Graham Bonnet's illustrious singing career includes hit singles "Night Games" and "Since You've Been Gone" with Rainbow. Apart from working with Richie Blackmore and Michael Schenker, he can be credited with having helped the careers of Yngwie Malmsteen, Steve Vai, and Chris Impelliteri all of whom played in bands with him. On this set he covers classic pop songs alongside quality original material. Truly outstanding.
Having witnessed first hand the enjoyment and musical freedom experienced by Deep Purple bassist Roger Glover during the making of his 'concept' "Butterfly Ball" album ex-Spencer Davis Group keyboardist Eddie Hardin felt sufficiently inspired to partially follow suit by inviting a variety of musicians who he'd always wanted to work with to contribute to a new studio project he had in mind. Recalls Hardin "Basically I'd written quite a lot of songs which I felt maybe suited other peoples voices and styles rather then my own." Some of the 'other peoples voices' he enlisted to help him included ex-Manfred Mann vocalist Mike D'Abo, ex-Dave Clark Five man Mike Smith, future Londonbeat mainman Jimmy Helms and ex-Deep Purple members David Coverdale and Glenn Hughes. "Glenn was great, he came to the studio, had a bottle of whiskey and some fish 'n' chips and then laid down his vocal". Complementing Hardin's astute choice of vocalists was his equally canny choice of musicians. Roger Glover helped out on bass whilst Purples keyboardist Jon Lord appeared on "She's A Woman". Amongst the drummers featured were ex-Fancy / judas Priest man Les Binks, ex-Herd member Henry Spinetti, former Ten Years After member Ric Lee, future Ian Gillan sticksman Mark Nauseef and Hardin's old Spencer Davis Group / Hardin & York sidekick Pete York. Leading session bassist Mo Foster appeared throughout the album whilst guitarists included Chris Barber man John Slaughter and another ex-Spencer Davis Group member in Ray Fenwick. Mr. Hardin himself sang lead vocals on The Craig Song" and "Make If Soon" as well as tinkling the ivories on a variety of tracks whilst keyboardists Tony Ashton (ex Ashfon Gardner & Dyke and later in Paice Ashfon Lord) and Rick van der Linden (ex-Ekseption) also helped out. With such an array of talent if seems incredible that the album never charted. However as the LP was originally released on Christmas Eve 1976 if made it impossible for people to buy it until stores reopened after the Xmas holidays by which time most record stores had forgotten about if whilst coping with the post Christmas rush of record tokens and demands for TV advertised compilations leaving "Wizards Convention" to sadly disappear from sight. Collectors, however, might like to note that we've added six bonus tracks from the original sessions for the "Wizards Convention" album to this CD. "Looking Forward To Tomorrow" features lead vocals by Billy Ocean, Eddie Hardin handles the role on "Time For Another", "The Put Down Song" and "Goodnight Children" whilst on "Summer Days" and "Seems I'm Always Gonna Love You" he's joined by ex-Elf / Rainbow / Black Sabbath vocalist Ronnie James Dio. Eddie Hardin recalls having had a lot of fun making the album and to this day regards if as "The best album I've ever recorded". When you consider his involvement with the likes of the Spencer Davis Group and his work with people of the calibre of John Entwhistle and Roger Glover that is indeed praise of the highest order. - Review by Mark Brennan
John Macaluso is one of the most respected drummers in rock. He has played on close to 200 albums, including on the highly acclaimed Ark albums, Yngwie Malmsteen's Alchemy, and TNT's Realized Fantasies. Obviously, this has helped him get some of progressive metal's finest musicians on his first solo album, which he set out to make the best ever album of his career.
The list of singers appearing on the album is stunning. From Dream Theater's James Labrie to Riot's Mike Dimeo and the new Ark vocalist Adrian Holtz, the vocal performance on the whole record is nothing short of jaw-dropping. The disc begins with the Labrie-sung "Soul in Your Mind", whose overall flow recalls Dream Theater circa Six Degrees of Inner Turbulence thanks to Vitalij Kuprij's atmospheric keyboard contributions. Macaluso's drumming is central on this song, and is arguably among his greatest performances ever. Kuprij weaves moody synth lines around the drums and a thudding bass figure while Labrie sings aggressively, leaving plenty of space for both a synth and guitar solo respectively.
