In the Autumn of 2020 former Accept lead vocalist, Udo Dirkschneider, began putting together a new project that brought together some familiar faces. Going by the moniker Dirkschneider & The Old Gang, the name is pretty self-explanatory. Along with Dirkschneider and his son, Sven, two former Accept members (bassist Peter Baltes and guitarist Stefan Kaufmann) have also been brought in, along with singer Manuela Bibert.
A single ‘Where The Angels Fly’ was released on April 2nd and has already clocked up over two millions views on YouTube.
More information about the new venture is promised over the coming weeks:
“Anyone who had previously believed that they already knew all the essentials is mistaken. Dirkschneider & The Old Gang started with a sensational video, but only vaguely indicated the entire dimension. So keep your eyes and ears open: From now on it will be really exciting!”
Udo Dirkschneider was lead vocalist with Accept from the bands formation in 1976 through to 1987, performing on numerous albums including the much-celebrated Balls To The Wall. While he rejoined Accept for a period in the late 90s and early 00s he has also enjoyed a successful career with his own band U.D.O.
‘Where The Angels Fly’ released 2nd April 2021 by AFM Records
I’ve read enough rock autobiographies over the years to know the score: boy from working class background, boy joins a band, struggles along for a few years, makes it big, fame, alcohol and/or drug addiction, groupies galore, several wives, numerous girlfriends, sobriety, reflection and, finally, publishing deal. Judas Priest lead singer Rob Halford’s‘Confess’, however, is a rock confessional with a difference. The wives and girlfriends are notable by their absence and Halford tells his tale as an out and proud gay man.
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.
Halford’s down-to-earth-working class upbringing in Walsall is easy to identify with. Coincidentally, although the two have never met, he lived just a couple of streets away from Noddy Holder’s family home, another musical hero of mine. Indeed, many of the place names were already familiar to me from Holder’s own autobiography. (The pub that Halford mentions as the location of his local bus stop as a kid is the same pub where the classic Slade foursome held their first ever rehearsal – trivia fans).
As Halford starts to metamorphosis from council estate kid to heavy metal rock god I certainly felt a sense of exhilaration as his dreams are achieved – such as the era-defining success of that iconic British Steel album, for example.
For much of the book, though, I also felt a sense of immense sadness. This paragraph, where he reflects on the state of his life in 1980 – by which time he was in his late 20s – is a telling one:
“It was five years since I’d been seeing Jason. Apart from the odd snatched random fumble I had been alone ever since… not just alone but forced to supress my longings, my needs, myself.”
When I think back to my own life at that stage, I had already met my partner. We’d bought a flat and been living together for several years by then. I was born fifteen years after Halford and my modest brush with life in the public eye never obliged me to hide my own sexuality. However, it’s not difficult to really grasp the pain and evident loneliness that Halford was going through. He does eventually find personal as well as professional fulfilment albeit that there are dysfunctional relationships, tragedy addiction along the way.
There is also a fair bit of revelatory gossip and down to earth black country humour to keep the reader entertained. However, there are a many segments that are deeply, deeply moving, too: Halford’s obvious joy at the emotions he experiences performing sober for the first time, the palpable relief he feels when he first publicly comes out back in the late 90s and the excitement he feels reuniting with Priest in the early 00s.
‘Confess’ does not always make for easy reading. There is a real sadness to parts of it but Rob Halford’s warmth and humanity shine through. Absolutely one of the best rock biogs in ages.
Published: Headline Publishing 29th September 2020
‘This is Hell’ the title track from Burnt Out Wreck’s second album released last October is now being released as a single with a brand new accompanying video.
Lead singer Gary Moat says: “Here’s our new video the title track from our second album This is Hell …. I wrote this before the pandemic and we all have our own Hell … enjoy the madness. Thanks to Graham Gebbe for the live footage from Winterstorm 2019. We had a great time, also thanks to Mark Leary for creating such a brilliant lyric video at such short notice!”
This Is Hell is the band’s second album, following their debut Swallow which was released in 2017.
“This is Hell, the title says it all,” adds Moat. “It’s a hard hitting, fast paced more focused album. It’s an angry set of songs that follows on in the same vein as Swallow.”
Gary Moat has a colourful history as the drummer and main songwriter for Heavy Pettin’. For Burnt Out Wreck, he has swapped the drum kit for the microphone stand and Paul Gray now takes the drum stool. Often compared to AC/DC’s Bon Scott and Krokus’s Marc Storace, Moat’s vocal style developed in Mother’s Ruin, the band that rose from the ashes of Heavy Pettin’ in 1991.
You can read my full-length interview with Gary Moat here
Burnt Out Wreck are: Gary Moat – Lead Vocals, Alex Carmichael – Bass, Paul Gray – Drums, Adrian Dunn – Lead Guitar, backing vocals and Miles Goodman – Rhythm Guitar, backing vocals.
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.
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.
This review was originally published by Get Ready To Rock here
“After nearly ten years since the loss of his friend and co-founding member and bandmate Kevin DuBrow, and with careful consideration, soul searching and with the blessings and support of Kevin DuBrow’s family, Frankie has moved forward with the band to bring the fans a new record!” announce Quiet Riot as they release their latest album Hollywood Cowboys.
