Jon Anderson has burst back on the scene with a new album that everyone is talking about. “True” is a true collaboration between Anderson and The Band Geeks, who Anderson discovered on a YouTube video playing “Heart Of The Sunrise”. Comprised on a pro team of musicians led by Richie Castellano, The Geeks have helped Anderson explore the expansive rock band approach of Yes more fully than anything else in his solo discography.
In this brand new interview, conducted on the eve of the release of True, Sonic Perspectives’ Scott Medina explores how the songwriting came together on the new album, who contributed what, and some stories of what it’s like creating with Anderson. Castellano was also joined in the interview by keyboard wizard Christopher Clark, who was part of the core team writing and arranging the material on True.
The album’s centerpieces are two epic tracks, the 16 and a half minute “Once Upon A Dream” and the nearly 10 minute “Counties And Countries”. To celebrate the album’s release, the group have released a video for “Counties And Countries”. The video was created by Jon’s co-producer and Band Geek member Richie Castellano and Jon’s long-time videographer Michael Byrne.
“True Messenger” “Shine On” “Counties And Countries” “Build Me An Ocean” “Still A Friend” “Make It Right” “Realization Part Two” “Once Upon A Dream” “Thank God”
“Counties And Countries” video:
“True Messenger” video:
“Shine On” video:
Jon and The Band Geeks commence Leg 3 of their summer tour on September 11 in Beverly, Mass. All remaining dates are below:
Tour dates:
September 11 – Beverly, MA – Cabot Theatre 13 – Glenside, PA – Keswick Theatre 15 – Glenside, PA – Keswick Theatre 19 – Port Chester, NY – Capitol Theatre * 21 – Montclair, NJ – Wellmont Theatre * 25 – New London, CT – Garde Arts Center 27 – Staten Island, NY – St George Theatre *
* with Special Guests The Return of Emerson, Lake & Palmer
Canada’s premier melodic and power metal festival Hyperspace Metal Fest returns for its 6th edition after another year of crowd-pleasing epic fun in Vancouver, BC. Being hosted at The Cobalt (April 10 &11) and The Rickshaw Theatre (April 12), the 2025 lineup will feature headliners Enforcer, Planeswalker, Glyph along with Lunar, Solarus, Tower Hill, Luminator, Tylor Dory Trio, Heyoka’s Mirror with more to be announced.
Festival organizer Joey Hockin of Journeyman Productions adds:
“It’s finally time to reveal Hyperspace Metal Festival VI! We were a little later announcing this year because we want to make sure we’re bringing you the same quality you’ve come to expect. And on that, I think we’ve delivered! The full lineup will be announced in the fall. Hope to see you next April!”
Headlining Saturday, April 12 at The Rickshaw Theatre, Sweden’s Enforcer have proved themselves both live and on record, they stake their place amongst the world’s most renowned heavy metal bands since first forming in 2005. They have toured the world over, playing the biggest festivals and garnering a global fanbase. Their latest sixth studio album Nostalgia (released May 2023 – Nuclear Blast), features 13 heavy metal anthems and throws Enforcer back to their speed metal roots. Fusing extreme guitar riffing with catchy stadium choruses, Enforcer is out to conquer the world.
Headlining Friday, April 11, and returning for their second time at HMF, the duo known as Planeswalker features Jason Ashcraft (Helion Prime) and Sozos Michael (Gloryhammer, ex-Helion Prime) present Magic the Gathering-inspired power metal. They recently released their latest single “Compleated” and were joined by Carlos Alvarez (ex-Power Theory, Behölder, Shadowdance) on bass and Stefanos Meletiou (The Zilla Project, Private Garden).
Headlining Thursday, April 10, the Pacific Northwest’s Glyph, is not just a heavy metal band, they are a crew of intergalactic mercenaries escaping a dying planet in their spaceship, the VSS Dragonlord. Clearly, Glyph isn’t just writing songs, they’re building worlds and they bring it forth in their latest album Honor, Power, Glory released this past March.
Also featured on this year’s 2025 lineup and making their first HMF appearance and performing for the first time ever, Lunar is a progressive metal project from California that features members from Witherfall, Helion Prime, Planeswalker, Novareign, Mokili Wa, Nordic Frost, Outloud, Double Vision. Their fourth and latest album The Illusionist features guests Jørgen Munkeby (Shining), Christian Münzner (Obscura), Andy Gillion (Mors Principium Est), Taylor Washington (Paladin), Sam Vallen (Caligula’s Horse), Ben Karas (Thank You Scientist), Gleb Kanasevich, and Patrick Corona.
Meant to perform on the 2024 lineup, but forced to cancel, Tylor Dory Trio returns for 2025, they are a monstrous progressive metal unit and beloved by many in Western Canada. This live performance will be their first following a nearly seven-year layoff.
Hailing from London, ON, Solarus, simply put, is a musical vision and ambition to bring musicians together through their shared love for music. They bring forth impressive female-fronted melodic power metal.
Traveling from Edmonton, AB, Tower Hill delivers premium old-school heavy metal inspired by bands like Running Wild, Riot, Judas Priest, early Blind Guardian, and Helloween. Forging the best of the late 80s and early 90s German, British, and US metal scenes into a new blend of shimmering steel, Tower Hill’s riff-driven, hook-laden traditional metal will have you banging your head and singing along.
Luminator is a fantasy power metal band from the Pacific Northwest (Tacoma, WA) and will be supporting their latest EP On The Clouds.
From Calgary, AB, Heyoka’s Mirror is a progressive rock/metal band with international roots that was brought to life in the summer of 2015 by founding members Andrew Balboa and Omar Sultan. Their first music video “Asylum” (directed by Seth Williams), was nominated as Best Music Video by the 2020 YYC Music Awards and was released in support of their debut full-length The Uninvited King.
The Metal Voice recently spoke to Sweet guitarist, Andy Scott, about the upcoming Full Circle album, and his legacy in Sweet. He also talked about how he believed Nikki Sixx called him in the middle of the night to produce the original Motley Crue demo.