Ark came to a halt when Jorn Lande left the band after 2001's amazing Burn the Sun, still among prog metal's greatest offerings. Many fans questioned whether Macaluso and Ostby could find a replacement, but despite numerous rumours, nothing much came of it. Finally, Macaluso introduces the new Ark singer Adrian Holtz (with whom they were planning to cut a new CD before shelving the idea). Holtz' vocals are incredible -- he is a monster singer and is poised to become my discovery for new voice of the year. Possessing a brilliant midrange tone, he has the ability to shift from smooth, delicate phrases to soaring screams without overdoing it. He sings on five of the songs, all of which are amazing in different ways.
Obvious reference points while describing this truly progressive metal disc would be Pink Floyd's psychedelic parts blended with the gripping melodic edge of Ark and the hallmarks of instrumental music. "The Prayer Pill" and "Dissolved", arguably the best songs on the album, are both delivered by Holtz. Both pieces are more keyboard-dominated than guitar; dark-toned synth patches cover Holtz' indelible vocal melodies, supported by sweet back-up singing courtesy of Donna and Laura Macaluso. "Dissolved" boasts modern keyboard effects drilled into the mix, juxtaposed with some Middle Eastern flavour, and is carried by jazzified soundscapes and an eerie blend of psychedelic guitars and funky bass groove. The production of this song is totally mindblowing -- perhaps the best I've heard on a Lion Music artist.
Riot and Masterplan singer Mike Dimeo's unique vocal style should also be attributed to this album's success. There are only a handful vocalists who are capable of singing any style this perfectly, and Dimeo is one of them. Vitalij Kuprij's somewhat electronic snynth intro on "Mother Illusion" is so progressive and different from 98% of music out there that I'd never believe a singer like Mike Dimeo would be asked to sing on it. This guy is simply unbelievable, and actually reminds me a good deal of Jorn Lande. Despite never picking up pace, it feels especially tailored for him, and Macaluso's kick drum tones are still unmatched. Dimeo also sings on "Gates to Bridges", which also features Savatage guitarist Chris Caffery ripping it up, but Kuprij's laidback, mood-intensive playing saves the piece from being a typical hard rocker.
On the guitarist front, besides Chris Caffery, John Macaluso has also hooked up with the rising force Marco Sfogli, whose work on James Labrie's Elements of Persuasion blew everyone away. Sfogli first weaves dense acoustic guitars on the Floydian cut "Shimmering Grey"; and then shows us the real deal when he injects a searing guitar force on the seven-minute instrumental "T-34". Having heard this song like a dozen times on repeat, I can't help but wish Macaluso would release another solo disc, all instrumental this time. It is the absolutely inspired songwriting that sets this piece apart from hundreds others; there are dazzling synths, pianos, octopus drumming, and of course the godly Marco Sfogli on this song.
If you, like me, always hoped to hear a full-blown drum solo by Macaluso, for a good four minutes, "Pretzel" is going to be your song. The dialogue between the young girl and John in the intro is hilarious, and pokes fun at all those fans who tend to go to the bathroom during shows while the drummer cuts it loose. It is one long yet totally disciplined drum solo by one of rock's best. Period. Being a solo album, Macaluso also sings lead vocals on one song, the totally jazzy "The Six Foot Under Happy Man", but I wouldn't really consider it among the album's strongest cuts. What I, however, must mention is Dimuti, who is credited as guitarist, keyboardist, and bassist on various songs, and every time I was blown away by something and checked out who it was, I came across his name. I bet lots of prog fans will want to check him out if they're unfamiliar with him.
Another high point of the CD is "Things You Should Not Know", again featuring Adrian Holtz at the helm, and if anything on the new Ark CD is going to be in this vein, everyone be prepared to be blown away. It features some nice flute melody, cool Kuprij acrobatics, phenomenal drumming, and face-ripping guitar work by Alex Masi, another Lion Music artist. Speaking of which, Lion Music reminds me a lot of Magna Carta in the 90's (remember when they were still a cool label?) where every musician would guest on each other's albums, and add their own signature to the compositions. This disc reminds me a lot of that -- and it contains striking melodic strength with top-notch musicianship without overstepping the limits of the compositions.
Lyrically, the album seems to explore themes of religion, the occult, and spirituality; but fear not, there is nothing preachy here. In fact, the airy keyboards, creepy sound structures, and somewhat spacey overall vibes unite seamlessly with the subject matter discussed.
This is going to be a top release of 2007. Highly recommended. Reviewer: Murat Batmaz
On Sunday 6th February 2011 musician Gary Moore died in his sleep of a heart attack while on holiday in Spain.
Acknowledged as one of the finest guitarists that the British Isles has ever produced; Gary Moore’s career dated back to the sixties. Moore graced the line-ups of several notable rock bands including Thin Lizzy, Collosseum II and Skid Row, to name but three, and to this year maintained a highly successful solo career.
