MANIC MOSH METAL #12 May - September 2020
last updated 28 September
last updated 28 September
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Photos above left and right by Julianne Caudron / Valley Of Edyn photography.
For more work of Julianne, check out the Valley Of Edyn page here:
https://www.facebook.com/valleyofedyn/
For more work of Julianne, check out the Valley Of Edyn page here:
https://www.facebook.com/valleyofedyn/
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A band that moved under the radars of major recognition back in the 80's is NWOBHM unit RANDOM BLACK. The band circulated a few demo-tapes and also landed a song, “Ophelia, on the '83 “Metal Warriors” compilation LP by Ebony records. Even though this song is up there with the better picks of the album, the impact of the song was toned down by the in-house production, whilst the preferred song from this Ebony recording, “Under The Cross”, was not selected by the label. Random Black did put in the effort to get their music to a wider audience and played an impressive amount of gigs, including regular appearances at the famous Ruskin Arms in East London. In more recent years, there has been a keen interest in the RANDOM BLACK material, acknowledging the quality and potential of their music. Guitarist Mark Kirkman takes us back to the early days of Random Black and also details about follow up acts REDLINE, U.S, OUTCRY and his most recent formation BEGGAR.
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Above left: Random Black guitarist Ron Scates, above right: Random Black drummer John Blandford
Photo below: Random Black / Redline guitarist Mark Kirkman
Photo below: Random Black / Redline guitarist Mark Kirkman
Manic Mosh Metal: Mark, what was the first band you were in and when was this?
Mark Kirkman: My first band was the school orchestra on acoustic, but I was having electric guitar lessons from a guy at my football club. He played in a band called Country Brew, and they did Country & Western covers and material by The Beatles, Bread, Tony Cristie etc. I had a call from him one afternoon saying his guitarist couldn’t make it to a gig they had booked that night and would I fill in? I was 14 and it was my first foray into paid pub work! I was crapping myself, if I’m honest. We did it and they asked me to join permanently so I stayed with them. This was 1974. I did a few other bands after, like Landslide.
MMM: How and when did Random Black get together, apparently the origins of the band date back to as early as 1979?
MK: Random Black came together in 1979, initially founded by guitarist Ron Scates. Ron told me ‘it was me on guitar, Paul Derry (drums) and a guy called Mick Brown (bass) who were the original members. Dave (Denham) meanwhile played with Lee Harris and Paul Webb in a band called Witch and then they changed their name to Sign Of The Times before splitting up, at which point Dave came to sing for Random Black. Lee and Paul then went on to form Talk Talk, who became a successful pop band signed to EMI. Their famous single was “Life’s what you make it” charting in the U.K and many other countries Top 20 in 1985.
MMM: The first recordings came in the shape of a 3 song demo tape in 1980 featuring the songs “Love Gone Stale”, “Taking The Easy Way Out” and “Love's No Friend Of Mine”. Was this an official tape or a rehearsal, and was it offered for sale?
MK: This was an 'official' recording from 1980. With a new rhythm section in bassist Andrew ‘Scrim’ Scrimshaw and drummer John Blandford, the 'new-look' Random Black quartet gigged locally around Essex and in July 1980 recorded their first demo at Spectrum Studios in Southend. I wasn’t in the band at this point, although I’d seen them gigging locally. They sold the tape at gigs etc, and it got all over the world, even before the internet and MP3 files. It was also played on local radio.
MMM: In the summer of 1981, another demo was recorded featuring the songs “Witch Daughter”, “Fool's Paradise” and “Lost Child”. This demo, recorded at the Mayhew & Macrimmon Studios in Essex, was engineered and mixed by Matthew Fisher of Procal Harum; how did that come about?
MK: We got Matthew Fisher through management contacts, and he was the house producer on some of MM’s recordings. He was excellent. We really wanted him, as he knew the industry from his days in Procol Harum. At this session, ‘Fool’s Paradise’, ‘Witch Daughter’ and ‘Lost Child’ were put to tape for the ‘Vanishing Point’ demo. We were on fire during those sessions. John’s thunderous drums in 'Witch Daughter', Ron’s guitar in 'Lost Child', Don’s passionate vocal delivery… ”Grinding axes entwined in night, The Devil’s Daughter in an eerie light!” is just classic Random Black!” I can remember sitting in the control room with my eyes shut listening to the playback, and Matthew saying “This is really good, guys!” Wow!! To have someone really famous (Matthew Fisher co-wrote and played Hammond Organ on Procol Harem’s 10 million selling No 1 single 'Whiter Shade Of Pale', for Chrissakes!!!) tell you it was good meant a lot to us.
MMM: The song “Witch Daughter” showed great potential and was quite heavy for its time; it even shows strong similarities with Anvil's “Metal On Metal” material (“Mothra”) both concept and vocal wise, even though Random Black was earlier!
MK: That’s an interesting point. 'Metal On Metal' is a great anthem for Anvil, but as you correctly point out it was released a year later. Perhaps they saw us play somewhere or heard our tape (it was played on local radio, and I probably sent 100 copies to various record companies, John Peel, radio stations etc. Maybe they pinched it!! I would say it’s closer to 'Lovedrive' by German stalwarts The Scorpions.
MMM: “Witch Daughter” not only shows a strong contrast to the more 70's oriented “Lost Child” from the same demo, but also sounds like it is properly recorded, whilst “Lost Child” almost sounds like a live studio-take.
MK: From memory, we did 'Witch Daughter' first in a few takes (bass, drums and guitar to start with) and added second guitar, vocals and overdubs. 'Lost Child' was a song that Ron had unfinished and we tidied it up on the day in the studio. As you say, pretty much live. Ron’s guitar work on it is sublime.
MMM: Shortly after, in 1982, the band had a line-up change with guitarist Ron Scates being replaced by Ray Frost; is this the line-up that recorded the 3rd demo?
MK: I think Ron had an awful lot going on at the time, and something had to give, and that was the band. It was frustrating for us as we were gaining momentum. Basildon Rocker Steve Adams auditioned and arrived with his Flying V, before Ray joined us. Steve had previously played and recorded with Bruce Dickinson’s pre-Samson band Speed, and was full of ideas; twin harmony guitars, outrageous stage antics and a technique beyond his years. Steve was a great replacement and we’d taken a more Iron Maiden / Wishbone Ash / Judas Priest direction. Sadly though, he decided to quit in favour of playing bass with Calendar so local guitarist Ray Frost came in and recorded with the band. Ray’s mellow playing and beautiful tone contributed to the band’s sound and complemented my more aggressive, quick style.
MMM: This 3rd demo, from 1983, featured 5 songs; “London Life”, “End Of The Line”, “Ophelia”, “Catch 22” and “Rest In Peace” and showed a different, more melodic laden approach; did this have anything to do with the input of the new guitarist, Ray Frost?
MK: The demo you’re referring to is actually later than that; 1985/6. Ray didn’t actually play on that one. I did all the guitar work. Would have been good to have him involved, though. I also did a remix of that demo in 1986! Tony Tomkinson was a great singer who had fronted Bitches Sin for a while. He recorded vocals over 'Ophelia', 'Catch 22', 'Rest In Peace' and 'London Life'.
MMM: From this demo-tape, 2 songs were submitted to Ebony records for the '83 “Metal Warriors” compilation LP. The song “Ophelia” was eventually selected to be featured, what was the other song that was submitted.
MK: No, that’s not right. We got the Ebony deal before the 'third' demo. We had had no interest from the major labels at that point. We were aware of Ebony, who was releasing NWOBHM bands’ material. The other song was “Under The Cross”.
MMM: Were these songs lifted from the demo or re-recorded? Also, how did this 'deal' come about? Was the band approached or was material sent over for consideration?
MK: How Ebony came to hear of the band is now lost in the mists of time. I think they approached us on the strength of our 'Vanishing Point' demo. I’d sent the demo to every record company and radio station I could find. We arrived in Hull’s Ebony Studios for two days of recording in March 1983. The material recorded featured Don Dibbens on vocals, George Palmer on bass, John Blandford on drums, Mark Kirkman and Ray Frost on guitar. We recorded two songs, ‘Ophelia’ and ‘Under The Cross’ but due to a technical issue ‘Under The Cross’ (which was by far a better track, in my opinion) wasn’t used. It’s probably on a NWOBHM compilation album that Ebony released in Holland or something, ensuring that we didn’t get any royalties; I might be wrong, but it seemed that was de rigueur at the time by the record companies that were releasing our sort of music.
MMM: The song “Ophelia”, as does the other material on the 3rd demo shows certain similarities to Trespass, is there any link or is this pure coincidence?
MK: Pure coincidence. I’d heard of Trespass, another excellent band. I’d understand why you would think that, but I think I was probably leaning more towards Iron Maiden. John Blandford and I collaborated a lot with the song structure.
MMM: Ebony did not follow it up signing Random Black for an album release; was this ever considered and has there been any interest from other labels at the time?
MK: To set the scene…. Ebony was an old converted house in the suburbs of Hull. Darryl and Linzi Johnson made us welcome enough, but as proceedings went on we began to think that this might not have been our wisest decision. Darryl seemed unsure of some of the workings of the console, and after the brilliant job Matthew Fisher had done on our ‘Vanishing Point’ demo the resulting songs were recorded flat and lifeless. If you listen to the LP, the drum sound (bearing in mind we had an amazing drummer in John Blandford) was absolutely awful, due to Darryl’s insistence that John used the house kit: we did have a big row over that, and that probably contributed to the decision for us to part company. His drums, so integral to our sound, had been reduced to cardboard boxes. Coupled with the issue that we had with the recording of ‘Under The Cross’, we decided we wouldn’t be working with Ebony again. We did hear that Polydor were interested, but apparently didn’t want to pay anything initially to sign us.
MMM: Did the band ever consider releasing a DIY single as that was pretty common at that time?