Asked to explain, Andy reveals: “Back in the early 80’s I got a phone call in the middle of the night and some guy was saying he was Nikki Sixx. Whether this is true or not I don’t know. I was telling him, you have been out and had a beer and you want to call me at 4 in the morning and it is something like 8 o’clock (PM) for you. I said why don’t you ring me at regular hours. He said to me, ‘you produce great records, why don’t you come and produce us?’ I said send me an airfare and I will be right over. Because at that point in my life, that is what I was trying to do, be a producer. Then I heard a few months later someone had picked up their demos, tarted them up and released that as their first album. When he sent me the demos on cassette I thought, well first off you have to get a bass player and a drummer who can play in time with each other.”
When asked again if he thought it was Nikki Sixx that actually called him, Scott responded, “It probably was Nikki Sixx.”
Metalville Records has set September 20 as the international release date for Sweet’s new studio album, Full Circle, which will also be the band’s final studio album ever.
Sweet are a rock music phenomena that has taken the world by storm for more than six decades. Over the years, Sweet sold more than 55 million records and earned 34 #1 chart positions worldwide.
The golden thread that links the past through to the present and into the future is Sweet founding member Andy Scott, with all his determination to maintain high standards with the band’s musical legacy, recording, and touring.
The band today still has an illustrious pedigree recreating “live” the high energy and soaring vocals associated with the Sweet sound that is the band’s trademark.
Sweet began writing songs for the Full Circle album in 2019 pre-pandemic. The project was shelved, and the band released Isolation Boulevard instead. This involved remote recording sessions which put a new spin on the material. The album was well received, and the single “Set Me Free” appeared in many Heritage Rock charts.
With the Covid period of isolation behind us, Sweet started the sessions for Full Circle in earnest. The band’s touring schedule split the sessions, but by the spring of 2024, the recordings were done. The band’s performance is outstanding, and producers Andy and Tom Cory are very proud of the result.
Full Circle tracklisting:
“Circus” “Don’t Bring Me Water” “Burning Like A Falling Star” “Changes” “Defender” “Everything” “Destination Hannover” “Rising Up” “Fire In My Heart” “Coming Home” “Full Circle”
Sweet are:
Paul Manzi – lead vocals Lee Small – bass guitar/vocals Tom Cory – guitars/keys/vocals Adam Booth – drums/percussion Andy Scott – guitars/vocals
In 2004 it was all change for UFO. Troublesome guitarist Michael Schenker was gone, Vinnie Moore was in, and another new face, Jason Bonham, sat behind the kit. Coping with the chaos was frontman Phil Mogg, who sat down with Classic Rock and attempted to make sense of it all.
It would be tempting to state that nothing ever changes in UFO’s world. In arranging this interview, Phil Mogg and I play phone tag for a few days. In one of the messages that he leaves, the singer apologises for missing my own call, attributing his absence to being “out delivering Christmas presents”; the date is January 31.
UFO have just begun a campaign to promote their new album, You Are Here, but this time there’s a big difference: guitarist Michael Schenker is no longer with them. Vinnie Moore, an American, has been brought in to replace the erratic German, whose drunken antics brought a sudden end to a 2000 tour on the back of their Covenant album. The successor to ‘Mad Mickey’ has been making his own records since 1986’s Mind’s Eye, a critically acclaimed debut that sold 100,000 copies. He also played briefly with US power metallers Vicious Rumors.
Now occupying UFO’s drum stool is none other than skilled sticksman Jason Bonham (son of Led Zeppelin drummer John), who has played with the likes of Paul Rodgers, Slash, Richie Sambora and Jeff Beck. Let us not forget that Jason has also deputised for his dad on occasions, taking his place alongside vocalist Robert Plant, guitarist Jimmy Page and bassist/ keyboard player John Paul Jones when those three musicians have regrouped under the Led Zeppelin name.
UFO have attempted to work without the talismanic Schenker many times in the past, and the results have been wildly erratic. Mick Bolton, Bernie Marsden (later of Whitesnake) and Larry Wallis of the Pink Fairies all warmed the hot seat before a teenaged Schenker arrived in June 1973.
Later, along with Paul ‘Tonka’ Chapman, UFO made albums good (The Wild, The Willing And The Innocent), bad (Mechanix) and patchy (No Place To Run), and hooked up with Atomik Tommy McClendon for Misdemeanour in ’85. Later still, Mogg and bassist Pete Way employed ex-Stampede/Phil Lynott’s Grand Slam man Lawrence Archer for the High Stakes And Dangerous Men album. Again, the results were inconsistent.
Schenker’s return, first for Walk On Water in 1995, then for Covenant and Sharks in 2002, proved to be temporary both times. Things came crashing down about everybody’s heads in Japan in ’95, when Schenker attacked keyboard player/guitarist Paul Raymond with a metal chair backstage, and stormed off stage 40 minutes into the second of three sold-out shows.
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However, Schenker saved his most dramatic act for what at the time had seemed certain to be the group’s final concert, at Manchester Apollo on November 24, 2000. During the show, a paralytic Schenker handed his guitar to Mogg to play a key solo, later pointing to the singer and telling the audience: “This guy sucks”, then admitting: “I suck, too”.
UFO’s new You Are Here is an album of irresistible, iron-gripped melody, and is certainly good enough to re-awaken the sleeping giant. However, only time will tell whether or not UFO’s audience will accept the band’s latest line-up.
Clearly, some will find it hard to forgive them for the Manchester debacle. Among an avalanche of emails that flooded into Classic Rock immediately after the show, Ray Mayers of Liverpool wrote: “Schenker was fat, bloated, pathetic and pissed-up. He did not play one song correctly all night. And I paid £45 to witness it.”
“Did he really pay £45?” Mogg enquires quizzically.
Maybe that included his travel costs. But what would you say to those who saw UFO hitting an all-time low that night?
It was an unfortunate set of events, and I was as disappointed as the audience. Doing a gig is a fairly easy thing – or at least it should be; get yourself there and it should be plain sailing. I’ve since made jokes about that night, but joking’s all you can do when something goes that badly wrong. But underneath I was as upset as everybody else.
Was that tour always a train wreck waiting to happen?
There was no indication that it might be. Rehearsals had gone okay, and Manchester was about four weeks into the tour; we’d been across Europe and everything was fine. Then suddenly it all went into meltdown. It was the night before, at a gig in Newcastle, when everything started to go pear-shaped.
Michael had received a black eye in a backstage altercation with Spike, the singer of The Quireboys, and by all accounts continued to drink throughout the following day.
