full-length album. It will be interesting to watch how Karrakan develop and I wish the guys luck.
Following a trio of live albums released this year since signing to the Frontiers label, US hard rockers Blue Öyster Cult are set to release their first new studio album in almost two decades,
The Symbol Remains is due out on 9th October. A new single from the album, ‘Tainted Blood’, written by Eric Bloom and Richie Castellano, is also now available.
The sessions for ‘The Symbol Remains’ began in earnest last year. “As the song demos emerged, we realised there was as much if not more variety in style and content on this record as any in our history,” states BÖC lead vocalist/guitarist Eric Bloom. “We embraced this and the thing tying all the disparate elements together is the band’s sound and performance.”
“The album title comes from a quote of an old Sandy Pearlman (BÖC producer and manager) lyric, which basically we are using to show that the band is back and still rocking after all these years. To me, it means we’re still here and doing what we do,” he adds.
“The goal was for the new music to stand up to the quality and vitality of our legacy recordings and I believe we have successfully achieved that,” says founding member Donald ‘Buck Dharma’ Roeser. “Other than that, the sound of our voices and style of our writing and playing can’t help but sound familiar to fans of our work.”
On the album the two members from BÖC’s ‘classic era’, vocalist/lead guitarist Donald ‘Buck Dharma’ Roeser and vocalist/rhythm guitarist Eric Bloom – both of whom have been with the band from the late 60s, are joined by Danny Mirando on bass/backing vocals, Richie Castellano on guitar/keyboards and Jules Radino on drums.
“We have wanted to record the current line-up for some time and the result of us giving our all on this album speaks for itself,” says Roeser. “The Covid-19 lockdown slowed the completion of the record and we were prevented from travelling and collaborating in person, although luckily we had already done the basic tracking. We resorted to video conferencing and producing each other over the internet and are fortunate that the technology exists to do that, plus some live performance cancellations gave us a little more time to carefully consider the finishing touches. We sent the album out to be mixed by Tom Lord-Alge and we also worked together over the internet on that.”