MK: There were several NWOBHM compilations around, like the famous ‘Metal For Muthas’ LP which had Iron Maiden, Samson, Angel Witch, Praying Mantis etc, and that did really well to help the NWOBHM movement. We were mates with other bands like Bastille, Pali Gap, Prowler and Crucifixion who were also making their vinyl debuts either on singles or on compilations, and we were gigging a lot around the same circuit as most of the other bands like Deep Machine, Chariot, Uncle Sam, Power Pack, Maiden, Electrix, Straight Edge, etc. In retrospect maybe we should have gone down the single route and signed to Neat or Heavy Metal Records, or even done what Def Leppard did and self-fund a single on our own label. Maybe we should have done both?
MMM: The band regularly played the Ruskin Arms in East London, any particular shows there that you remember?
MK: I played 'The Bin' (as it was affectionately called) on many occasions. We used to see a few famous and infamous faces in the crowd, that’s for sure. And not just musicians. It was a proper East End boozer; a man’s pub and it was a great venue. Joe Lucy and his son Tommy were lovely people. One time our singer fell off the stage, one time in the backstage area a girl nicked my leather trousers after we’d become 'comfortable' and I remember Joe sorting one or two idiots out. The crowd were always great to us, and really knowledgeable about their NWOBHM. I still get notes sent to me from old days Ruskin goers who remember us with affection, which is very humbling.
MMM: Eventually, the band folded, when exactly was this and what was the reason?
MK: In the final six months of Random Black’s existence I was a bit pissed off with the band and lack of progression. We’d lost Ray and got Keith King in, but he left too. I just felt that the band had ran out of sand. This was 1985.
MMM: After Random Black, you were active in a band called Redline; when did this band come into existence, who else was in the line up, and what was the style of the band?
MK: Crucifixion was a great local band, and I was good mates with {bassist} Chris Mann and (drummer) Pete Morgan. They’d just had a falling out with their management and Neat Records, and I wanted a fresh challenge. The two guitar line-up needed to be reviewed anyway, so we had a jam and it gelled instantly. Garry Meill was Redline’s front man; a very flamboyant character who would later go on to front Tattooed Love Boys. We looked for a keyboard player, but as we had contacts for gigs and management we went out as a four-piece and it ended up staying like that.
MMM: Have there been any demos recorded with Red Line, if so, what year and what songs?
MK: We recorded a two-track demo in 1985 hoping to get a small label interested in a singles deal. The songs recorded at the session were ‘Mirror Image’ and ‘Out Of The Black’ – however, these have recently been re-released on a 3-band compilation CD called “Obscure N.W.O.B.H.M Demos Vol.2” – available to anyone who wants a copy from me (£10.00 free postage!!) e-mail me at mark@beggar.org.uk
Mark Kirkman: My first band was the school orchestra on acoustic, but I was having electric guitar lessons from a guy at my football club. He played in a band called Country Brew, and they did Country & Western covers and material by The Beatles, Bread, Tony Cristie etc. I had a call from him one afternoon saying his guitarist couldn’t make it to a gig they had booked that night and would I fill in? I was 14 and it was my first foray into paid pub work! I was crapping myself, if I’m honest. We did it and they asked me to join permanently so I stayed with them. This was 1974. I did a few other bands after, like Landslide.
MMM: How and when did Random Black get together, apparently the origins of the band date back to as early as 1979?
MK: Random Black came together in 1979, initially founded by guitarist Ron Scates. Ron told me ‘it was me on guitar, Paul Derry (drums) and a guy called Mick Brown (bass) who were the original members. Dave (Denham) meanwhile played with Lee Harris and Paul Webb in a band called Witch and then they changed their name to Sign Of The Times before splitting up, at which point Dave came to sing for Random Black. Lee and Paul then went on to form Talk Talk, who became a successful pop band signed to EMI. Their famous single was “Life’s what you make it” charting in the U.K and many other countries Top 20 in 1985.
MMM: The first recordings came in the shape of a 3 song demo tape in 1980 featuring the songs “Love Gone Stale”, “Taking The Easy Way Out” and “Love's No Friend Of Mine”. Was this an official tape or a rehearsal, and was it offered for sale?
MK: This was an 'official' recording from 1980. With a new rhythm section in bassist Andrew ‘Scrim’ Scrimshaw and drummer John Blandford, the 'new-look' Random Black quartet gigged locally around Essex and in July 1980 recorded their first demo at Spectrum Studios in Southend. I wasn’t in the band at this point, although I’d seen them gigging locally. They sold the tape at gigs etc, and it got all over the world, even before the internet and MP3 files. It was also played on local radio.
MMM: In the summer of 1981, another demo was recorded featuring the songs “Witch Daughter”, “Fool's Paradise” and “Lost Child”. This demo, recorded at the Mayhew & Macrimmon Studios in Essex, was engineered and mixed by Matthew Fisher of Procal Harum; how did that come about?
MK: We got Matthew Fisher through management contacts, and he was the house producer on some of MM’s recordings. He was excellent. We really wanted him, as he knew the industry from his days in Procol Harum. At this session, ‘Fool’s Paradise’, ‘Witch Daughter’ and ‘Lost Child’ were put to tape for the ‘Vanishing Point’ demo. We were on fire during those sessions. John’s thunderous drums in 'Witch Daughter', Ron’s guitar in 'Lost Child', Don’s passionate vocal delivery… ”Grinding axes entwined in night, The Devil’s Daughter in an eerie light!” is just classic Random Black!” I can remember sitting in the control room with my eyes shut listening to the playback, and Matthew saying “This is really good, guys!” Wow!! To have someone really famous (Matthew Fisher co-wrote and played Hammond Organ on Procol Harem’s 10 million selling No 1 single 'Whiter Shade Of Pale', for Chrissakes!!!) tell you it was good meant a lot to us.
MMM: The song “Witch Daughter” showed great potential and was quite heavy for its time; it even shows strong similarities with Anvil's “Metal On Metal” material (“Mothra”) both concept and vocal wise, even though Random Black was earlier!
MK: That’s an interesting point. 'Metal On Metal' is a great anthem for Anvil, but as you correctly point out it was released a year later. Perhaps they saw us play somewhere or heard our tape (it was played on local radio, and I probably sent 100 copies to various record companies, John Peel, radio stations etc. Maybe they pinched it!! I would say it’s closer to 'Lovedrive' by German stalwarts The Scorpions.
MMM: “Witch Daughter” not only shows a strong contrast to the more 70's oriented “Lost Child” from the same demo, but also sounds like it is properly recorded, whilst “Lost Child” almost sounds like a live studio-take.
MK: From memory, we did 'Witch Daughter' first in a few takes (bass, drums and guitar to start with) and added second guitar, vocals and overdubs. 'Lost Child' was a song that Ron had unfinished and we tidied it up on the day in the studio. As you say, pretty much live. Ron’s guitar work on it is sublime.
MMM: Shortly after, in 1982, the band had a line-up change with guitarist Ron Scates being replaced by Ray Frost; is this the line-up that recorded the 3rd demo?
MK: I think Ron had an awful lot going on at the time, and something had to give, and that was the band. It was frustrating for us as we were gaining momentum. Basildon Rocker Steve Adams auditioned and arrived with his Flying V, before Ray joined us. Steve had previously played and recorded with Bruce Dickinson’s pre-Samson band Speed, and was full of ideas; twin harmony guitars, outrageous stage antics and a technique beyond his years. Steve was a great replacement and we’d taken a more Iron Maiden / Wishbone Ash / Judas Priest direction. Sadly though, he decided to quit in favour of playing bass with Calendar so local guitarist Ray Frost came in and recorded with the band. Ray’s mellow playing and beautiful tone contributed to the band’s sound and complemented my more aggressive, quick style.
MMM: This 3rd demo, from 1983, featured 5 songs; “London Life”, “End Of The Line”, “Ophelia”, “Catch 22” and “Rest In Peace” and showed a different, more melodic laden approach; did this have anything to do with the input of the new guitarist, Ray Frost?
MK: The demo you’re referring to is actually later than that; 1985/6. Ray didn’t actually play on that one. I did all the guitar work. Would have been good to have him involved, though. I also did a remix of that demo in 1986! Tony Tomkinson was a great singer who had fronted Bitches Sin for a while. He recorded vocals over 'Ophelia', 'Catch 22', 'Rest In Peace' and 'London Life'.
MMM: From this demo-tape, 2 songs were submitted to Ebony records for the '83 “Metal Warriors” compilation LP. The song “Ophelia” was eventually selected to be featured, what was the other song that was submitted.
MK: No, that’s not right. We got the Ebony deal before the 'third' demo. We had had no interest from the major labels at that point. We were aware of Ebony, who was releasing NWOBHM bands’ material. The other song was “Under The Cross”.
MMM: Were these songs lifted from the demo or re-recorded? Also, how did this 'deal' come about? Was the band approached or was material sent over for consideration?
MK: How Ebony came to hear of the band is now lost in the mists of time. I think they approached us on the strength of our 'Vanishing Point' demo. I’d sent the demo to every record company and radio station I could find. We arrived in Hull’s Ebony Studios for two days of recording in March 1983. The material recorded featured Don Dibbens on vocals, George Palmer on bass, John Blandford on drums, Mark Kirkman and Ray Frost on guitar. We recorded two songs, ‘Ophelia’ and ‘Under The Cross’ but due to a technical issue ‘Under The Cross’ (which was by far a better track, in my opinion) wasn’t used. It’s probably on a NWOBHM compilation album that Ebony released in Holland or something, ensuring that we didn’t get any royalties; I might be wrong, but it seemed that was de rigueur at the time by the record companies that were releasing our sort of music.
MMM: The song “Ophelia”, as does the other material on the 3rd demo shows certain similarities to Trespass, is there any link or is this pure coincidence?
MK: Pure coincidence. I’d heard of Trespass, another excellent band. I’d understand why you would think that, but I think I was probably leaning more towards Iron Maiden. John Blandford and I collaborated a lot with the song structure.