Yeah. If we’d had a modicum of common sense we’d have said, that’s it, let’s cancel Manchester. But unfortunately we went ahead and did it, and it exploded in everybody’s faces. And when it did so, it was embarrassing, as shocking as standing on stage at the Sun Plaza in Tokyo when Michael walked off there.
At least in Manchester the audience was able to shout: ‘Fuck off you wankers’, or whatever. That abuse was reassuring, because it made you aware that it was actually happening; in Tokyo there was just a stunned silence, nobody said a word. But Manchester was another tragedy. And I’m very sorry that your reader wasted his forty-five quid. We were more disappointed than he was, because it was the third tour that had ended prematurely. It looked like it would be the last nail in the coffin. In a way it was like a marriage: if it’s not working you can only string it out for so long.
(Image credit: Gems/Redferns)
At the end of the Manchester gig, Schenker reportedly went back out on stage, thanked the audience for their boos and said goodbye. What was said in the dressing room?
I have no idea where Michael went. I cleared off pretty quickly, too. To me, that was it. I believe Michael did go on to the next gig, but he was in no condition to continue. I certainly wasn’t going to suffer another evening like that. We all knew that would probably be it [for UFO].
So did you all sit down and have discussions along those lines?
No, we just did what we usually do – went our separate ways.
The rest of the tour was cancelled abruptly, officially because you had developed a timely bout of laryngitis.
[Grinning knowingly] Yeah, my voice was getting a bit croaky. There wasn’t really any point in trying to continue. We’d been through dramas before. It was a bit like a marriage that had gone wrong – in the end you cut your losses.
A friend who was at the Manchester show still feels strongly that UFO have no right to exist after such shameful scenes.
That’s a bit extreme. It was a bit like the wedding that descends into a punch-up; the following morning, when everybody sobers up, they’re totally embarrassed. It’s a lot worse than that in a way, because people had paid good money to be entertained. But I’d be willing to bet our friend from Liverpool has gone to the pub, had too much to drink and got himself into a little bit of a fluff with someone. The next day he goes: ‘Oh my God’, and he’s very, very sorry about it. Whether or not it’s their fault, most people have found themselves stuck in that type of situation. All I’d say in UFO’s defence is try working out how many gigs we’ve played down the years – there would be thousands.
Of all of those, only a handful have gone wrong. Since Michael came back eight years ago there have been gigs in Manchester, Tokyo… there was another in Odessa, in America. Over the whole span of the band you could probably chuck in a couple more. In twenty years of touring, I don’t think five crap shows is too bad; I certainly wouldn’t chuck everything in because of that. To stop being a band because of what happened in Manchester would be foolish.
In 2002 UFO did actually record another album with Schenker, but there was no touring for Sharks.
It had been a year, and we hoped that maybe, just maybe, things would turn around. Recording the album was fine. But then we realised things wouldn’t change. We knew that if we’d gone out on the road the same thing would’ve happened. In a way it was like going back for more punishment.
Phil Mogg and Michael Schenker onstage in 1978 (Image credit: Simon Robinson / Easy On The Eye / Alamy Stock Photo)
In recent times, bands like Metallica have employed counsellors to help them iron out their differences. Did UFO consider such an option?
No. With us it’s a whole different ballgame. [Launches into convincing impersonation of Schenker]: ‘I haf had fifteen psychiatrists, zey have all tried telling me [what to do]. I know vat zey are sayink’. That’s an actual quote. I’m guessing, but if Metallica have had problems it’s probably the same sort of things that they’ve needed help with. You’d all need to be of the same mind, so it wouldn’t have worked with us.
Schenker says that you ended up ringing him, effectively to plead for the return of the ownership of the UFO name for the band.
Well, I’m not the pleading sort.
The way Michael explained to us last November, it was that you contacted him, and that you were “desperate to control UFO”. He told us: “Phil needs to work, so I had compassion. I told him to do what he likes [with the name] and be happy”.
It was actually done by email, through his manager. In what I sent I said that, yes, myself and Pete did need to work again with UFO. I reminded him that out of four tours we had done, three were failed ones, and that if he wasn’t going to be involved with it [the name] then could we please have it back so we could get on and do something.
To quote another of our post-Apollo reader emails, someone called Paul H wrote in saying: “UFO need to bring back ‘Tonka’ Chapman”. Was that an option?
No. We did our thing with Paul after Michael left [after the double-live album Strangers In The Night]. We did albums like No Place To Run with him, and that ran its course in the mid-80s. By that point we were completely worn out. We’d done our bit for rock’s entire drinking population, and we had literally run ourselves into the ground. Pete went off and formed Waysted, and we [UFO] ended up really scrapping around for things. That was it. There was no thought on my part that we would like to pick that up again. And Paul lives in Florida now anyway.
The sensible money was perhaps on Jeff Kollman, who besides playing on Chocolate Box, an album by Mogg/Way, did a sterling job of playing such UFO standards as Mother Mary, Too Hot To Handle, Lights Out and Shoot Shoot on a tour with your side project, $ign Of Four.
It was possible that Jeff could have joined us, but he runs a studio and has a band of his own [called Cosmosquad]. Also, I wasn’t sure if his style would fit UFO. He never said: ‘Here, let me be in this band because I could really knock it out’. If he had done, maybe something would have come of it.
Ex-David Bowie/Jeff Beck/Journey drummer Aynsley Dunbar played on both Covenant and Sharks. Was longtime UFO drummer Andy Parker approached to be on You Are Here?
Yeah. Way back, in June last year when we finally got Michael to relinquish the name. Andy had refused to come back after the Walk On Water album – his exact words were [launching into another frighteningly good impression]: ‘I can’t play in a band with somebody that can’t be trusted’. So I rang Andy up and said: ‘He’s gone’. But he’s now working with a brother and has a business. We owed it to Andy to ask him anyway.
Why were you replacing Aynsley?
We wanted someone permanent. Aynsley played on two albums, but we used someone else when we went on the road.
How did you go about choosing a replacement drummer and guitarist? What were the qualities that you were you looking for?
The guitarist needed an instant sound, a melodic touch and to be able to let rip where necessary. They also had to be able to write. We started looking in this country and listened to loads and loads of CDs, but were getting nowhere. Steve Morse’s [Deep Purple] manager looks after Vinnie [Moore], and he sent us a tape of some of Vinnie’s solo stuff. And the sound was there straight away. I didn’t like all of his material, but some of it was good so we had a chat. He seemed like a real nice guy and doesn’t come to the band with any baggage.