Format: flac + cue + log
Genre: Rock
Release Date: 1987
Label: Virgin Records
Gary Moore - guitar, vocals
Neil Carter - keyboards, vocals
Bob Daisley - bass
The drums are sequenced with a drum machine, but the programming is uncredited in the liner
notes of the album Additional engineer: Chris Porter. Additional producers: Pete Smith, James "Jimbo" Barton, Mike Stone.
Wild Frontier is a 1987 album by Gary Moore. His first studio album after a trip back to his native Belfast, Northern Ireland in 1985, this album has several songs about Ireland and even the music itself is steeped in Celtic roots. The title track was intended to be sung by Phil Lynott, however Lynott's death in January 1986 prevented that. The album is dedicated to the memory of Phil Lynott, with the words "For Philip" on the rear cover. This album contains the hit "Over the Hills and Far Away", which reached #20 in the UK as well as a cover of the Australian band The Easybeats' hit of the middle of the 1960s, "Friday on My Mind".
"Over the Hills and Far Away" was covered by the Finnish symphonic power metal band Nightwish on their 2001 EP of the same title, and Swedish viking metal band Thyrfing on their album Urkraft. This album attempted to repeat the pop-metal formula of Gary Moore's 1985 album, Run for Cover, but falls short for various reasons. First, the songwriting wasn't quite up to par and except for "Over the Hills and Far Away, the title track, and "The Loner" - a beautifully moody guitar instrumental, Moore seemed to be going through the motions. Second, and most fatal was the decision to use a drum machine throughout the album; a failed experiment which just plain sounds wrong. Still, this is hardly a bad record, just slightly disappointing. ~ Eduardo Rivadavia
UK remastered reissue of the Irish guitarist's 1987 album includes three bonus tracks, 'Loner' (Extended Mix), 'Friday On My Mind' (12 Inch Version), & 'Out In The Fields' (Live). Virgin. 2003.
*The Santana legend on record starts here, a multi-million-seller that popped two great singles ( "Jingo," "Evil Ways" ) and became a concept album listening experience in the bargain. Released in-store the day after Woodstock (August 19, 1969), the LP mixed the classic Santana recipe: a rockin' bitches brew of Soul, R&B, Afro-Cuban, Mexican, blues and jazz, and cooked it through the free form jam mode that ruled the Fillmore West stage. The original 6-man lineup cut this LP in three weeks: Carlos Santana (guitar, vocals), Gregg Rolie (keyboards, vocals), Dave Brown (bass), Mike Shrieve (drums), Jose "Chepito"Areas and Mike Carabello (percussion).
1. Waiting 2. Evil Ways 3. Shades of Time 4. Savor 5. Jingo 6. Persuasion 7. Treat 8. You Just Don't Care 9. Soul Sacrifice
Carlos Santana - vocals, guitar, congas, percussion
Before the arrival of Carlos Santana's eponymous band, the San Francisco rock scene drew the inspiration for its jam-oriented music mainly from blues, rock, and Eastern modalities. Santana added Latin music to the mix, forever changing the course of rock & roll history. On Santana's groundbreaking debut album, the group mixes Latin percussion with driving rock grooves. Santana's unique guitar style, alternately biting and liquid, vies with the multiple percussionists for the sonic focus. Unlike later efforts, Santana's first album features an abundance of loose collective compositions based on a couple of simple riffs ("Jingo," "Soul Sacrifice"). This approach allows for Santana and his bandmates to flex their improvisational muscles to fine effect. The high energy level on SANTANA is infectious--the laid-back feel of other '60s S.F. groups was clearly not for Carlos and company.
In 2003, the album was ranked number 150 on Rolling Stone magazine's list of the 500 greatest albums of all time.