MMM: Ebony did not follow it up signing Random Black for an album release; was this ever considered and has there been any interest from other labels at the time?
MK: To set the scene…. Ebony was an old converted house in the suburbs of Hull. Darryl and Linzi Johnson made us welcome enough, but as proceedings went on we began to think that this might not have been our wisest decision. Darryl seemed unsure of some of the workings of the console, and after the brilliant job Matthew Fisher had done on our ‘Vanishing Point’ demo the resulting songs were recorded flat and lifeless. If you listen to the LP, the drum sound (bearing in mind we had an amazing drummer in John Blandford) was absolutely awful, due to Darryl’s insistence that John used the house kit: we did have a big row over that, and that probably contributed to the decision for us to part company. His drums, so integral to our sound, had been reduced to cardboard boxes. Coupled with the issue that we had with the recording of ‘Under The Cross’, we decided we wouldn’t be working with Ebony again. We did hear that Polydor were interested, but apparently didn’t want to pay anything initially to sign us.
MMM: Did the band ever consider releasing a DIY single as that was pretty common at that time?
MK: There were several NWOBHM compilations around, like the famous ‘Metal For Muthas’ LP which had Iron Maiden, Samson, Angel Witch, Praying Mantis etc, and that did really well to help the NWOBHM movement. We were mates with other bands like Bastille, Pali Gap, Prowler and Crucifixion who were also making their vinyl debuts either on singles or on compilations, and we were gigging a lot around the same circuit as most of the other bands like Deep Machine, Chariot, Uncle Sam, Power Pack, Maiden, Electrix, Straight Edge, etc. In retrospect maybe we should have gone down the single route and signed to Neat or Heavy Metal Records, or even done what Def Leppard did and self-fund a single on our own label. Maybe we should have done both?
MMM: The band regularly played the Ruskin Arms in East London, any particular shows there that you remember?
MK: I played 'The Bin' (as it was affectionately called) on many occasions. We used to see a few famous and infamous faces in the crowd, that’s for sure. And not just musicians. It was a proper East End boozer; a man’s pub and it was a great venue. Joe Lucy and his son Tommy were lovely people. One time our singer fell off the stage, one time in the backstage area a girl nicked my leather trousers after we’d become 'comfortable' and I remember Joe sorting one or two idiots out. The crowd were always great to us, and really knowledgeable about their NWOBHM. I still get notes sent to me from old days Ruskin goers who remember us with affection, which is very humbling.
MMM: Eventually, the band folded, when exactly was this and what was the reason?
MK: In the final six months of Random Black’s existence I was a bit pissed off with the band and lack of progression. We’d lost Ray and got Keith King in, but he left too. I just felt that the band had ran out of sand. This was 1985.
MMM: After Random Black, you were active in a band called Redline; when did this band come into existence, who else was in the line up, and what was the style of the band?
MK: Crucifixion was a great local band, and I was good mates with {bassist} Chris Mann and (drummer) Pete Morgan. They’d just had a falling out with their management and Neat Records, and I wanted a fresh challenge. The two guitar line-up needed to be reviewed anyway, so we had a jam and it gelled instantly. Garry Meill was Redline’s front man; a very flamboyant character who would later go on to front Tattooed Love Boys. We looked for a keyboard player, but as we had contacts for gigs and management we went out as a four-piece and it ended up staying like that.
MMM: Have there been any demos recorded with Red Line, if so, what year and what songs?
MK: We recorded a two-track demo in 1985 hoping to get a small label interested in a singles deal. The songs recorded at the session were ‘Mirror Image’ and ‘Out Of The Black’ – however, these have recently been re-released on a 3-band compilation CD called “Obscure N.W.O.B.H.M Demos Vol.2” – available to anyone who wants a copy from me (£10.00 free postage!!) e-mail me at mark@beggar.org.uk
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Above left: REDLINE. Above right: 2019 compilation CD featuring REDLINE. Photo left provided by Mark Kirkman.
MMM: You also played in various other bands, including Beggar, U.S and Outcry; was this after Redline?
MK: Aah, you’ve done your homework on me! I joined U.S in 1986/87. The band was a deliberate attempt to get into the lucrative USAF bases playing American AOR, and we did. They were some fun times. The Galaxy Club at Mildenhall is legendary! After that stopped, I did a short lived band called Landslide, then stopped gigging; I’d got a bit bored with it at that time. However, I was teaching guitar to a young lad and he had some impressive Karaoke winner’s trophies. He was looking to start a band as their vocalist and asked me for contacts. Next thing, I’m back in the gigs with Outcry. Fast forward to 2005, and Outcry lost it’s vocalist and we teamed up with a singer who was looking to reboot an old band. We became Beggar; a local covers band who had been together since the early 90’s. The band had Chris Mann, Bob Harding, me, childhood friend Richard Pattle and Patrick Doyle on vocals. Patrick left and we got ex-Outcry vocalist Martin Challis back. Martin stayed with us for 8 years (and 504 gigs, so he keeps reminding me!) and when he decided to quit we got Noel Ashton in. We still do 60 odd gigs a year; www.beggar.org.uk if anyone wants to see us.
MMM: Fast forwarding to 2005, it seemed that there was a CD(R) in circulation entitled “Under The Cross”, featuring the songs Catch 22 / Witch Daughter / Ophelia / London Life / Fool's Paradise / Lost Child / End Of The Line / Rest In Peace; basically the 2nd and 3rd demo tape combined. Was this a home-made CDR release, and how many copies have been made if any?
MK: There was a bit of interest with ON Records, and I spoke to them. It never got past that stage and was not released in any form. As with these things, there may be a few home made poor quality versions out there. I have all the band’s master tapes.
MMM: As of late, there is a keen interest in the band, with the song “Witch Daughter” praised by many as a true NWOBHM gem. Any chance for a RANDOM BLACK Anthology?
MK: It’s incredible! Watch this space……..
MMM: Anything else you'd like to add?
MK: It was great to be a part of the NWOBHM movement. All in all, Random Black (and Redline) was a typical example of hard-working NWOBHM bands that just didn’t make it big. We had some great songs, huge riffs and a thunderous rhythm section; we met loads of great people, fans and musos alike, some famous faces, played about 150 gigs in all and never compromised our ideas about songs and style. It was a privilege to play with the musicians who played in the band, and John, Ray and I still gig regularly to this day. I’d like to mention Mike Lightfoot in despatches too. Mike was a great man, and he helped us enormously; without Mike, there would have been no band. He managed us, humped our gear in, did the PA and lights, lent us money, came to every gig and session, sorted out the recording time in Keele with Tony, etc etc.
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above: Metal Warriors compilation LP featuring Random Black
photo left: Mark Kirkman photo right: Mike Lightfoot |
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LADY BEAST – 2020 “The Vulture's Amulet”
label: Reaper Metal productions
songs: Metal Machine / Runes Of Rust / The Gift / Sacrifice To The Unseen / Betrayer / The Champion / Transcend The Blade / The Vulture's Amulet / Vow Of The Valkyrie //
web: https://www.facebook.com/ladybeastofficial/
Newest album by this female fronted unit, showcasing a catchy and driven mix of mid 80's U.S. Metal and Euro-Metal that rolls on steady beats, riff-based themes and a no-nonsense approach. The music is layered with harmonized guitar leads that bring up the occasional connection with Savage Grace and Omen, as on the moderately fast “Vow Of The Valkyrie” and the bobbing “The Champion” and Maiden as witnessed on the titletrack and the instrumental “Transcend The Blade”. Singer Deborah Levine has a match-made, mid-range voice that is rather deep and 'warm' with some nice, double-sung lead lines on “The Champion”. The greater part of the songs is either mid or up-tempo driven with the occasional acceleration thrown in. Fastest picks of the album are “The Gift”, “Vow of The Valkyrie” and “Transcend The Blade”.The whole thing grips easily and entertains throughout. Solid.
Paul van der Burght
label: Reaper Metal productions
songs: Metal Machine / Runes Of Rust / The Gift / Sacrifice To The Unseen / Betrayer / The Champion / Transcend The Blade / The Vulture's Amulet / Vow Of The Valkyrie //
web: https://www.facebook.com/ladybeastofficial/
Newest album by this female fronted unit, showcasing a catchy and driven mix of mid 80's U.S. Metal and Euro-Metal that rolls on steady beats, riff-based themes and a no-nonsense approach. The music is layered with harmonized guitar leads that bring up the occasional connection with Savage Grace and Omen, as on the moderately fast “Vow Of The Valkyrie” and the bobbing “The Champion” and Maiden as witnessed on the titletrack and the instrumental “Transcend The Blade”. Singer Deborah Levine has a match-made, mid-range voice that is rather deep and 'warm' with some nice, double-sung lead lines on “The Champion”. The greater part of the songs is either mid or up-tempo driven with the occasional acceleration thrown in. Fastest picks of the album are “The Gift”, “Vow of The Valkyrie” and “Transcend The Blade”.The whole thing grips easily and entertains throughout. Solid.
Paul van der Burght
ROAD WARRIOR – 2020 “Mach II”
label: Gates Of Hell
songs: Tonight's The Nightmare / Fox Devils Wild / Fiends Behind The Scenes / Thunder n' Fighting / The Diamond Forge / Nocturnal Arrest / Wired / Rest for the Wicked //
web: https://www.facebook.com/RoadWarrior1986
Second full-lengther by this Australian three-piece that finds the band tapping into a more in-depth approach of their traditional rooted concept. Road Warrior sound much like 80's / 90's U.S Metal that is now injected with Progressive (Power) Metal modes as evidenced on the Motorhead infused, mobility riffed “Fox Devil's Wild”, the 90's styled “Thunder n' Fighting”, and the slow-fast structured, Liege Lord esque “Wired” that features some great, variable muscle vocals with siren yells. “Fiends Behind The Scenes” has some bobbing HardRock / Metal going on over an all out 80's Metal riff, and light hints of Maiden come surfacing on the riff-based “The Diamond Forge” and the rhythmic “Nocturnal Arrest”. Once again, Road Warrior has come up with a set of original sounding songs that are sticky, well co-ordinated and feature some great mobility drummage that peaks on “Fox Devil's Wild” and “Nocturnal Arrest”. This album stands out in many ways, and is crowned by a crystal clear, 'dry' but crisp production that really suits the music. Great!