Always best known for their 1983 smash album Metal Health which included the hit cover of ‘Cum On Feel The Noize’ a song that finally brought the delights of Slade to an American audience, the band is now led by drummer and long-term member Frankie Banali who was part of the Metal Health line-up and has played on every subsequent Quiet Riot release since. Banali is joined by bassist, Chuck Wright, who’s been part of the band, on and off, since the early 80s and guitarist, Alex Grossi, who has been with Quiet Riot since 2004. Vocals are, once again, handled by James Durbin, who also sang on the band’s last studio album (2017′s Road Rage).
With a smoother and more melodic feel than the raunch of DuBrow’s vocals, Durbin a former American Idol frontrunner, has himself now left the band it’s been reported. There are some decent songs on this album and some powerful but hummable fast-paced hard rock. It includes one or two surprises as well. The slower, smouldering, bluesy feel of ‘Roll On’ is actually one of the real treats on the album.
Former lead singer Kevin DuBrow was such an essential component of Quiet Riot that debate will always be a matter of debate among classic-era fans as to whether, without him, it’s really Quiet Riot or not. Nevertheless, this latest release to bear the band’s imprint is an album of likeable, if somewhat generic, 80s-influenced heavy metal.
Ask me about Gdansk and I’d immediately think of Polish shipyards, Lech Walesa and the birthplace of the Solidarity trade union and the anti-communist protests of the 1980s. In fact that’s the sum total of my entire knowledge of the place – but it’s also home to Spitfish.
A brooding industrial early 70s Sabbath-like feel combines with more upbeat classic rock elements and a taste of 90s grunge to produce a fine album of hard rock.
Formed three years ago by vocalist Boris Karloff the line-up now features Karloff on vocals and bass, Cyril Delevanti on guitar and A.J. on drums. The rumbling hard, heavy riffs meld nicely with Karloff’s warmer, more melodic vocals to produce something that’s both atmospheric and catchy.
Spitfish’s on-stage persona and album cover-art pays homage to old-school horror movies and there’s clearly a love of the theatrical but, importantly, there’s some serious quality hard rock behind the imagery.
“Even though only members of the band know the dark concept of Spitfish, it’s worth listening to their music,” their publicity blurb tells us. That I would agree with. I knew little of Gdansk and nothing of Spitfish but I’ve been giving Penny Dreadful numerous plays since the CD arrived through my door. It is, indeed, music worth listening to.
This review was originally published by Get Ready To Rock here
Following their well-received 2018 debut, and to give impatient fans something ahead of a promised new album, Croatian hard rockers Animal Drive have recorded a covers EP. The four-track EP comprises covers of Roxette’s ‘The Look’, Whitesnake’s ‘Judgement Day’, Skid Row’s ‘Monkey Business’ and Warrant’s ‘Uncle Tom’s Cabin’.
Although formed in 2012 the band it took the band some six years before they released their debut album Bite! The polished professionalism of Animal Drive’s hard rocking debut, which drew comparisons with the likes of Whitesnake and Skid Row, showed the wisdom of their decision not to rush straight into the studio. However, given the positive impact of their first album I can fully understand why they now feel the pressure to get something into the hands of newly-won over fans, while they await the arrival of a follow-up. A covers EP makes perfect sense, therefore, but why these four songs in particular? Lead vocalist Dino Jelusic explains, “People used to, and still do sometimes, compare Animal Drive to Skid Row and their “Slave To The Grind” era. That song (Monkey Business) opens the “Slave To The Grind” album and it’s a monster jam, so it felt like a logical fit. Of the other covers on “Back To The Roots”, Jelusic continues, “the other three songs are “Uncle Tom’s Cabin” by Warrant, “Judgement Day” by Whitesnake and “The Look” by Roxette. I’ve always wanted to cover “The Look” in a heavy way, so it was cool to finally do it. We are big Whitesnake fans and had to go for one of their more epic jams. The Warrant song is one of their absolute best and shows what a great songwriters Jani and the band are, plus it’s a great fit for a heavy band to cover.”
The biggest surprise in terms of the choice of material is the inclusion of late 80s pop hit ‘The Look’ here given a hard rock makeover. It was clear from the songwriting on the debut album , however, that Jelusic has an ear for a catchy melody. And no-one can deny the catchiness of this particular little ditty when it was first released. Once Jelusic’s Coverdale-esque vocals and the band’s trademark polished, melodic hard rock sound is applied the band transform it into a great, great rock song. ‘Judgement Day’ is a fairly faithful if slightly more rocked-up cover of the Whitesnake original and their version of Skid Row’s ‘Monkey Business’ is hardly a million miles away from the original, either. However, both tracks demonstrate that these young guys can really play and celebrate two of their biggest influences as well. The ‘Uncle Tom’s Cabin’ cover is more of a departure from the original and, once again, really gives Animal Drive a chance to do the magic with their trademark sound.
If you are tempted to purchase something from Animal Drive I would definitely recommend you start with their album Bite! but if you have it already and are clearly won over and hungry for more then this EP is worth checking out.