Was Vinnie a big UFO fan?
Not really. He knew some of our songs, including High Flyer [from 1975’s Force It album], which was an odd one. And as a guitarist he knew all about Michael anyway.
How did Jason Bonham come into the equation?
I was speaking to Spike [of The Quireboys, whom Mogg once managed], and he told me to come and see them at the Underworld [in London]. Jason was playing in the band at the time. Spike had said he was a great drummer, and he was so right. He was rock solid, loud… everything you want from a UFO drummer. He was also quite charming. He doesn’t drink, either! Nor does Vinnie. You see, there’s a strategy in this.
Can you describe all four of your bandmates in ten words or fewer?
[Laughing and slightly mischievously] Paul Raymond [guitar/keyboards] is the gent. Someone who might wear his overcoat on his shoulder. Meticulous and clean. A hell of a blues player. Pete Way – you couldn’t do it in ten words. The only thing that comes to mind is [another remarkably good impersonation]: ‘Er, you haven’t got two quid you could lend me, have you? I’ll give it back to you later.’ No, that’s cruel. Pete is a soft soul.
Pete used to be the go-between with Schenker, didn’t he – the Henry Kissinger of UFO?
Pete always wants things to be nice. He hates unpleasantness. But he was never a particularly good diplomat. Jason Bonham? A jack-in-the-box. Larger than life. A storehouse of energy. Vinnie is totally into porn and music, and is a marvellous impersonator; he does a great Beavis and Butt-head; you should hear his John Wayne. If Vinnie has two beers he’s on his back. But nothing untoward will happen.
The new album You Are Here is a very pleasant surprise indeed. How easy or difficult was it to make?
Fairly easy. Once we had Vinnie and Jason the only worrying bit was whether we could come up with something good. We started rehearsing and there were no attitudes from anyone. Everyone just got on with it and it became a bit of laugh – which it hadn’t been for a while.
At least a couple of tracks on this album are previously recorded Vinnie Moore instrumentals, with new lyrics added.
When we first got together we worked on Baby Blue and another that might have become Cold Black Coffee. We just wanted to see whether they would work.
You seem to have a fascination with train lyrics.
[Smiling] Maybe, but there’s no trains on this new album.
Actually, there’s a railway reference in the opening song, Daylight Goes To Town.
[Sheepishly] Oh yeah, ‘I was born on a rollin’ train’. I love trains. And they keep popping up, don’t they? In fact Pete Way’s got a Hornby train set, a double-O gauge. He often takes it on tour with him and sets it up in his bedroom. Lots of fun has been had with that.
With its reference to giving up the booze and nightlife, was ‘Jelloman’ written about anyone in particular?
Not really. It’s slightly political. Most people who voted for the present government don’t seem to remember the last Labour one. That was a disaster, and so is this. We’re being dictated to by people who live in another world. To open a club now you’ve got to get a licence from that guy Feargal Sharkey [ex-Undertones]. He’s got no power to do anything, it’s a complete waste of time.
Getting back to those reader emails, several of them claimed that UFO were now only in it for the money.
If that’s true it’s a very strange way to earn money. I’d like one of them to go out there and be in UFO for a while. We’d soon see if they survived.
Can you give us an indication of how Sharks and Covenant actually sold?
I really don’t know. And I wish I did. I think they only send you a royalty statement when you’re making money.
But let me get back to that previous question. Unfortunately, the way that touring’s usually set up, it’s the initial batch of dates that should cover its costs. If you fail to complete the tour, everything’s lost. Look at the UFO tours that went wrong – it always seemed to happen at turnaround point, just as we were about to make some money.
There’s a tendency to gloss over those two records, almost like they don’t exist. Especially when compared to the rest of the band’s catalogue.
Some of the songs were real good, and we’ll still be doing one from each on our next tour. Funnily enough, one’s about a train. There were some good things, but the way we put those records together was wrong. Working with Mike [Varney, producer] was great, but the time we had was limited and often we’d walk in there with next to no material. They were very pressurised albums, and that made them suffer slightly. The songs sounded better live, in fact.
Not that many British fans actually got to see the band and find out.
[Smiling and sarcastic] Oooo-eeee-oooo. Well, that’s one to Classic Rock, then.
Speaking of which, by the time this issue goes to press UFO will have begun a European tour in France on March 2. Will you make any predictions about the band’s partying levels?
Actually, this will be the Earl Grey tour. With optional digestive biscuits. We’ll all be in bed by 11.30pm. The partying and days of excess are gone. I’ve done more than my fair share for that cause, I’m just not in training any more. The band couldn’t function if we still did all that stuff.
So there will be a conscious effort to ensure people don’t leave disappointed this time?
Absolutely. And that includes me. I deserve it, too. The band will be hot, tight and rockin’.
We’ve heard all of this before, of course.
Really? When?
Before the 1991 UK tour for High Stakes And Dangerous Men, Pete Way said: “If I’ve had more than a couple of beers I go to myself, ‘You shouldn’t have had those’.”
Pete is a bloody liar. But I do take your point. I guess the proof of the pudding will be in the eating. Usually if there’s gonna be tomfoolery it starts in rehearsals. It’s just been coffee so far; I’m even the band’s last smoker left.
[Mogg’s eyes cloud over for a minute] Yeah, you’re right, though. I could be saying this now and eventually it could all turn out nasty. But I really don’t think so. I don’t want to pop my clogs just yet.
So far, UK dates on this new tour are conspicuous by their absence.
They would be, wouldn’t they? We’ll be avoiding Manchester – unless we do a freebie.
In the Apollo aftermath there were rumours of a free show for ticket holders. Is that an option?
I don’t know just yet. This is the very start of the touring thing; we’ll be going through till the end of the year. We’ll be doing America, for the first time in four years, there are festivals in Europe in June, at which time we’re hoping to line up a few things in Britain. But I’m afraid that can’t tell you anything official at the moment.
When Classic Rock last spoke to Pete Way he said he that although Schenker hadn’t played on the new album he wouldn’t rule out the possibility of him returning to the band because he’s “family”. Do you feel the same?
[Aghast] Definitely not. How many Special Brews had he drunk when he said that?
Pete was very insistent that he meant it.
I wouldn’t mind doing something with Michael again as long as it wasn’t UFO. How many times do you have to try? It’s like a failed romance. It would be foolish to keep going back. The guy’s a great guitarist, and given the right circumstances he can still knock it out.