Paul van der Burght
label: Gates Of Hell
songs: Tonight's The Nightmare / Fox Devils Wild / Fiends Behind The Scenes / Thunder n' Fighting / The Diamond Forge / Nocturnal Arrest / Wired / Rest for the Wicked //
web: https://www.facebook.com/RoadWarrior1986
Second full-lengther by this Australian three-piece that finds the band tapping into a more in-depth approach of their traditional rooted concept. Road Warrior sound much like 80's / 90's U.S Metal that is now injected with Progressive (Power) Metal modes as evidenced on the Motorhead infused, mobility riffed “Fox Devil's Wild”, the 90's styled “Thunder n' Fighting”, and the slow-fast structured, Liege Lord esque “Wired” that features some great, variable muscle vocals with siren yells. “Fiends Behind The Scenes” has some bobbing HardRock / Metal going on over an all out 80's Metal riff, and light hints of Maiden come surfacing on the riff-based “The Diamond Forge” and the rhythmic “Nocturnal Arrest”. Once again, Road Warrior has come up with a set of original sounding songs that are sticky, well co-ordinated and feature some great mobility drummage that peaks on “Fox Devil's Wild” and “Nocturnal Arrest”. This album stands out in many ways, and is crowned by a crystal clear, 'dry' but crisp production that really suits the music. Great!
Paul van der Burght
ROAD WARRIOR / GRAVEBREAKER – 2020 7” split E.P
label: Gates Of Hell records
ROAD WARRIOR – Death In Heels On Wheels //
GRAVEBREAKER – Death Promise //
web: www.gatesofhellrecords.com
Sweden's Gravebreaker and Australia's Road Warrior have been paired by Gates Of Hell records to each deliver one song on this 7”split E.P.
Gravebreaker's “Death Promise” is a non-featured track from the “Sacrifice” album recordings whilst Road Warrior penned a whole new song. ROAD WARRIOR's “Death In Heels On Wheels” offers a refreshing twist in concept, switching for pure and pounding traditional Metal to a technical edged, classic Metal sound that sounds much like the mid 80's - early 90's U.S Progressive Metal thing. The song rolls on a bobbing, moderately paced drive and is given a slight melodic edge by the vibrato laden vocalage. The whole thing moves in a balanced and subtle fashion, and that is exactly what makes this song.
GRAVEBREAKER harks back to the early – mid 80's with the upbeat driven “Death Promise”; a pure and honest, old-school Metaler that kind of phases Judas Priest with the traditional Swedish HardRock / Metal sound a la Universe and Malmsteen, completely with harmonized hooks and hammond organ! Cool.
Paul van der Burght
label: Gates Of Hell records
ROAD WARRIOR – Death In Heels On Wheels //
GRAVEBREAKER – Death Promise //
web: www.gatesofhellrecords.com
Sweden's Gravebreaker and Australia's Road Warrior have been paired by Gates Of Hell records to each deliver one song on this 7”split E.P.
Gravebreaker's “Death Promise” is a non-featured track from the “Sacrifice” album recordings whilst Road Warrior penned a whole new song. ROAD WARRIOR's “Death In Heels On Wheels” offers a refreshing twist in concept, switching for pure and pounding traditional Metal to a technical edged, classic Metal sound that sounds much like the mid 80's - early 90's U.S Progressive Metal thing. The song rolls on a bobbing, moderately paced drive and is given a slight melodic edge by the vibrato laden vocalage. The whole thing moves in a balanced and subtle fashion, and that is exactly what makes this song.
GRAVEBREAKER harks back to the early – mid 80's with the upbeat driven “Death Promise”; a pure and honest, old-school Metaler that kind of phases Judas Priest with the traditional Swedish HardRock / Metal sound a la Universe and Malmsteen, completely with harmonized hooks and hammond organ! Cool.
Paul van der Burght
web: https://www.facebook.com/gonesavageuk/
https://www.youtube.com/channel/UCZC6gwzJP1aZglAYClmnobw
GONE SAVAGE is a Manchester area based band that has their roots in classic HardRock. The core of Gone Savage consists of Ian Salpekar (bass guitar and vocals) and Will Glover (lead vocals) with guest musicians to cover live work. Not knowing this band comes from U.K soil, Gone Savage could easily be taken for an American HardRock act from the 80's, and the quality that runs through music matches with the very best in the genre. Songs are straight-forward and easy going with the accent on the chants and choruses, even though their style has a different twist witch each and every release. The 2020 single track “Louder Than The Sun” is the Gone Savage's most recent effort, but it is definitely worth investigating the band's previous catalogue of tracks which date back to 2016 in the shape of the “Resurrection” E.P.
https://www.youtube.com/channel/UCZC6gwzJP1aZglAYClmnobw
GONE SAVAGE is a Manchester area based band that has their roots in classic HardRock. The core of Gone Savage consists of Ian Salpekar (bass guitar and vocals) and Will Glover (lead vocals) with guest musicians to cover live work. Not knowing this band comes from U.K soil, Gone Savage could easily be taken for an American HardRock act from the 80's, and the quality that runs through music matches with the very best in the genre. Songs are straight-forward and easy going with the accent on the chants and choruses, even though their style has a different twist witch each and every release. The 2020 single track “Louder Than The Sun” is the Gone Savage's most recent effort, but it is definitely worth investigating the band's previous catalogue of tracks which date back to 2016 in the shape of the “Resurrection” E.P.
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GONE SAVAGE – 2020 “Louder Than The Sun”
New single track by this U.K outfit Gone Savage, showing yet another musical approach with this third outing. This time around, the band has opted for the classic HardRock sound and phased it with hints of darkened GlamRock 80's style. Think a mix of Krokus' “Screaming In The Night” and Faith No More's “We Care A Lot” with hints of Dokken over a slow bobbing tempo. This is one of those tunes that stick straight away but make you want to play it again are there is more going on than meets the ear at the first spin. Interesting.
GONE SAVAGE – 2019 “Bullet Proof”
“Bullet Proof” is another official release by Gone Savage and concerns a crunching, mid-paced Metaler bordering on U.S. Alternative PowerMetal 90's style. Nicely contrasting with the buzzing guitars are the minor-toned chants and the atmospheric laden, melodic edged lead vocals that are in the upper regions of the mid-range.
GONE SAVAGE – 2016 E.P “Resurrection”
songs: When The Circus Comes To Town / If It Feels Good / Soul Sister / If Love Caught Me Out //
“Resurrection” is the first official documentation of the band featuring 4 songs that have the old-school American HardRock sound as the common factor. Quite a palette of similarities to the bigger names in both sound and concept, starting off with some bobbing, moderately paced HardRock with beefy vocals on the Lynch Mob tinged “When The Circus Comes To Town”. The driven up-tempo Mainstream HardRocker “If It Feels Good” has the band crossing paths with Motley Crue and W.A.S.P; the latter which also finds its expression it the vocal department. “Soul Sister” is a classic American styled HardRock Ballad 'dusted' with Southern Rock, and all centered around its catchy, sing along chorus. This is the sort of song that couples the kind of balladry of bands such as Tesla, Poison and Warrant, and Gone Savage do it equally well. “Love Caught Me Out” is a pumping HardRock groovster that rolls on a toe-tapping, mid-tempo beat, meaty guitars and a feel and appearance that clicks with Dokken and Whitesnake, caked with muscle vocals and tasty guitar action. Entertaining.
Paul van der Burght.
WALLOP – 2020 “Alps On Fire”
label: Pure Steel records
songs: Running Wild / Missing In Action / Lack Of Power / Metallic Alps / Reveal The Lies / Monsters / Stealthy World / Idols Die Too / 69 / Fun For The Nun / Metallize / Crash, Bang, Wallop / Wall Of Sound //
web: https://www.facebook.com/Wallop69/
This is the very same band that recorded the “Metallic Alps” E.P back in '85 (Bonebreaker records). With the amount of German bands flooding the scene back in the mid 80's, a lot of the vinyl emerging from European labels such as Earthshaker, Bonebreaker and Mausoleum simply got categorized and, as such, overlooked. “Metallic Alps”. This new album basically is a re-recording of the entire “Metallic Alps” album with newly added songs; “Missing In Action” , “Wall Of Sound”, “Fun For The Nun” and a cover version of the Raven classic “Crash, Bang, Wallop” featuring vocals and guitar solo by Raven's John Gallagher. “Alps On Fire” is a speed-driven affair that has the tempo going into fast gear with about half the material being classic Euro Headbangers. The Euro Speed thing is pushed forward on the propelling “Missing In Action” (a la Brainfever meets Gravedigger) and the rhythm riffed “Monsters” whilst “Idols Die Too” shows certain similarities to Picture. T Diamond Head's “Helpless”. Another click with the NWOBHM thing is present on the driven, mid-paced & riff based “Metallic Alps” that sounds much like a cocktail of Savage, Blitzkrieg and Holocaust. In between the (semi) Headbangers is a selection of mid / up-tempo tunes, including the bobbing, classic HardRock rooted “Stealthy World” that somehow connects with Picture, as does the riff based “Monsters”. The material on “Alps On Fire” grips from the word go, and rolls on driving beats, catchy riffs, sticky themes and straight forward programming; a winning combination that makes this LP a true, classic Metal delight with a strong entertainment value. Great!