This review was originally published by Get Ready To Rock here
Spirits Of Fire is the new outfit fronted by ex-Judas Priest singer Tim ‘Ripper’ Owens.
A supergroup of sorts the project brings together Owens (ex-Judas Priest, Iced Earth), guitarist Chris Caffery (Savatage, Trans-Siberian Orchestra), bassist Steve DiGiorgio (Testament, Death) and drummer Mark Zonder (ex-Fates Warning, Warlord).
Hailed as “classic Priest meets Savatage” guitarist, Chris Caffery, says: “My influences for writing on this record were the bands that we were and are still in! I wanted to write songs that Priest, Savatage, Testament, and Fates Warning fans would like. But, I wanted them to have a personality of their own as well. To give it a vibe that was Spirits of Fire.”
And do they achieve that? There’s a satisfyingly Judas Priest-like vibe to the Spirits Of Fire album and it’s a great slice of classic heavy metal: well-written songs, powerful vocals, dynamic riffs and a thunderous rhythm section. Opening with a furious ‘Light Speed Marching’ it nicely sets the template for the album as a whole and showcases Owen’s considerable vocal range. Title track ‘Spirits Of Fire’, which ended up also providing a name for the band itself, is another furious assault with some nice soloing from Caffery.
Just like on a classic Priest album where you will typically find the odd slower number, here we get the excellent ‘A Game’ and the anthemic ‘Alone in the Darkness’ the latter of which closes the album, both tracks taking the tempo down while sacrificing none of the heaviness.
The whole Spirits Of Fire project has been masterminded by LA-based producer Roy Z who has worked with the likes Bruce Dickinson, Halford and Tribe Of Gypsies and does a sterling job on production duties here. Eleven tracks of classic, polished heavy metal – this debut from Spirits Of Fire is well worth checking out.
This review was originally published by Get Ready To Rock here
Bouncy anthemic keyboards, smooth melodic riffs and catchy sing-along choruses John Diva & The Rockets of Love celebrate and take their cues from that mid-80s era of rock when the likes of Van Halen, Whitesnake (the rebooted American version) and Bon Jovi ruled.
Neither the band nor the album wear their influences lightly so when you listen to these guys there is absolutely nothing, and I mean nothing, to suggest the past thirty-five years have actually happened. The sound, the songs, the riffs, the lyrics, even the names of the band members (I give you guitarists Snake Rocket and J.J. Love) all suggest we are somewhere midway through 1984. This is good in many ways. After all, it was a much-celebrated period for hard rock where a number of bands became absolutely huge. However, some acknowledgement that life had moved on just a bit would not have have gone amiss either. In this post-Jimmy Savile, post-#MeToo era does the world really need a new song called ‘Lolita’ (the band’s single from the album)?
What they do, they do well though and there’s lots to like in tracks like ‘Whiplash’, ‘Wild Life’ and ‘Rocket of Love’ (even if the lyrics of the latter deploy every rock ‘n’ roll cliché known to man). We should also mention the obligatory power ballad ‘Just A Night Away’ – it is the 80s after all!
Frontman, John Diva, describes the album as follows: “It’s a trip for those who have lived and loved Rock ‘N’ Roll, for all those who still do so and for all the millions of people who up to now didn’t even know what they’ve been missing. We’re having a party as big as the eighties and you’re invited to let your imagination take flight by my wild and wonderful life.”
Personally, I think if I was going to travel back in time and permanently inhabit a past era of music, I’d be opting for the mid-60s British R&B scene or the late 70s NWOBHM scene – but if you love that mid-80s American rock scene you will no doubt absolutely love this album.
A third live blast of this band for me in recent months, Toledo Steel are rapidly becoming one of my absolute favourite modern-era heavy metal bands.
Although they released their debut album ‘No Quarter’ earlier this year, the band are not quite new kids on the block, having been around since 2011 and with two prior EPs and a relentless round of gigging under their belts. Unlike a number of similar bands, however, their line-up has been relatively stable during that time and on-stage they are a formidable unit together.
Rich Rutter’s powerfully melodic vocals, combined with the twin guitar assault of Tom Potter and Josh Haysom and some truly, truly memorable songs make Toledo Steel a really great classic heavy metal outfit.
Storming through a set-list including ‘Heavy Metal Headache’ and ‘No Quarter’ from their recent album and ‘City Lights’ and ‘Speed Killer’ from their last EP the impact on the crowd is instant. These are not just great songs. They are fully-formed heavy metal anthems.
And with a nod to the classic era of heavy metal that has done so much to help shape and influence this band we also get a brilliant cover of Judas Priest’s ‘Heading Out to the Highway’.
Following in the footsteps of Black Sabbath and Motorhead in having an eponymously-named killer track they leave us with a momentous blast of ‘Toledo Steel’ for an encore and for everyone to roar along to. Superb!
While the Carlisle is not packed tonight the band absolutely storm the place and it’s clear Toledo Steel have some committed fans in the audience, myself included. Hopefully, it won’t be too long before they are playing on far bigger stages to far bigger crowds. They 100% deserve it.