Tell the truth: do you feel any sense of rivalry with Michael Schenker?
Not any more. But just after Strangers In The Night I did. I was very disappointed that he left, and particularly the manner in which he did it. We deserved an explanation. Whether or not we’d have understood it is another matter, but we certainly deserved one.
In November, when we retold the story of the Obsession album, you said that Michael walked out of the studio during the mixing of Strangers… and nobody saw him again.
That’s right. He said: “Poor, poor Rock Bottom,” and left the room. My attitude was not to run after him or pamper him. I was bitter for a while, but then it became too much trouble.
Do you ever wish you’d co-founded a more serious – actually, let’s go the whole hog and say boring – band than UFO?
Not really. We’ve definitely had some great moments and some dire ones. I do wish we’d kept it together a bit more. The trouble was we only ever saw into the next week ahead. The band members should sometimes have had a bit more respect for each other.
Finally, a strange question. Classic Rock’s Mick Wall has heard a bizarre rumour that your real name isn’t Phil Mogg, but is actually Phil Frog. Would you care to comment?
[Laughing hysterically] No, it’s not fucking Phil Frog. Fucking Mick Wall! Actually, that sounds more like [photographer] Ross Halfin’s sense of humour. Are you sure that didn’t come from him?
This feature originally appeared in Classic Rock 65, published in April 2004.
Dave Ling was a co-founder of Classic Rock magazine. His words have appeared in a variety of music publications, including RAW, Kerrang!, Metal Hammer, Prog, Rock Candy, Fireworks and Sounds. Dave’s life was shaped in 1974 through the purchase of a copy of Sweet’s album ‘Sweet Fanny Adams’, along with early gig experiences from Status Quo, Rush, Iron Maiden, AC/DC, Yes and Queen. As a lifelong season ticket holder of Crystal Palace FC, he is completely incapable of uttering the word ‘Br***ton’.
A new video for David Bowie‘s iconic 1972 hit Starman has been released to mark the arrival of a new edition of Bowie’s album of the same year, The Rise And Fall Of Ziggy Stardust And The Spiders From Mars.
The video was compiled using previously unseen film shot by Bowie’s longtime collaborator Mick Rock, and was shot in the UK on the Ziggy Stardust tour in 1972 and 1973. More footage from the tour was premiered on Rock’s Facebook page in June, backed by the audio track from Ziggy Stardust.
“Mick was extremely proud of his collaborations with David Bowie and was hopeful that more of his never-before-seen film work would see the light of day,” wrote the page’s admins. “When we uncovered this previously unreleased footage shot during the Ziggy Stardust Tour, we knew that we could bring his dream to life.”
The new footage comes ahead of a Blu-ray version of the album, which features four different mixes: a new Dolby Atmos mix and a new stereo mix (96khz / 24-bit pcm), plus two 2012 24-bit pcm remasters of the original 1972 mix, one mastered at 192khz and one at 48khz.
The Atmos version of the album was mixed by Emre Ramazanoglu and Ken Scott at RAK studios in London. Scott worked with Bowie on the original Ziggy Stardust album, as well as on The Man Who Sold the World, Hunky Dory, Aladdin Sane and Pin-Ups.
“You’re in there with the act, with David,” says Scott of the Atmos mix. “He was so theatrical I think being able to put him into an immersive place makes this a really good choice for an Atmos mix. My whole philosophy with this has been to make it more like a live experience. And I’ve even got him moving about the stage a little towards the end, the way he would have in real life. Hopefully it just feels as if you’re in the theatre with this amazing show going on.”
The Blu-ray edition of The Rise And Fall Of Ziggy Stardust And The Spiders From Mars will be released on September 6 and is available to pre-order now.
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A new legal filing from Jonathan Cain accuses Journey bandmate Neal Schon of reneging on a mediated agreement to end their bitter public feud over band finances.
Schon made a public statement last week stating that he’d agreed to Cain’s request to appoint a tiebreaking third party to help manage Freedom 2020, the business subsidiary Cain and Schon formed to manage their touring operation. Cain’s latest petition to a Delaware judge says Schon is “now seeking to inappropriately limit the role of the custodian.”
Cain’s lawyer Kasey H. DeSantis calls this “inconsistent with respondent’s counsel’s prior communications with the court and Discovery Facilitator Joseph Slights explicitly agreeing to the appointment of a third deadlock-breaking director.”
Judge J. Travis Laster fast-tracked the proceedings at a hearing held on Aug. 7 and appointed Slights, an ex-Delaware judge, to serve as a mediator in the case. Schon then accused Cain of being “slanderous” and creating a “very toxic work environment” in social media posts.
Nevertheless, they reportedly came to a tentative agreement to resolve the matter on Aug. 22. Now Cain is asking Laster to approve the earlier version of the agreement.
Journey’s fall 2024 shows in the U.K. and Ireland were abruptly canceled after Cain filed suit. It’s unclear what role, if any, was played by background financial issues or this new legal wrangling. Journey’s current dates with Def Leppard conclude in early September. They previously toured together in 2018.
“It’s hard to believe that in 2024, Rachel Sweet is sixty-two years old. Sorry, Rachel, I did not mean to open this article like that, but for most of us rock fans who are the same age as you or even older, we remember you as the young musical artist of the 1970s. We still see your pictures on the covers of the albums we collected. Those album covers will forever keep you young in the memories of music fans who followed your career back in the 1970s and into the 80s.” That’s the beauty of rock and roll.
For those who may not be familiar with Rachel Sweet, she was a singer, born in Akron, Ohio, in 1962 and began her music career at an exceptionally young age. By the time she was 12, Sweet was performing country music and had already secured a record deal with a small label, releasing a series of singles that showcased her powerful voice and maturity beyond her years. However, it wasn’t until the late 1970s, when she shifted gears toward rock and new wave, that she truly found her place in the music world. Signed to Stiff Records in 1978, Sweet released her debut album, Fool Around, at the age of 16. With a blend of rock, punk, and pop, the album introduced her to a broader audience, featuring standout tracks like “B-A-B-Y,” a cover of Carla Thomas’ 1966 hit, which became a minor success and established Sweet as a fresh face in the new wave scene.