Paul van der Burght
label: Pure Steel records
songs: Running Wild / Missing In Action / Lack Of Power / Metallic Alps / Reveal The Lies / Monsters / Stealthy World / Idols Die Too / 69 / Fun For The Nun / Metallize / Crash, Bang, Wallop / Wall Of Sound //
web: https://www.facebook.com/Wallop69/
This is the very same band that recorded the “Metallic Alps” E.P back in '85 (Bonebreaker records). With the amount of German bands flooding the scene back in the mid 80's, a lot of the vinyl emerging from European labels such as Earthshaker, Bonebreaker and Mausoleum simply got categorized and, as such, overlooked. “Metallic Alps”. This new album basically is a re-recording of the entire “Metallic Alps” album with newly added songs; “Missing In Action” , “Wall Of Sound”, “Fun For The Nun” and a cover version of the Raven classic “Crash, Bang, Wallop” featuring vocals and guitar solo by Raven's John Gallagher. “Alps On Fire” is a speed-driven affair that has the tempo going into fast gear with about half the material being classic Euro Headbangers. The Euro Speed thing is pushed forward on the propelling “Missing In Action” (a la Brainfever meets Gravedigger) and the rhythm riffed “Monsters” whilst “Idols Die Too” shows certain similarities to Picture. T Diamond Head's “Helpless”. Another click with the NWOBHM thing is present on the driven, mid-paced & riff based “Metallic Alps” that sounds much like a cocktail of Savage, Blitzkrieg and Holocaust. In between the (semi) Headbangers is a selection of mid / up-tempo tunes, including the bobbing, classic HardRock rooted “Stealthy World” that somehow connects with Picture, as does the riff based “Monsters”. The material on “Alps On Fire” grips from the word go, and rolls on driving beats, catchy riffs, sticky themes and straight forward programming; a winning combination that makes this LP a true, classic Metal delight with a strong entertainment value. Great!
Paul van der Burght
GREYHAWK – 2020 “Keepers Of The Flame”
label: Fighter records
songs: Gates Of Time / Frozen Star / Drop The Hammer / Halls Of Insanity / The Rising Sign / R.X.R.O / Don't Wait For The Wizard / Black Peak / masters Of The Sky / Ophidian Throne / Keepers Of The Flame //
web: https://www.facebook.com/Greyhawkmetal
Right from the start it is obvious that this U.S.A based 5-piece sourced their material from the 80's and though the melodic HardRock / Metal thing lays the basis for the many (neo classical) Malmsteen like guitar chops, there is a whole spectrum of traditional styles represented with the moderately fast paced “Drop The Hammer” as the heaviest and fastest outing, addressing to double-bass drummed U.S Power / SpeedMetal. For a U.S band, Greyhawk sound predominantly classic European with a hint of Priest (“The Rising Sun”) and Dio (“Black Peak”), alongside the rhythmic mid / up-tempo “Masters Of The Sky”. The band also toys with atmospheric moods that come surfacing on the dramatic slow burner “Keepers Of The Flame” (with the Dio thing re-appearing), the Epic laden “Ophidian Throne”, and the mutli-structured “The Rising Sign” that comes complete with Gothic like modes in both the instrumental and vocal department. Singer Taylor has quite a unusual tone and voice that gets in shape from “The Rising Sign” onwards, but somehow still gives the idea of an opera-meets-Metal affair. There is a lot of skill in the performance and techniques and this all comes together on “Rising Sign” but also shines through in the variety of songs. Add to this, some blistering guitarwork and an all-out 80's feel, and the result is one entertaining, retro-styled HardRock / Metal album that listens away really easy. Cool.
Paul van der Burght
label: Fighter records
songs: Gates Of Time / Frozen Star / Drop The Hammer / Halls Of Insanity / The Rising Sign / R.X.R.O / Don't Wait For The Wizard / Black Peak / masters Of The Sky / Ophidian Throne / Keepers Of The Flame //
web: https://www.facebook.com/Greyhawkmetal
Right from the start it is obvious that this U.S.A based 5-piece sourced their material from the 80's and though the melodic HardRock / Metal thing lays the basis for the many (neo classical) Malmsteen like guitar chops, there is a whole spectrum of traditional styles represented with the moderately fast paced “Drop The Hammer” as the heaviest and fastest outing, addressing to double-bass drummed U.S Power / SpeedMetal. For a U.S band, Greyhawk sound predominantly classic European with a hint of Priest (“The Rising Sun”) and Dio (“Black Peak”), alongside the rhythmic mid / up-tempo “Masters Of The Sky”. The band also toys with atmospheric moods that come surfacing on the dramatic slow burner “Keepers Of The Flame” (with the Dio thing re-appearing), the Epic laden “Ophidian Throne”, and the mutli-structured “The Rising Sign” that comes complete with Gothic like modes in both the instrumental and vocal department. Singer Taylor has quite a unusual tone and voice that gets in shape from “The Rising Sign” onwards, but somehow still gives the idea of an opera-meets-Metal affair. There is a lot of skill in the performance and techniques and this all comes together on “Rising Sign” but also shines through in the variety of songs. Add to this, some blistering guitarwork and an all-out 80's feel, and the result is one entertaining, retro-styled HardRock / Metal album that listens away really easy. Cool.
Paul van der Burght
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If there is a musician that has NWOBHM written all over then it is guitarist Paul Lewis. Paul has been involved in many bands; from the obscure and short-lived act that was Sweet Revenge to NWOBHM cult act Satan's Empire that shot back to fame with the release of the “Rising” album. Let's go back in history and let Paul do the talking:
Manic Mosh Metal: When and how did Devil's Chariot come into existence, what was the line-up of the band, and where was it located?
Paul Lewis: Devil's Chariot was formed in 1980. I had just left my previous band “Silverhawk” who used to play a combination of Rock covers and our own original songs. I wanted to pursue a heavier style than my previous band and so decided to form a new exciting band. The original line-up of the band was; Brian Gibbs - Drums, Kevin Manning - Bass, Mitch Taylor – Lead Vocals and myself on Lead and Rhythm Guitars.
I knew Brian as he used to be the window cleaner at my office where I worked in BT at The Barbican in Central London. We got chatting and Brian told me he was studying drums with Carl Palmer from Emerson, Lake and Palmer; I was suitably impressed to invite him to jam with me. Brian lived in East London so, we did a couple of sessions at Allan Gordon studios, Leyton (where Iron Maiden started out) and then we advertised in the Melody Maker for a bass player to join us. We recruited Kevin who lived only a couple of miles away from me in Ilford, Essex (I was living in Seven Kings at the time).
Once we had a few rehearsals, we started looking for a vocalist and we recruited Mitch; a young Robert Plant lookalike vocalist from Edmonton. The line-up was complete and we started writing songs with a view to record a demo tape and start gigging. The more we rehearsed, the more it became apparent that Brian's drumming style didn't suit the style of songs we were writing; his influences were more in the Jazz Funk style and we made an amicable decision one day that it was better we part company. We then recruited Bob Brewster on drums who had previously been drumming with NWOBHM band “Salem's Witness”. Bob's drumming style was exactly what we were looking for; hard and heavy.
MMM: How would you describe the musical style of the band and what were its inspirational sources?
PL: The style of the band was unashamedly NWOBHM. I was a big fan of Iron Maiden and Angelwitch (still am) and I used to go and see them at every opportunity, Devil's Chariot was heavily influenced by those bands as well as my older influences Black Sabbath and Deep Purple.
MMM: How many originals were written during its existence and have any of these been released as an official demo tape?
PL: We wrote a full set of songs during the life of the band. I was the major songwriter and wrote all but one song (“Ghost Squadron”) which was written by Kevin. I used to also write the lyrics for the songs with occasional help from Kevin; writing lyrics wasn't Mitch's forte. We recorded a 4-track demo at Mount Pleasant Studios in London on the 9th of May 1981 and all recording and mixing was done in one day on an 8 track analogue machine. I can't remember who engineered the session, but, whoever it was had a hell of a workload on his hands LOL The songs on the demo were: “Night Of The Demon”, “White Lady”, “Werewolf” and “Ghost Squadron”. The demo was never commercially released, we just used it to get local gigs. We mostly played at The Ruskin Arms and The Electric Stadium, Chadwell Heath.
After we recorded the demo, Bob Brewster developed some painful verrucas on his right foot which made playing his bass drum difficult and was going to put him out of action for a few weeks; he decided to leave the band. After a few auditions, we recruited a young drummer called Paul Margolis (who would later be known as “Pumpy” when he played with punk band “Becky and The Bombshells” and later “Vice Squad”), Paul remained with us for the band's duration.
MMM: What caused the split of the band and when was this?
PL: The band split in 1982. We wasn't getting many gigs and Kevin started to lose interest which culminated in him leaving the band. Kev's style was such an integral part of the band as well as being a good friend and someone to bounce songwriting ideas against, I couldn't imagine Devil's Chariot with another bass player, so, with a heavy heart, I told Mitch and Paul that I thought it was the right time to split the band.
MMM: After Devil's Chariot, you were involved in a band called Flight 19 with drummer Frank Darch and singer Derek Lyon from Satan's Empire. How did the band form, when, and who were the other band-members to complete the line-up?