The Sony Legacy Edition of Santana's 1969 self-titled debut album is exactly the kind of deluxe treatment that the repackaging and remastering of a classic album deserves. Fine liner notes by Hal Miller guide the listener through the historical journey of this record. First, there is a stunningly remastered version of the original album, front and center with alternate takes of "Savor" and "Soul Sacrifice" added, as well as a studio jam. Musically, Santana is the spot on the map marking the point where everything came together, mutated, and changed. Here Afro-Cuban son, blues, rock, jazz, and funk collided head on, and decided to become something else. Gregg Rolie's swirling, atmospheric organ provided the sonic root equation. Santana's guitar provided the frenzied flight, and Michael Shrieve's Elvin Jones/Roy Haynes-inspired driving kit work provided a dynamic commensurate with the visceral nature of rock. This was not aided, but made possible and furthered by the percussion work of Joe Areas and Michael Caravello, and anchored to earth only by David Brown's rock-solid, dirty-assed bassing. Sure, "Evil Ways" was a monster single, but it doesn't begin to tell the story of the album. Interestingly, with the all the bonus material added, the album doesn't even tell the story of the album. What does offer the key is disc two, which includes the band's original studio sessions for the album -- before the addition of Shrieve and Areas to the band. These tracks, almost all of which appeared in different form on the final version, revealed a talented, original, but loosely focused and slightly timid jamming ensemble that put together some compelling riffs and ideas, but hadn't jelled in a studio setting. Add to this Santana's complete Woodstock performance (with four previously unreleased tracks which took place before the album's release date) and the listener gets floored just contemplating the final release. That in four months, this band had gone from being green and naïve to becoming command performers. This is a remarkable, welcome, and definitive addition to the Santana catalog and raises the watermark for all reissues as well...T. Jurek
Genre: Rock Format: ape + cue + log Released:1982 Label: Swan Song, Rhino Entertainment Company
After the long, hot journey in the Zeppelin, an oasis. Robert Plant’s first solo album is rooted in the music of Zeppelin, of course, but that’s not to say he’s tied to the past. Rather, he branches out, embracing a lighter, crisper studio sound that indulged in familiar exotica while shedding the heavy intensity of Led’s epic arrangements. You’ve seen the swagger of “Burning Down One Side” and “Worse Than Detroit” before, but unchained from his former band Plant could pass for Steven Tyler in a serious mood. Drummer Phil Collins keeps the beat on its toes, Cozy Powell is more a student of the Bonham school, and the core of Robbie Blunt, Paul Martinez and Jezz Woodroffe are as tight as any band Ozzy brought along for the ride. If you’re looking for a lost Zeppelin album, better to bark up Coda’s tree. If you’re looking for Plant’s genius in full flower, you really want Principles. Pictures At Eleven is simply a stake in the ground; a declaration that there would be life after Zeppelin, and it would look something like this (cue the moody “Like I’ve Never Been Gone”). What’s most impressive about Pictures is that Plant and Blunt come up with some awfully good material. Clearly, I hadn’t given Plant a large enough share of Zeppelin’s glory, and Pictures makes plain that much of what was best about that band (that indefinable groove, the heavy caravans of emotion driven through dark endless night) emanated from the singer. I’d always seen him as something of a slightly more substantive Roger Daltrey, and I didn’t count on Pictures At Eleven being so close to the genuine article. (Meanwhile, Jimmy Page, the grand architect, was noodling out inconsequential soundtracks.) It’s not the first time I’ve put my money on the wrong horse. It was, however, the first time that anyone from the legendary Led dared to get back in the saddle. To his eternal credit, Plant came in riding tall like we remembered.
1. Burning Down One Side
2. Moonlight in Samosa
3. Pledge Pin
4. Slow Dancer
5. Worse Than Detroit
6. Fat Lip
7. Like I've Never Been Gone
8. Mystery Title
Bonus tracks:
9. Far Post
10. Like I’ve Never Been Gone (Live)
ROBERT PLANT
-- vocals, mixing, design
ROBBIE BLUNT
-- guitars, mixing assistance
PHIL COLLINS
-- drums
PAUL MARTINEZ
-- bass
JEZZ WOODROFFE
-- keyboards & synths, mixing assistance
Cozy Powell
-- drums (4,7)
Raphael Ravenscroft
-- sax (3)
Notes:
Remaster of the original 1982 album with two bonus tracks. Track 9 originally was a b-side on the Burning Down One Side UK 12" single, and Track 10 was recorded on tour supporting the Principle Of Moments album, but is previously unreleased.
Tracks 1 to 9 recorded at Rockfield Studios, Monmouth. Track 10 recorded at The Summit, Houston, TX, on Sept. 20, 1983.
Genre: CLASSIC / ROCK Format: FLAC + cue + log Released: 4th Aug 2006
CD1
01. Tune Up
02. Eyes Of The World
03. Catch The Rainbow
04. Gates Of Babylon
05. Weis Heim
06. Rainbow Eyes
07. 1812 Overture (Dedicated To Cozy Powell)
CD2
01. Elgar Pomp And Circumstance
02. Spotlight Kid
03. Stone Cold
04. Can't Let You Go
05. Stranded - I Surrender
06. Maybe Next Time
07. Street Of Dreams
Notes:
A symphonic tribute to Ritchie Blackmore's Rainbow featuring instrumentals and songs originally sung by Ronnie James Dio, Graham Bonnet and Joe Lynn Turner.