Throughout the late 1970s and early 1980s, Sweet continued to build on her early success with her follow-up albums Protect the Innocent (1980) and …And Then He Kissed Me (1981). Both albums featured a mix of original material and covers, demonstrating Sweet’s versatility as an artist capable of crossing genres. Her voice was a powerful, dynamic instrument that suited both rock anthems and more introspective ballads. During this period, she garnered critical acclaim and cultivated a dedicated fan base, particularly in the UK, where she was embraced as part of the burgeoning punk and new wave movement. Despite her youth, Sweet’s performances and recordings were marked by a distinctive confidence and charisma that made her a standout in an era brimming with new musical talent.
However, as the 1980s progressed, Rachel Sweet gradually shifted her focus away from music and toward other creative outlets. By the mid-1980s, she had transitioned into television and film, taking on various acting and producing roles, including work as a producer for the hit TV show Dharma & Greg.
# 10 – The Boys On 7th Avenue – Rachel Sweet Live Featuring The Toys
“We open our Rachel Sweet songs list with a killer live cut. It’s not the best audio quality, but the song’s passionate performance and mesmerizing vocals by Rachel Sweet more than make up for the lack of fidelity. ‘The Boys on 7th Avenue,’ featured on Rachel Sweet Live Featuring The Toys, has a bit of a ’70s Springsteen vibe. The inclusion of The Toys, best known for their 1965 hit ‘A Lover’s Concerto,’ adds an extra layer of harmony and nostalgia, making this live version of ‘The Boys on 7th Avenue’ a standout in her discography. The recording comes from a radio broadcast on New York’s legendary rock station WNEW.”
# 9 – Spellbound – Protect The Innocent
# 8 – It’s So Different Here – Fool Around
“It’s So Different Here,” a haunting and evocative track from Rachel Sweet’s 1978 debut album Fool Around, is a masterclass in storytelling through song. Recorded at Eden Studios in London and produced by David Kershenbaum, the song stands out as one of the most introspective and atmospheric pieces in Sweet’s early career. With its vivid imagery and melancholic tone, “It’s So Different Here” captures the sense of isolation and dislocation that can come from being far from home, both physically and emotionally. The track is a departure from the more upbeat, punk-inflected songs on the album, showcasing Sweet’s range as an artist and her ability to convey complex emotions with subtlety and depth.
Lyrically, “It’s So Different Here” tells the story of someone who has been displaced to a foreign land, far removed from the familiar comforts of home. The opening lines, “You wanted me to write you a letter / Here it is, it’s left downriver on the boat,” immediately set the stage for a narrative of distance and longing. The chorus, “Women walk in the shade with water jars / It’s so different here / So hot, no phones or cars,” paints a vivid picture of a place that feels both exotic and isolating. Sweet’s vocal delivery is restrained yet expressive, conveying the weariness and resignation of someone who feels out of place in their new surroundings. The repetition of the phrase “It’s so different here” underscores the theme of alienation, making the listener feel the protagonist’s sense of being a stranger in a strange land.
Musically, the song is marked by its sparse, atmospheric arrangement, which allows Sweet’s voice and the lyrics to take center stage. The instrumentation is minimal, featuring a gentle guitar line and subtle percussion that create a sense of stillness and heat, mirroring the lyrical content. The production is understated, with a focus on capturing the emotional nuances of Sweet’s performance rather than overwhelming the listener with elaborate instrumentation. The result is a song that feels intimate and personal, drawing the listener into the world of the protagonist and making them feel the weight of the distance and the heat that permeates every aspect of her experience.
# 7 – Tonight – Protect The Innocent
“Tonight,” a standout track from Rachel Sweet’s 1980 album Protect the Innocent, captures the raw emotions of young love and the struggles of unrequited feelings with a poignancy that has made it one of her most memorable songs. Recorded at Eden Studios in London and produced by Martin Rushent, the album was a pivotal release in Sweet’s career.
Lyrically, “Tonight” delves into the turmoil of a young woman who is deeply infatuated with someone who may not feel the same way. The song opens with the lines, “Ever since the first time I saw you / Standing at the end of the ballroom / I knew I wouldn’t look no more, yeah,” which immediately sets the stage for a narrative of longing and hope. The chorus, “Tonight, tonight, tonight / I’ll let him know,” reflects the protagonist’s determination to confess her feelings, despite the fear of rejection. The repeated refrain, “I’ll tell him so tonight,” underscores the tension between hope and doubt that runs throughout the song.
Musically, “Tonight” is driven by a strong, upbeat rhythm, blending elements of rock and new wave with a pop sensibility that makes the track both accessible and emotionally resonant. The production, characterized by its crisp guitars and punchy drums, provides the perfect backdrop for Sweet’s vocals, which are layered with both confidence and fragility. The instrumentation is tight and well-crafted, with a sound that is polished yet retains a certain rawness that complements the song’s emotional depth. The band, featuring Paul Carrack on keyboards and backing vocals, Bruce Thomas on bass, and Pete Thomas on drums, delivers a performance that is both energetic and precise, enhancing the song’s impact without overshadowing Sweet’s voice.
# 6 – Everlasting Love – …And Then He Kissed Me
Rachel Sweet’s duet with Rex Smith on the track “Everlasting Love” is a vibrant, feel-good anthem that perfectly captures the essence of timeless romance. Released in 1981, the song was a standout on Sweet’s album …And Then He Kissed Me and also featured on Rex Smith’s album Everlasting Love. This version of “Everlasting Love” brought together two young talents of the early ’80s, delivering a fresh take on the classic song originally performed by Robert Knight in 1967. Produced by Charles Calello, who had previously worked on the original, this duet version blends the nostalgic charm of the original with the youthful energy of Sweet and Smith, resulting in a track that resonated with a new generation of listeners.
The lyrics of “Everlasting Love” are a celebration of enduring affection, with lines like “Open up your eyes, then you’ll realize / Here I stand with my everlasting love” capturing the heartfelt commitment between two people. Sweet and Smith’s voices intertwine beautifully, each bringing their own distinct style to the track—Smith’s smooth, earnest delivery complements Sweet’s powerful, emotive vocals. The chorus, which emphasizes the unbreakable bond between the lovers, “You’ll never be denied everlasting love,” serves as the emotional centerpiece of the song, delivering a message of hope and resilience that has made the track a perennial favorite.