PL: Towards the end of Devil's Chariot, we started rehearsing in Hollywood Studios in Hackney (another studio where Iron Maiden rehearsed). I answered an advert in Melody Maker from an East London based band looking for a second guitarist and discovered that they also rehearsed at Hollywood Studios. I went along to the audition for 'Flight 19' and fitted in straight away. The band were loud and raucous which suited me to a tee. The Line-up of the band when I joined was; John Haggerty (RIP) -vocals, Keith - lead guitar, Rob Laws - bass, Frank Darch – drums. Keith (I wish I could remember his surname) was a superb guitarist and was a few years older than the rest of us, so he brought a certain amount of experience to the band; he was very much into Y&T and that influenced the band quite heavily (in a good way), of course, Frank's experience with 'More' was invaluable too. After I was with the band a short time, things weren't quite working with John; Flight 19 was developing into a very good band and, although he was a nice guy and a popular member of the band, John was a bit out of his depth and was struggling a bit, he decided it was in the best interests of the band's progression that he resigned. We started our search for a vocalist and we auditioned playing a cover of Judas Priest's “Victim Of Changes”, it proved to be a very difficult song for most of the people we auditioned and most fell by the wayside. Enter Derek Lyon from Satan's Empire. I remember Derek turning up to the audition in a brown wool check jacket and blue jeans, he didn't look like the traditional Metal vocalist, but boy, could he sing! He absolutely nailed “Victim Of Changes” together with Rob Halford's blood curdling scream on the outro, he was invited to join immediately. Flight 19 played at The Ruskin Arms and The Red Lion, Gravesend.
MMM: What was the musical style of Flight 19 and was it similar to Devil's Chariot?
PL: Flight 19 was more straight ahead Hard Rock, the music had a bit of a 'Boogie' feel to it. We would've gone down a storm at biker rallies; the influences were Y&T (as mentioned earlier) but there was also a bit of a Motorhead influence there, as well as Judas Priest, but the overall sound wasn't quite as dark as Devil's Chariot and, although the music was very heavy, it had a bit of a feel-good factor to it where the punters could equally dance or headbang to, depending on how they felt.
MMM: Was anything recorded with Flight 19, and have any of the songs from your previous band Devil's Chariot been transferred to the Flight 19 set.
PL: Nothing official was recorded by Fight 19, only one or two rehearsal tapes, no recordings still exist to my knowledge. Myself and Derek was only with Flight 19 for a few months before joining Satan's Empire. I didn't use any of my Devil's Chariot songs with Flight 19 as the set had already been written before I joined the band and I didn't stay long enough to get involved in the songwriting.
Paul Lewis: Devil's Chariot was formed in 1980. I had just left my previous band “Silverhawk” who used to play a combination of Rock covers and our own original songs. I wanted to pursue a heavier style than my previous band and so decided to form a new exciting band. The original line-up of the band was; Brian Gibbs - Drums, Kevin Manning - Bass, Mitch Taylor – Lead Vocals and myself on Lead and Rhythm Guitars.
I knew Brian as he used to be the window cleaner at my office where I worked in BT at The Barbican in Central London. We got chatting and Brian told me he was studying drums with Carl Palmer from Emerson, Lake and Palmer; I was suitably impressed to invite him to jam with me. Brian lived in East London so, we did a couple of sessions at Allan Gordon studios, Leyton (where Iron Maiden started out) and then we advertised in the Melody Maker for a bass player to join us. We recruited Kevin who lived only a couple of miles away from me in Ilford, Essex (I was living in Seven Kings at the time).
Once we had a few rehearsals, we started looking for a vocalist and we recruited Mitch; a young Robert Plant lookalike vocalist from Edmonton. The line-up was complete and we started writing songs with a view to record a demo tape and start gigging. The more we rehearsed, the more it became apparent that Brian's drumming style didn't suit the style of songs we were writing; his influences were more in the Jazz Funk style and we made an amicable decision one day that it was better we part company. We then recruited Bob Brewster on drums who had previously been drumming with NWOBHM band “Salem's Witness”. Bob's drumming style was exactly what we were looking for; hard and heavy.
MMM: How would you describe the musical style of the band and what were its inspirational sources?
PL: The style of the band was unashamedly NWOBHM. I was a big fan of Iron Maiden and Angelwitch (still am) and I used to go and see them at every opportunity, Devil's Chariot was heavily influenced by those bands as well as my older influences Black Sabbath and Deep Purple.
MMM: How many originals were written during its existence and have any of these been released as an official demo tape?
PL: We wrote a full set of songs during the life of the band. I was the major songwriter and wrote all but one song (“Ghost Squadron”) which was written by Kevin. I used to also write the lyrics for the songs with occasional help from Kevin; writing lyrics wasn't Mitch's forte. We recorded a 4-track demo at Mount Pleasant Studios in London on the 9th of May 1981 and all recording and mixing was done in one day on an 8 track analogue machine. I can't remember who engineered the session, but, whoever it was had a hell of a workload on his hands LOL The songs on the demo were: “Night Of The Demon”, “White Lady”, “Werewolf” and “Ghost Squadron”. The demo was never commercially released, we just used it to get local gigs. We mostly played at The Ruskin Arms and The Electric Stadium, Chadwell Heath.
After we recorded the demo, Bob Brewster developed some painful verrucas on his right foot which made playing his bass drum difficult and was going to put him out of action for a few weeks; he decided to leave the band. After a few auditions, we recruited a young drummer called Paul Margolis (who would later be known as “Pumpy” when he played with punk band “Becky and The Bombshells” and later “Vice Squad”), Paul remained with us for the band's duration.
MMM: What caused the split of the band and when was this?
PL: The band split in 1982. We wasn't getting many gigs and Kevin started to lose interest which culminated in him leaving the band. Kev's style was such an integral part of the band as well as being a good friend and someone to bounce songwriting ideas against, I couldn't imagine Devil's Chariot with another bass player, so, with a heavy heart, I told Mitch and Paul that I thought it was the right time to split the band.
MMM: After Devil's Chariot, you were involved in a band called Flight 19 with drummer Frank Darch and singer Derek Lyon from Satan's Empire. How did the band form, when, and who were the other band-members to complete the line-up?
PL: Towards the end of Devil's Chariot, we started rehearsing in Hollywood Studios in Hackney (another studio where Iron Maiden rehearsed). I answered an advert in Melody Maker from an East London based band looking for a second guitarist and discovered that they also rehearsed at Hollywood Studios. I went along to the audition for 'Flight 19' and fitted in straight away. The band were loud and raucous which suited me to a tee. The Line-up of the band when I joined was; John Haggerty (RIP) -vocals, Keith - lead guitar, Rob Laws - bass, Frank Darch – drums. Keith (I wish I could remember his surname) was a superb guitarist and was a few years older than the rest of us, so he brought a certain amount of experience to the band; he was very much into Y&T and that influenced the band quite heavily (in a good way), of course, Frank's experience with 'More' was invaluable too. After I was with the band a short time, things weren't quite working with John; Flight 19 was developing into a very good band and, although he was a nice guy and a popular member of the band, John was a bit out of his depth and was struggling a bit, he decided it was in the best interests of the band's progression that he resigned. We started our search for a vocalist and we auditioned playing a cover of Judas Priest's “Victim Of Changes”, it proved to be a very difficult song for most of the people we auditioned and most fell by the wayside. Enter Derek Lyon from Satan's Empire. I remember Derek turning up to the audition in a brown wool check jacket and blue jeans, he didn't look like the traditional Metal vocalist, but boy, could he sing! He absolutely nailed “Victim Of Changes” together with Rob Halford's blood curdling scream on the outro, he was invited to join immediately. Flight 19 played at The Ruskin Arms and The Red Lion, Gravesend.
MMM: What was the musical style of Flight 19 and was it similar to Devil's Chariot?
PL: Flight 19 was more straight ahead Hard Rock, the music had a bit of a 'Boogie' feel to it. We would've gone down a storm at biker rallies; the influences were Y&T (as mentioned earlier) but there was also a bit of a Motorhead influence there, as well as Judas Priest, but the overall sound wasn't quite as dark as Devil's Chariot and, although the music was very heavy, it had a bit of a feel-good factor to it where the punters could equally dance or headbang to, depending on how they felt.
MMM: Was anything recorded with Flight 19, and have any of the songs from your previous band Devil's Chariot been transferred to the Flight 19 set.
PL: Nothing official was recorded by Fight 19, only one or two rehearsal tapes, no recordings still exist to my knowledge. Myself and Derek was only with Flight 19 for a few months before joining Satan's Empire. I didn't use any of my Devil's Chariot songs with Flight 19 as the set had already been written before I joined the band and I didn't stay long enough to get involved in the songwriting.
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Above left; snapshot from Devil's Chariot debut gig at the Electric Stadium, Chadwell Heath, November 16th 1981.
Below left: Paul Lewis back in '81. Photos provided by Paul Lewis
Below left: Paul Lewis back in '81. Photos provided by Paul Lewis
MMM: Not long after, you became part of the (London) Satan's Empire, was this just after the recording line-up of the “Soldiers Of War” track for the Neat 'Lead Weight' compilation, and how did this come about?
PL: Yes. Derek, Sandy and Billy Masterton (the original Satans' Empire drummer) moved to London from Dundee shortly after the release of “Soldiers Of War”. Duncan Haggert (original bass player) was unable to relocate from Dundee as he was pursuing his University studies. The decision to relocate the band was made as the band wanted to capitalise on the release of 'Lead Weight' and record companies were unwilling to make the long journey to Dundee to see what was a virtually unknown quantity. The initial reality was far removed from the band's expectations and the task of getting record companies to gigs even in London was more difficult than the band thought it would be. It was around this time that a disillusioned Derek looked to get involved in an a new project and this is when he joined 'Flight 19'. After a few months, Derek was starting to miss Satan's Empire. We had always got on really well, both musically and on a personal level in Flight 19 and when Derek decided to leave Flight 19, he asked me if I'd come along with him to join Satan's Empire. I went along for an audition at Scarf Studios in Bow, East London and things just clicked straight away and I joined there and then. The band made me feel very welcome and I felt very much part of the band from day one, it was meant to be.
MMM: When Satan's Empire folded, you resurfaced in the original line-up of VHF with Satan's Empire member Derek Lyon (vocals) and additional musicians Bill Muldowney (guitar), Sean Elliot (bass) and drummer Neil Richards. What year was this and was VHF founded by you and Derek?