Genre: Rock Format: ape + cue + log Released: 1981 Label: Purple Records
01. Look At me Now
02. So far Away
03. Who's Fooling Who
04. Shakey Ground
05. Behind your Dark Eyes
06. Bylbos Shack Pt 1 & 2
07. Thunder & Lightning
08. Can You Do It ? (Rock City Blues)
09. After All the Madness
10. Always Love You So (b-side) 11. Look At Me Now (live) 12. Bylbos Shack (live)
John Cook - Synthesizer Jon Lord - Keyboards Bernie Marsden - Guitar, Vocals Neil Murray - Bass Ian Paice, Simon Phillips, Cozy Powell - Drums Michael Schenker - Handclaps Doreen Chanter, Irene Chanter - Vocals
Bernie Marsden's second solo album, recorded during his time as Whitesnake's lead guitarist leans towards the more melodic side of rock. The albums, which feature bonus material, include an array of special guests including Jon Lord, Cozy Powell, Neil Murray, Ian Paice, Simon Phillips and others.
By 1981 three quarters of Whitesnake's material was emanating from guitarist Bernie Marsden, and in the same year he finally managed to find time to record a second solo album. The first, 'And About Time Too' had been a Japan only release. It's success in the UK import charts (which it topped for some weeks) lead EMI to ask for a follow up. Aside from Bernie on guitar and vocals, fellow 'snakes Ian Paice, Neil Murray and Jon Lord were the backbone of the band for the sessions, with Simon Phillips depping as the second drummer. (Bernie also persuaded Micheal Schenker to come in and supply hand-claps to the end of one song!) When it came time for EMI to issue the two Marsden albums in the UK, they asked Bernie which label he'd like it to be on. As a record fan, Bernie immediately said "Parlophone", thinking they'd never agree to it. He was overjoyed when they resurrected the label, complete with the original label design. There were plans for some live shows but Whitesnake were so busy these couldn't be sorted out. Bernie did manage to get the musicians together again in August 1981 for a radio session, which remains the only contemporary live outing for any of this material. Performing four songs from the album, the session was made even more interesting when David Coverdale turned up to sing one song. Two songs from this session have been added to each Purple Records CD reissue. The pressure was beginning to tell in Whitesnake and half way through the next LP their manager persuaded David that it was the band who were the problem and ended up firing them. These days Bernie is busier than ever, working with Micky Moody in M3, who aim to get nearer to the spirit of Whitesnake than any of Coverdale's subsequent efforts have ever managed! In June 2000 Bernie even managed to reform Whitesnake (minus Coverdale) for a one-off show at Abbey Road for a rousing set of Bernie's songs such as 'Fool For Your Loving' and 'Don't Break My Heart Again'. - Purple Records
Blues rock guitarist Bernie Marsden's hot licks helped launch the career of Whitesnake, as he played on the group's first eight releases, and lent a major hand in composing some of the band's most renowned songs. Initially inspired to play the guitar as a teenager due to such authentic blues players as Howling Wolf and Sonny Boy Williamson, Marsden later picked up on such '60s white blues players as Peter Green, Eric Clapton, and Jeff Beck. The early '70s saw Marsden briefly join several renowned groups - Juicy Lucy and UFO - but each time, the guitarist exited before a full-length album could be completed (Marsden was also a member of a group that drummer Cozy Powell attempted to put together, Hammer, before quickly disbanding). The mid '70s saw Marsden join British prog rockers Babe Ruth for a pair of releases, 1975's Stealin' Home and 1976's Kid's Stuff, before the group broke up, as well. Marsden then supposedly turned down an offer to play with Paul McCartney, and eventually joined up with former Deep Purple vocalist David Coverdale in Whitesnake. Early on, Whitesnake pursued a much more bluesy and hard rock-based sound than their latter-day (and much more successful) pop-metal direction, as Marsden played on such albums as 1978's Snakebite and Trouble, 1979's Love Hunter and Live at Hammersmith, 1980's Ready An' Willing, 1981's Live in the Heart of the City, 1982's Come and Get It, and 1983's Saints and Sinners. Although the group achieved substantial success throughout Europe, Coverdale wanted to pursue a more mainstream soundto crack the lucrative U.S. market, which led to Marsden's exit soonafter. Subsequently, a pair of Marsden-Coverdale compositions would be dusted off and re-recorded by Whitesnake in the late '80s ("Here I Go Again" and "Fool for Your Loving"), both of which became sizeable worldwide hits. It was during his tenure with Whitesnake that Marsden also managed to find the time to issue a pair of solo albums, 1979's And about Time, Too! and 1981's Look at Me Now. But instead of pursuing a solo career full-time after his dismissal from Whitesnake, Marsden opted to form a new band, Alaska, who only managed two releases, 