“Everlasting Love” has been covered by numerous artists across different genres since its original release by Robert Knight in 1967, showcasing its enduring appeal. The British band Love Affair released a version in 1968, which became a massive hit in the UK, reaching number one on the UK Singles Chart. In 1974, Carl Carlton’s rendition became one of the most famous versions in the United States, reaching number six on the Billboard Hot 100 and establishing itself as Carlton’s signature song. Andy Gibb also covered the song in 1978 for his album Shadow Dancing, bringing the classic tune into the disco era.
The 1980s saw several notable versions, including a duet by Rex Smith and Rachel Sweet in 1981, which introduced the song to a new generation of pop listeners and became a modest hit in the U.S. In 1987, German pop singer Sandra’s cover became a hit in Europe, reaching the top 10 in several countries. U2 added their rock twist to “Everlasting Love” in 1989, releasing it as a B-side to their single “All I Want Is You.”
In the 1990s, Gloria Estefan’s version brought the song back into the spotlight. Released as part of her album Hold Me, Thrill Me, Kiss Me in 1995, her rendition reached number 27 on the Billboard Hot 100 and became a favorite in dance clubs. British musician Howard Jones recorded a synth-pop oriented version for his 1992 album In the Running, and Jamie Cullum added a jazz-pop flair to the song with his 2004 cover for the soundtrack of Bridget Jones: The Edge of Reason.
“Everlasting Love” became a modest hit, reaching number 32 on the Billboard Hot 100, and it remains one of the most recognizable songs in both Rachel Sweet’s and Rex Smith’s careers.
# 5 – Stranger in the House – Fool Around
# 4 – “Voo Doo” – Blame It On My Youth
“Voo Doo” is a standout track from her 1982 album Blame It On My Youth, blending catchy pop melodies with a dark, mysterious undertone. It was produced by Rick Chertoff and recorded at The Power Station in New York. Lyrically, “Voo Doo” delves into the complexities of a relationship where desire borders on obsession. The song opens with the lines, “Close your eyes, baby / Make a wish / Do you wanna try, wanna try?”—immediately setting a tone of seductive mystery. The chorus, “So don’t ask me to dance / ‘Cause I’m caught in your magic spell,” reflects the theme of being under a romantic spell, where love feels both thrilling and dangerously consuming. Sweet’s vocal delivery, confident yet tinged with vulnerability, brings the lyrics to life, conveying the tension between the allure of the relationship and the fear of losing oneself to it.
# 3 – “…And Then He Kissed Me -” …And Then He Kissed Me
Rachel Sweet’s medley of “…And Then He Kissed Me” and “Be My Baby,” featured on her 1981 album …And Then He Kissed Me, is a dazzling homage to the golden age of girl group pop, while also showcasing Sweet’s own unique blend of rock and new wave sensibilities. The medley combines two of the most iconic tracks from the 1960s, originally performed by The Crystals and The Ronettes, both produced by the legendary Phil Spector. Sweet’s interpretation breathes new life into these classics, offering a fresh yet faithful rendition that captures the romantic nostalgia of the originals while infusing them with the youthful energy that characterized her early career.
Recorded at Sound City Studios in Los Angeles and produced by Martin Rushent, the medley opens with the delicate, dreamy atmosphere of “…And Then He Kissed Me.” Sweet’s vocals are tender and evocative, perfectly capturing the innocence and excitement of young love as she sings, “Well, he walked up to me and he asked me if I wanted to dance / He looked kinda nice and so I said I might take a chance.” The transition into “Be My Baby” is seamless, with the iconic drumbeat signaling the shift into one of pop music’s most memorable choruses. Sweet’s voice swells with emotion as she delivers the line, “Be my, be my baby / My one and only baby,” maintaining the heart and soul of the original while adding her own flair.
# 2 – I Go To Pieces
Originally written by Del Shannon and first made famous by British duo Peter and Gordon in 1964, “I Go to Pieces” is a heart-wrenching ballad about unrequited love and the anguish of seeing someone you still care for. Sweet’s version, featured on her 1981 album …And Then He Kissed Me, breathes new life into the song with her unique blend of vulnerability and strength. Recorded at Sound City Studios in Los Angeles and produced by Martin Rushent and Liam Sternberg, the track showcases Sweet’s ability to connect deeply with the material, transforming a 1960s classic into a song that resonates with the sensibilities of the early 1980s.
The lyrics of “I Go to Pieces” tell the story of someone who is emotionally shattered by the sight of a former lover. Lines like “When I see him walkin’ down the street / I get so shaky and I feel so weak” perfectly capture the physical and emotional toll of heartbreak. Sweet’s delivery of the chorus, “And I, go to pieces and I wanna hide / Go to pieces and I almost die,” is both powerful and tender, conveying a deep sense of loss that feels all too real. Her voice, with its clear, resonant tone, brings a new dimension to the song, making the listener feel every bit of the pain and longing embedded in the lyrics.
# 1 – “B-A-B-Y” – Fool Around
Rachel Sweet’s version of “B-A-B-Y” gets the top spot on our Rachel Sweet Songs list.It was released on her debut album Fool Around, released in 1978 on Stiff Records. At just sixteen years old, Sweet delivered a powerful and nuanced rendition of this 1966 soul classic originally recorded by Carla Thomas. Recorded at Eden Studios in London, the song was produced by the legendary Liam Sternberg, known for his ability to fuse punk rock energy with pop sensibilities. Sweet’s performance on the track demonstrated a maturity beyond her years, blending a mix of soulful vulnerability with a rock-tinged edge, a hallmark of her early work. Fool Around was the album that introduced Sweet to the music world, with “B-A-B-Y” serving as a definitive highlight, showcasing both her vocal prowess and her ability to interpret songs with emotional depth and precision.
In Sweet’s hands, “B-A-B-Y” takes on a new life, transitioning from Thomas’ original soul version into something more in line with the new wave and punk influences that surrounded Sweet during her time at Stiff Records. The song opens with a rhythmic groove, featuring a tight rhythm section that includes guitar work from Pete Gosling and bass lines from Roddy Radiation, along with Steve Goulding on drums. When she sings the memorable hook, “B-A-B-Y, baby,” her voice cuts through the arrangement with a confident delivery that elevates the track from a simple love song into a statement of empowerment. The production balances the retro qualities of the song’s origins with a fresh, punk-inflected energy that made Sweet’s version stand out among the late 1970s new wave scene.