PL: There was actually another short lived band that not many people have heard of between Satan's Empire and VHF called 'Sweet Revenge'. This Band featured Derek, Sandy and myself, plus a mega talented rhythm section of Gerry Brown on bass and Jay Melbourne on drums. This band was great but short lived, we recorded a 2 track demo at Scarf Studios with Nigel Palmer, a brilliant Engineer and Producer who we had worked with before with Satan's Empire. One of the tracks on the demo was the first version of “Slaves of Satan”, which later became a Satan's Empire track (opening track on Rising) Nothing really came of this, compounded with the fact that Gerry had a long journey from his home in Norwich at the time and Jay had relocated from Nottingham and was becoming disillusioned. Sweet Revenge split up after about 6 months together.
Derek and I formed VHF after Satan's Empire split. It would have been in late 1984 or early 1985. We first recruited Surrey based Neil Richards (Ex- Dumpy's Rusty Nuts) on drums, then Sean Elliot on bass. Sean lived in Blackpool and used to commute to London courtesy of his very generous dad who used to drive Sean up and down the M1 in his turbo-charged Ford Sierra Cosworth. Bill Muldowney, a young guitarist from South London joined a few months later when it was decided to expand to a twin lead line-up
MMM: Were you part of the line-up that recorded the “Heartbeat City” demo tape in '85 or were you no longer part of the band by then?
PL: Yes, the 'Heartbeat City' demo was recorded with the original line-up Soon after that recording, we made the decision to go for a darker, more Metal sound. We wanted to be able to play songs featuring double-bass drum as we had done previously with Satan's Empire, sadly, this style wasn't Neil's forte, so we reluctantly concluded that a change of drummer was needed if we were to progress in the style we wanted to play. Soon afterwards, we recruited South London based drummer Chris Bennet. Chris had played in a Punk band previously, but they had an unusual style which featured a lot of double-bass drum beats. As well as being a good double-bass drummer, Chris was also a very hard hitting drummer, so, he was exactly what we were looking for.
MMM: Have you written any VHF songs, and were there any other songs other than the tracks that appeared on the '85 “Heartbeat City” demo and the '87 “Insanity” demo, if so, could you name some titles?
PL: Yes. My musical contribution on the first demo was “Burning The Flags” and I also co-wrote “Nowhere To Hide” with Bill. Bill wrote “Heartbeat City”. Derek wrote all of the lyrics. There was another 2 track demo between the “Heartbeat City” and “Insanity” demos. This was a 2 track demo we recorded at Scarf Studios in Bow, East London on 29th and 30th November 1985 with Nigel Palmer engineering and producing. The Featured tracks were “Angel Of Fantasy” and “Crywolf”; both were my musical compositions with lyrics by Derek. I didn't feature at all on the “Insanity” demo as I had parted company with the band by then.
MMM: What happened after VHF and before the reformation of Satan's Empire, apparently you were (briefly) involved with Thunderstick and more successfully, your own, new band Belladonna that released the 3-song E.P. “High On Rock 'n Roll” in 1987; when did you get the band together and who else was in it?
PL: I left VHF because I was getting disillusioned with the band, I wasn't too keen on the new songs that were being written and felt that we were drifting apart. I was getting more into Glam Metal and the image side of things which wasn't really what VHF were about. I also felt that I was reaching the age (I was nearly 30 years old) where it was 'now or never' to make a success of my career. This led to me auditioning for Thunderstick and joining as second guitarist alongside Dave Kilford. Thunderstick was a great band and a huge step up for me playing in a band with such a big name drummer. I was totally in awe of Barry and Jodee Valentine (R.I.P, lead singer who was also Barry's wife at the time) and I was the least experienced member of the band, consequently, I had a very steep learning curve and I had to work very hard to keep up to the high standard of the band. I so wanted to do well that I was my own worst enemy and was never as confident in my playing as I had previously been with my other bands. This eventually led to me being dismissed from the band after around 3 months without ever having played a gig. The only documented evidence that I was ever in Thunderstick is an article in Kerrang, this led to me being named in the Kerrang Iron Maiden family tree due to Barry's previous tenure in the band. I often thought that I had joined Thunderstick at the wrong time and, had I joined at a later time with more experience under my belt, I would have handled things better. I met Barry again just over 2 years ago at Mearfest, it was very emotional, we were so glad to meet up again and rekindle our friendship, we now get on like a house on fire and are firm friends. The new re-formed Thunderstick line-up is awesome, they are all lovely people and I have been to see them a few times. I also got to meet Dave Kilford again at The Red Lion pub, Gravesend, Dave and I had always had a close friendship in Thunderstick but we had lost contact over the years, it was like we had never been apart when we met up again.
After Thunderstick, I decided I wanted to join or form a Glam Metal band, I was getting very heavily into bands such as Motley Crue, Ratt and Vinnie Vincent's Invasion at this point in my life and, as a lifelong Sweet and T-Rex fan, I had always been a fan of the Glam Rock era, so Glam coupled with Heavy Metal was a very exciting combination that I felt I wanted to get involved in.
I auditioned for an Italian band called Valentino, which I didn't get, but Enzo, their guitarist, introduced me to their former guitarist Geoff Roberts, he said he knew we would get on well. I met up with Geoff and we immediately hit it off. He was like an old friend from many years even though we had just met. We liked the same bands and same guitarists. We decided to put a Glam Metal band together and that was how Belladonna was conceived. We first recruited Vince Hoare on drums a young, good looking blonde drummer who was heavily into Tommy Lee and looked like a young Vince Neil – perfect. Vince was originally from South Africa and he introduced us to Chris Gaskill (son of cartoonist Dave) who became our bass player. We then began the elusive search for a lead vocalist before recruiting Helles Belles Frontman Paul Quigley. Paul really helped with the songs and was a great songwriter, however, he decided he wanted to rejoin Helles Belles after a while and although we had just recorded a demo tape and was just starting to get some really good gigs, he decided to leave. Enter Gary Zal Roberts a young and talented frontman from Leeds. Gary was the perfect frontman, a great image and lots of charisma. We gigged some more with this line-up over the London circuit. Around this time, Vince started to become depressed and homesick, we had just recorded our “Drive me Crazy” 12 inch single, Vince decided to go back home to his native Pretoria, South Africa where he was much happier. Enter Adam Parsons on drums. Adam was just what the band needed. He had a lot of enthusiasm and ambition, we took a big step up with Adam and signed to Mike Oberman's TKA agency, who also had Tiger Tailz and Tattooed Love Boys on their books. This was a very successful period in my career and we gigged all over England and had a 2 week tour of Sweden. We were regulars at The Marquee at this time and also had a couple of great reviews and articles in Kerrang magazine.
MMM: At some point, you started you own recording studio, OTR, were you however, still active as a musician before you joined up with Satan's Empire again in 2015?
PL: I started OTR Studios in 1993. I was still active as a musician. At that time I was playing in an original band called “One Track Mind”. OTM was a Bluesy Rock band that also were quite heavy, we sounded like a cross between Whitesnake, Skid Row and Pantera. We played round the London area including The Marquee and The La2 at The Astoria, We also had a monthly residency at “Perry's”; a great rock club in Tottenham in the style of the Hard Rock Cafe. When One Track Mind split, I formed another Rock band called D-Tox; that band was an original Classic Rock band that also had a bit of an “Indie” influence as I went through a bit of an Indie phase at that time. D-Tox lasted for 6 years, but wasn't very active as a gigging band. I suppose it was a bit of a hobby band for me as, at this point, I was very busy running my studios; myself and my business partner had split the partnership due to a big lull in business and I had a big job to turn round the business as the sole business owner (my wife Rose was invaluable at this time and would come in to work at the studio in the evening after finishing her day job at BT). We managed to turn the business round and it was quite successful until we had to close after 20 years trading due to the sale of the business premises by my landlord to property developers. That was the end of my business as, due to rising rents and lack of available business premises, I was unable to relocate my business.
MMM: What would you consider the most memorable moment(s) in your musical career?
PL: Joining Satan's Empire first time round. Being too close to a flash bomb during a VHF gig at The Ruskin Arms and having to play a whole gig in pain with my plastic jeans fused to my left leg. Joining Thunderstick and recording with them. Touring Sweden for the first time and playing the Marquee in Wardour street with Belladonna, exploding coke cans whilst on tour with Belladonna (we were sponsored by Coca Cola for the tour) as some cans exploded in the back of the tour bus due to a rapid change of temperature when we drove from the South to the most Northern part of Sweden. The re-formation of Satan's Empire in late 2015 and playing Brofest in February 2016. Playing in France, Holland and Belgium for the first time with Satan's Empire. Signing 2 recording contracts with Satan's Empire and releasing “Rising” in June 2016 and “Hail The Empire” in March 2020.
MMM: Anything else you'd like to add...
PL: I think I've probably gone on long enough LOL
PL: Yes. Derek, Sandy and Billy Masterton (the original Satans' Empire drummer) moved to London from Dundee shortly after the release of “Soldiers Of War”. Duncan Haggert (original bass player) was unable to relocate from Dundee as he was pursuing his University studies. The decision to relocate the band was made as the band wanted to capitalise on the release of 'Lead Weight' and record companies were unwilling to make the long journey to Dundee to see what was a virtually unknown quantity. The initial reality was far removed from the band's expectations and the task of getting record companies to gigs even in London was more difficult than the band thought it would be. It was around this time that a disillusioned Derek looked to get involved in an a new project and this is when he joined 'Flight 19'. After a few months, Derek was starting to miss Satan's Empire. We had always got on really well, both musically and on a personal level in Flight 19 and when Derek decided to leave Flight 19, he asked me if I'd come along with him to join Satan's Empire. I went along for an audition at Scarf Studios in Bow, East London and things just clicked straight away and I joined there and then. The band made me feel very welcome and I felt very much part of the band from day one, it was meant to be.
MMM: When Satan's Empire folded, you resurfaced in the original line-up of VHF with Satan's Empire member Derek Lyon (vocals) and additional musicians Bill Muldowney (guitar), Sean Elliot (bass) and drummer Neil Richards. What year was this and was VHF founded by you and Derek?