1984's Heart of the Storm and 1985's The Pack, before breaking up. After laying low for the remainder of the '80s, Marsden resurfaced in the '90s, guesting on recordings by such artists as Forcefield and Walter Trout, and forming a new group along with his ex-Whitesnake bandmate, guitarist Mick Moody, called the Moody Marsden Band. The band usually relied on playing classic Whitesnake tunes live, and issued such recordings as 1992's Never turn your Back on the Blues, 1994's Live in Hell: Unplugged and Real Faith, plus 2000's The Nights the Guitars Came to Play and Ozone Friendly (the latter of which was a reissue of Real Faith, albeit with a slightly different tracklisting). The early 21st century saw the duo joined by another former Whitesnake bandmate, bassist Neil Murray, which resulted in the formation of a new group, Company of Snakes (with a pair of releases soon following - 2001's Here They Go Again: Live and 2002's Burst the Bubble). Marsden has also sporadically issued further solo recordings, including 1992's The Friday Rock Show Sessions and the 1995 Peter Green tribute, Green and Blues. In addition to his music career, Marsden has also tried his hand at acting (the German TV movie, Frankie), and has provided soundtracks for several movie projects in both Germany and the U.S., plus serving as the art director, producer, and author of the three part TV series, The Delta Blues 1926 - Urban Blues 1960. - Music.com
Bernie Marsden recorded two solo albums while a member of Whitesnake... Bernie Marsden has just seen his first solo album finished and is beginning to wonder if it will ever see the light of day; now read on... As the seventies drew to a close, Whitesnake continued to keep everyone concerned extremely busy but Bernie did manage to find a few other projects to keep him occupied. Just prior to recording his first solo LP "And About Time Too" he'd helped his old mate Cozy Powell out on his solo album "Over The Top", contributing a track called "El Cid" (which featured Bernie, Cozy, ex-Cream bassist Jack Bruce and Rainbow's keyboard player to be Don Airey). There was another session towards the end of that year, a strange cover of "We Wish You Well" done by a vocal group called Company who were managed from the same building as Bernie. Not strictly relevant to this CD I know but it's one which has puzzled fans over the years. "They were two boys, two girls - a bit like Bucks Fizz - they asked me to produce it. It was done very quickly, I said what to you want to do and they said 'we want to record 'We Wish You Well', we think it's great'. It's me, Jon (Lord) and Neil(Murray) on it - I can't remember who did the drums, it wasn't Ian - and Coverdale hated it. It's a curio. Lulu's sister joined them later!" 1980 finally saw "And About Time Too" issued in Japan. The label there Trio also issued two album tracks as a now rare picture sleeve single ("Sad Clown'V'You & Me"). With Whitesnake's last studio album "Lovehunter" (which, apart from the cover, was a great improvement over the previous offering) doing well and an old live album also in the stores, it was well timed. It was just a shame that nobody picked up on the album back in Europe. Whitesnake then came up with "Ready An' Willing", perhaps their strongest album of the Marsden era. The band's new single "Fool For Your Loving" grabbed the charts by the throat and firmly established them right across Europe. Whitesnake were now an established touring act and the twin-guitar approach of Moody and Marsden became one of their focal points, especially on the instrumental "Belgian Tom's Hat-trick". In addition around three quarters of the band's material was emanating from Bernie, so his importance to the band's success was fairly fundamental. The lengthy tours meant less time was available for studio work however and their next LP "Come & Get It" took three sessions to knock into shape, the last being in early '81. The lack of time showed on the final product but luckily they'd come up with another killer single in "Don't Break My Heart Again" and this kept the momentum going.Between March 20th and April 14th '81, with the Whitesnake set out of the way, Bernie finally managed to find the time to record his second studio album down at Britannia Row in London. This time theidea came from EMI in the UK who were getting cheesaed off at the number of imports of Bernie's previous LP which were turning up in Britain. Indeed it topped the import charts for a number of weeks, being handled by good old Flyover Records in Hammersmith, who specialised in Japanese albums and pic sleeve singles for a number of years (they cleaned up too but they'd probably be able to buy Japan for what their stock would be worth today on the collectors market). "Hugh Stanley Clark at EMI came to me and said 'you should do another album and if you do, we'll pick up the UK rights to the first one'. " Bernie had a brief period during which time he was able to finish writing the new material. The recording was