Though “B-A-B-Y” wasn’t a chart-topping hit in the US, it did become a top 40 hit in the United Kingdom.
Japanese power metal act Lovebites recently announced Memorial For The Warrior Souls, a live Blu-ray/2DVD/2CD set which features the live show from Hitomi Memorial Hall. The set will be released on August 28 via Victor. Check out the live video for the smooth power ballad “Edge Of The World” – taken from their 2017 debut full-length Awakening The World.
A limited edition of the live set will include a rerecorded edition of the band’s debut EP plus new songs – titled Lovebites EP II.
All of the songs from the latest full-length album Judgement Day, which was ranked at position #5 on Oricon weekly chart, was made after bassist Fami joined the band, therefore Lovebites EP II is the true first work by the current lineup. As its title suggests, this second installment of the band’s 2017 debut, The Lovebites EP, is a truly “Lovebites 2.0” album from the band that has continued to update their selves since its debut. While The Lovebites EP featured a photo of a denim battle jacket, the cover art for Lovebites EP II features a photo of a white leather jacket in the band’s signature color, adorned with gold studs and band logo patch, creating a striking impact.
In creating the five completely new songs that will be included, the band listened to their 2017 debut, The Lovebites EP, over and over again. It was a magical work of four simple, yet very different types of songs, each with its own distinct personality, yet somehow consistent when viewed as the EP as a whole. With a renewed sense of that initial impulse, the now grown-up Lovebites have succeeded in swallowing the atmosphere of the songs from their debut and creating this work that is unbalanced in a good way, yet miraculously balanced.
The limited edition A comes with the Re-Lovebites EP, a 4-song CD re-recorded from The Lovebites EP with the current lineup. (*The English version of “Bravehearted” is used.) The B and C come with a Blu-ray and DVD, respectively, consisting of a music video of the lead track and a making-of video showing the filming of the music video.
On the other hand, the latest live Blu-ray/2DVD/2CD Memorial For The Warrior Souls are a complete recording of the live performance at Showa Women’s University Hitomi Memorial Hall in Tokyo on September 24 during the Judgement Day Tour held in 2023. The video was edited completely differently from the livestreamed performance on that day, allowing the viewer to see the detailed movements and facial expressions of each member.
The live audio has also been mixed by Mikko Karmila and mastered by Mika Jussila at legendary Finnvox Studio. And it includes five songs from their fourth album Judgment Day that have never been performed live before. The BR & DVD include a bonus one-hour documentary that follows the band on their seven-city tour of Fukuoka, Sendai, Sapporo, Osaka, Nagoya, Tokyo, and Yokohama. Fans outside of Tokyo will also be able to relive their memories of the shows.
“Call For Justice” “We Are The Resurrection” “Judgement Day” “When Destinies Align” “My Orion” “Signs Of Deliverance” “Rising” “Dissonance” “Above The Black Sea” Piano Solo “Lost In The Garden” Drum Solo “Stand And Deliver (Shoot ‘Em Down)” “Don’t Bite The Dust” “M.D.O.” “Edge Of The World” “Soldier Stands Solitarily” “The Hammer Of Wrath” “We The Unite” “Under The Red Sky” “Call For Justice (Reprise)”
“Unchained” from the EP:
Lovebites will perform a handful of dates in the U.S. this September.
Dates:
September 6 – Atlanta, GA – ProgPower USA 8 – Dallas, TX – The Echo Lounge & Music Hall (Venue upgrade) 10 – Los Angeles, CA – Echoplex (Venue upgrade) 12 – San Francisco, CA – Café Du Nord
After 22 years since the last album Out Of The Darkness (2002) and 4 years since the compilation Fur And Claws, Redlynx, fronted by Torino singer Chris Heaven (who has previously collaborated with Tracy G, Mats Olausson, Bernie Marsden, etc.), have released a new EP titled Black Rain on all digital platforms.
The EP contains five vocal tracks and one instrumental. The band is currently rehearsing to begin a series of live performances.
The Black Dahlia Murder recently performed at the 2024 edition of Germany’s Wacken Open Air festival. Professionally-filmed footage of the band performing “What A Horrible Night To Have A Curse”, “Nightbringers”, and “Deathmask Divine” can be viewed below:
“Mammoth’s Hand” is the latest single from The Black Dahlia Murder. The track comes by way of the band’s upcoming tenth studio album, Servitude, set for release on September 27 via Metal Blade Records.
“Mammoth’s Hand” is partly inspired by a scene from Don Coscarelli’s 1982 swords ‘n’ sorcery epic, The Beastmaster. “We usually like to give some idea of what kind of diversity is gonna be on the album with the first two tracks we release,” vocalist Brian Eschbach offers. “[guitarist] Ryan Knight wrote the music for this, and the slow rhythm made me think of these barbaric warriors riding mammoths out in the snow or that scene from The Beastmaster when the Jun horde takes the village.”
Eschbach further elaborates, “‘Mammoth’s Hand’ is a romp through a fictitious frozen tundra in which a clan of nomadic mammoth riding cannibals conquer villages in a time devoid of technology. The slow groove of this song is a vibe not often implemented by the group but immediately inspired a vision in my mind of a slow moving yet gigantic and powerful beast of antagonistic nature.”
Watch The Black Dahlia Murder’s video for “Mammoth’s Hand,” created by Marco Pavone:
The guitars, bass and vocals for Servitude were recorded at guitarist Brandon Ellis’ home studio in New Jersey. The drums were recorded by Mark Lewis in Nashville, Tennessee where the album was also mixed. Servitude was mastered by Ted Jensen.
Servitude will be released on digipak CD, cassette, and digital formats as well as vinyl in the following color variants and special editions:
– Electromagnetic (US) – Rising Smoke (US) – Transcosmic Blue (US) – Endless Tide (US) – Utopian Black (US) – Cursed Creation (US – Exclusive Band Tour Variant) – Limited Edition Box Set *(with Ephemeral vinyl variant and a bonus LP that Includes 3 Live Tracks (US – Ltd. 400 / EU – Ltd. 600) – 180g Black (EU) – Bloody Pulp (EU – Ltd. 1000) – Nature’s Grain (Impericon Exclusive – Ltd. 300) – Blood Spray (EMP Exclusive – Ltd. 200) – Stone Cold (EU – Ltd. 200) – Lost Nobility (UK – Ltd. 300)