interrupted by a couple of Whitesnake video shoots but otherwise went well. "All the stuff was written and ready to roll. I stayed there for three weeks then gave the tapes to Guy and said 'Mix it' I never saw a copy until it came out - as you can see!" By this Bernie means the dodgy illustration which served as the cover. While not iffy in the same way as some Whitesnake sleeves, the bizarre oil painting of a space bound headless guitarist baffled Bernie as much as it did buyers (hence the decision not to go with it on this reissue, though for collectors we've stuck it on the back of the CD booklet). The guest list this time round was perhaps not quite so awesome, though Bernie did persuade Micheal Schenker to come in and supply some hand-claps to the end of one song! Otherwise it was a case of "I've written a load of stuff lads, do you want to come and play on it?" Ian Paice, Neil Murray and Jon Lord did most of the honours, with Simon Phillips depping as the second drummer. Oh and "guitar synthesizer programmed by Neil Murray - because I couldn't be bothered! Looking back at it, some of those songs should have been Whitesnake songs - "Look At Me Now" would've sold truck loads, it's a good tune. " The eagle eyed owners of the original LP may be able to spot a much heavier typeface for a track called "Shakey Ground" on the inner bag and there's a reason for that. Originally the song "Always Love You So" was in its place, as Bernie explains: ""Always Love You So" was very very wimpish. It was almost a sixties pastiche and EMI said 'er sorry Bernie but we really don't think it'll be good for your image' and I agreed with them and said 'what do you want me to do'?" They offered to pay for another track which was "Shakey Ground", because with Cozy Powell at the helm what else could they call it? "I'm glad now because it's a good track and it got a lot of airplay too. " The missing track later appeared as a b-side in the UK and for completeness sake is included on this CD... There were plans for some live shows to promote the UK releases but Whitesnake were so busy at this time that these couldn't be sorted out. Indeed the day after the album was finished, Bernie rejoined Whitesnake for the start of a lengthy German tour. "The offers were there but by the time I got back I didn't feel like doing anything. " Bernie did manage to get the musicians together in August '81 for a radio session however, which remains the only contemporary live outing for any of this material. Performing four songs from the album, the session was made even more interesting when Coverdale turned up to sing one song. "When he heard that particular number he said 7 should've sung that on the album' and I said 'well you didn't come did you?!" This session has been added to the CD with Bernie's permission, with two tracks on each volume to even up the running times... As noted, after all this it was off on the road once more, but by now the pressure was beginning to tell in Whitesnake and relations on the road became strained at times. Towards the end of the year Jon Lord took his turn in the studio for a solo set, "Before I Forget", which was taped in September Bernie played on many of the tracks and Guy Bidmead who had produced Bernie's second album was again at the helm. Guy then went on to produce the next Whitesnake studio album, work on which began in early October. Bernie also sneaked off to play on one track from Cozy Powell's new solo LP "Tilt". The Whitesnake sessions themselves proved a problem. The root cause behind a lot of the discontent at this time was the band's belief that someone somewhere was earning a lot of money from Whitesnake but it sure as hell wasn't them. Thus they set about what became the "Saints & Sinners" album in October 1981 with something less than unbridled enthusiasm. "We were in Britannia Row and Jon was supposed to come in and do some solo but phoned to say he couldn't get a baby sitter or something and I just threw my hands up and said 'this is crazy'. Coverdale was looking more and more... and I just said 'we might as well knock this on the head' and he looked at me and said 'are you thinking this as well?' I said I'd been thinking this for weeks. We're one of the biggest bands in the country, in Europe, yet none of us has got any money." The band members got together and decided to tell their manager his services were no longer required. They'd finish the LP, take a well earned break and start afresh. It didn't work out like that. Instead their manager persuaded David that it was the band who were the problem and ended up firing them. It was presented to the public as a period of "taking stock of the situation". While some of the band were rehired - Lord and Moody - the others were replaced with by new members. Cozy came in on drums, Colin Hodgkinson on bass and Mel Galley stepping into Bernie Marsden's shoes. As a cushion, Bernie was offered a new deal which in the shock of the collapse of Whitesnake he took. By August '82 his group SOS were up and gigging with Richard Bailey handling keyboards and Rob Hawthorne on vocals, though Bernie told "Sounds" that he wouldn't be touring too extensively until after the World Cup was over! In retrospect Bernie has less than fond memories of the band who played only a handful of shows and the '82 Reading festival before fading from the scene, leaving just one track titled "SOS" on a live Reading compilation album. Whitesnake's subsequent career became ever more convoluted as Coverdale searched for a line-up which suited him. The "Saints & Sinners" album which had been so rudely interrupted didn't finally appear until September 1982 but although Bernie had been long-gone, his guitar work graced several tracks, while two songs he co-wrote with David also turned up on the LP. Eventually Coverdale dropped everyone in exchange for a total makeover - going for the glam look and finally taking America by storm, which is probably what he'd wanted all along. Bernie must have been pleased to find them re-recording several of the old songs which he'd co-written including "Here I Go Again" and which went on to sell millions. Bernie resurfaced in early 1984 with a new band (though with the vocalist and keyboard player from SOS) called ALASKA, and pursued Bernie's bluesy AOR direction with a vengeance. A lot of preparation had obviously gone into the band who issued two albums, "Heart Of The Storm" and "The Pack" (with Don Airey replacing Bailey on keyboards for the latter -Bailey taking the Whitesnake shilling, though he had to play hidden behind curtains during his stay with them!). In June '85 Alaska found themselves part of the Knebworth festival bill, which climaxed in the oft-talked of return of Deep Purple to the UK stage. "/ rang Ian and Jon up and asked them if we could play and they said leave it to us. " In fact the band's music was probably more suited for the American market but without a deal there it was an impossible task. "It's all their fault!" Is Bernie's comment today, referring to the classic Whitesnake line-up. "Once you've worked with players of that class it's hard to adapt to anything else. "... ...Come the nineties, he and Micky also began gigging occasionally with an outfit they called Company Of Snakes, which, with a singer from one of the later Bad Company line-ups, went out playing both Whitesnake and Bad Co. material when the Moody/Marsden Band weren't busy. Come the new millennium, this extra curricular activity paid off when Whitesnake's classic line-up (with Murray, Lord, Paice and Moody but minus David) reformed as part of a special evening at Abbey Road in honour of Tony Ashton. "I shouldn't have done it," mused Bernie afterwards. "It took me nearly twenty years to get over playing with those guys last time!"
Genre: Rock Format: FLAC + cue + log Released: 1983 Label: Grand Slamm
01. Island in the Sun
02. General Hospital
03. Jet to Jet
04. Hiroshima Mon Amour
05. Kree Nakoorie
06. Incubus
07. Too Young to Die, Too Drunk to Live
08. Big Foot
09. Starcarr Lane
10. Suffer Me
Graham Bonnet - Vocals Yngwie Malmsteen - Guitar Gary Shea - Bass Jan Uvena - Drums Jimmy Waldo - Keyboards
1. I'll keep this short. Its Malmsteens first "real" band with the excellent Graham Bonnett (ex-Rainbow) on vocals. Every song is an absolute gem, a melodic heaven, and the solo on Hiroshima Mon Amour has to be heard to be believed. Its Malmsteen's best ever. Pure melodic hard rock that grabs your attention. You owe it to yourself to hear these songs.
2. When this album was released back in 1984 it didn't leave my turntable (!) for literally weeks. Originally released on Rocshire Records with a major label distribution deal, this was the uniting of Ex-Rainbow & MSG front man Graham Bonnet with the 21 year old guitar whiz Yngwie Malmsteen. That union lasted two albums, this one and a live album.
Yngwie is credited as a co writer on every song. This is interesting because it is without a doubt his most accessible, commercial work over the course of his career.
The songs are all absolute works of art. All are heavy and melodic, with great hooks, interesting topics and lyrics, courtesy of Bonnet. The production is terrific, taking into consideration that this piece of music was recorded 21 years ago, it definitely stands the test of time. The guitar work is unbelievable throughout, especially on Island in the Sun and Jet To Jet, where we are treated to triple-tracked Yngwie. Vocally, this is probably Graham Bonnet's best work of his career. He is much more of a studio singer as opposed to live. Here, he sings every note, all melodies, harmonies and choirs. While he sometimes sacrifices emotion for sheer vocal power, there can be no doubt he is fantastic throughout these recordings.
While literally every song on this album is very good, stellar standout cuts include Kree Nakoorie, General Hospital, Big Foot and Starcarr Lane.
This is a magical record, and definitely one of the supreme highlights of the great 1980's metal movement which ruled the music world.