PL: There was actually another short lived band that not many people have heard of between Satan's Empire and VHF called 'Sweet Revenge'. This Band featured Derek, Sandy and myself, plus a mega talented rhythm section of Gerry Brown on bass and Jay Melbourne on drums. This band was great but short lived, we recorded a 2 track demo at Scarf Studios with Nigel Palmer, a brilliant Engineer and Producer who we had worked with before with Satan's Empire. One of the tracks on the demo was the first version of “Slaves of Satan”, which later became a Satan's Empire track (opening track on Rising) Nothing really came of this, compounded with the fact that Gerry had a long journey from his home in Norwich at the time and Jay had relocated from Nottingham and was becoming disillusioned. Sweet Revenge split up after about 6 months together.
Derek and I formed VHF after Satan's Empire split. It would have been in late 1984 or early 1985. We first recruited Surrey based Neil Richards (Ex- Dumpy's Rusty Nuts) on drums, then Sean Elliot on bass. Sean lived in Blackpool and used to commute to London courtesy of his very generous dad who used to drive Sean up and down the M1 in his turbo-charged Ford Sierra Cosworth. Bill Muldowney, a young guitarist from South London joined a few months later when it was decided to expand to a twin lead line-up
MMM: Were you part of the line-up that recorded the “Heartbeat City” demo tape in '85 or were you no longer part of the band by then?
PL: Yes, the 'Heartbeat City' demo was recorded with the original line-up Soon after that recording, we made the decision to go for a darker, more Metal sound. We wanted to be able to play songs featuring double-bass drum as we had done previously with Satan's Empire, sadly, this style wasn't Neil's forte, so we reluctantly concluded that a change of drummer was needed if we were to progress in the style we wanted to play. Soon afterwards, we recruited South London based drummer Chris Bennet. Chris had played in a Punk band previously, but they had an unusual style which featured a lot of double-bass drum beats. As well as being a good double-bass drummer, Chris was also a very hard hitting drummer, so, he was exactly what we were looking for.
MMM: Have you written any VHF songs, and were there any other songs other than the tracks that appeared on the '85 “Heartbeat City” demo and the '87 “Insanity” demo, if so, could you name some titles?
PL: Yes. My musical contribution on the first demo was “Burning The Flags” and I also co-wrote “Nowhere To Hide” with Bill. Bill wrote “Heartbeat City”. Derek wrote all of the lyrics. There was another 2 track demo between the “Heartbeat City” and “Insanity” demos. This was a 2 track demo we recorded at Scarf Studios in Bow, East London on 29th and 30th November 1985 with Nigel Palmer engineering and producing. The Featured tracks were “Angel Of Fantasy” and “Crywolf”; both were my musical compositions with lyrics by Derek. I didn't feature at all on the “Insanity” demo as I had parted company with the band by then.
MMM: What happened after VHF and before the reformation of Satan's Empire, apparently you were (briefly) involved with Thunderstick and more successfully, your own, new band Belladonna that released the 3-song E.P. “High On Rock 'n Roll” in 1987; when did you get the band together and who else was in it?
PL: I left VHF because I was getting disillusioned with the band, I wasn't too keen on the new songs that were being written and felt that we were drifting apart. I was getting more into Glam Metal and the image side of things which wasn't really what VHF were about. I also felt that I was reaching the age (I was nearly 30 years old) where it was 'now or never' to make a success of my career. This led to me auditioning for Thunderstick and joining as second guitarist alongside Dave Kilford. Thunderstick was a great band and a huge step up for me playing in a band with such a big name drummer. I was totally in awe of Barry and Jodee Valentine (R.I.P, lead singer who was also Barry's wife at the time) and I was the least experienced member of the band, consequently, I had a very steep learning curve and I had to work very hard to keep up to the high standard of the band. I so wanted to do well that I was my own worst enemy and was never as confident in my playing as I had previously been with my other bands. This eventually led to me being dismissed from the band after around 3 months without ever having played a gig. The only documented evidence that I was ever in Thunderstick is an article in Kerrang, this led to me being named in the Kerrang Iron Maiden family tree due to Barry's previous tenure in the band. I often thought that I had joined Thunderstick at the wrong time and, had I joined at a later time with more experience under my belt, I would have handled things better. I met Barry again just over 2 years ago at Mearfest, it was very emotional, we were so glad to meet up again and rekindle our friendship, we now get on like a house on fire and are firm friends. The new re-formed Thunderstick line-up is awesome, they are all lovely people and I have been to see them a few times. I also got to meet Dave Kilford again at The Red Lion pub, Gravesend, Dave and I had always had a close friendship in Thunderstick but we had lost contact over the years, it was like we had never been apart when we met up again.
After Thunderstick, I decided I wanted to join or form a Glam Metal band, I was getting very heavily into bands such as Motley Crue, Ratt and Vinnie Vincent's Invasion at this point in my life and, as a lifelong Sweet and T-Rex fan, I had always been a fan of the Glam Rock era, so Glam coupled with Heavy Metal was a very exciting combination that I felt I wanted to get involved in.
I auditioned for an Italian band called Valentino, which I didn't get, but Enzo, their guitarist, introduced me to their former guitarist Geoff Roberts, he said he knew we would get on well. I met up with Geoff and we immediately hit it off. He was like an old friend from many years even though we had just met. We liked the same bands and same guitarists. We decided to put a Glam Metal band together and that was how Belladonna was conceived. We first recruited Vince Hoare on drums a young, good looking blonde drummer who was heavily into Tommy Lee and looked like a young Vince Neil – perfect. Vince was originally from South Africa and he introduced us to Chris Gaskill (son of cartoonist Dave) who became our bass player. We then began the elusive search for a lead vocalist before recruiting Helles Belles Frontman Paul Quigley. Paul really helped with the songs and was a great songwriter, however, he decided he wanted to rejoin Helles Belles after a while and although we had just recorded a demo tape and was just starting to get some really good gigs, he decided to leave. Enter Gary Zal Roberts a young and talented frontman from Leeds. Gary was the perfect frontman, a great image and lots of charisma. We gigged some more with this line-up over the London circuit. Around this time, Vince started to become depressed and homesick, we had just recorded our “Drive me Crazy” 12 inch single, Vince decided to go back home to his native Pretoria, South Africa where he was much happier. Enter Adam Parsons on drums. Adam was just what the band needed. He had a lot of enthusiasm and ambition, we took a big step up with Adam and signed to Mike Oberman's TKA agency, who also had Tiger Tailz and Tattooed Love Boys on their books. This was a very successful period in my career and we gigged all over England and had a 2 week tour of Sweden. We were regulars at The Marquee at this time and also had a couple of great reviews and articles in Kerrang magazine.
MMM: At some point, you started you own recording studio, OTR, were you however, still active as a musician before you joined up with Satan's Empire again in 2015?
PL: I started OTR Studios in 1993. I was still active as a musician. At that time I was playing in an original band called “One Track Mind”. OTM was a Bluesy Rock band that also were quite heavy, we sounded like a cross between Whitesnake, Skid Row and Pantera. We played round the London area including The Marquee and The La2 at The Astoria, We also had a monthly residency at “Perry's”; a great rock club in Tottenham in the style of the Hard Rock Cafe. When One Track Mind split, I formed another Rock band called D-Tox; that band was an original Classic Rock band that also had a bit of an “Indie” influence as I went through a bit of an Indie phase at that time. D-Tox lasted for 6 years, but wasn't very active as a gigging band. I suppose it was a bit of a hobby band for me as, at this point, I was very busy running my studios; myself and my business partner had split the partnership due to a big lull in business and I had a big job to turn round the business as the sole business owner (my wife Rose was invaluable at this time and would come in to work at the studio in the evening after finishing her day job at BT). We managed to turn the business round and it was quite successful until we had to close after 20 years trading due to the sale of the business premises by my landlord to property developers. That was the end of my business as, due to rising rents and lack of available business premises, I was unable to relocate my business.
MMM: What would you consider the most memorable moment(s) in your musical career?
PL: Joining Satan's Empire first time round. Being too close to a flash bomb during a VHF gig at The Ruskin Arms and having to play a whole gig in pain with my plastic jeans fused to my left leg. Joining Thunderstick and recording with them. Touring Sweden for the first time and playing the Marquee in Wardour street with Belladonna, exploding coke cans whilst on tour with Belladonna (we were sponsored by Coca Cola for the tour) as some cans exploded in the back of the tour bus due to a rapid change of temperature when we drove from the South to the most Northern part of Sweden. The re-formation of Satan's Empire in late 2015 and playing Brofest in February 2016. Playing in France, Holland and Belgium for the first time with Satan's Empire. Signing 2 recording contracts with Satan's Empire and releasing “Rising” in June 2016 and “Hail The Empire” in March 2020.
MMM: Anything else you'd like to add...
PL: I think I've probably gone on long enough LOL
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Above left: ARC in the studio, 'Tribute' line up l to r; Geoff, John, Mike, Dennis, Steve. Above right: Arc gig poster.
ARC 1981 'War Of The Ring' line up, from left to right: Steve, Phil, John, Geoff, Mike.
Photo was used as a promotional pic for the 'War Of The Ring' single and taken on the Malvern Hills by Martin Knight
Photo was used as a promotional pic for the 'War Of The Ring' single and taken on the Malvern Hills by Martin Knight
ARC interview with Mike Whitbread and David Towers
Stourport / U.K based ARC is one of the many quality bands that simply got lost in the abundance of NWOBHM acts that emerged in the early 80's. With the resurgence of NWOBM in more recent times, ARC (not to be confused with ARC Rock Band ) came to the attention of collectors and avid fans of the genre, with the scarcity and musical potential of their singles skyrocketing the band to the upper echelons of 'rediscovered' NWOBHM gems.
Here's an interview with original member, guitarist Mike Whitbread and bassist David Towers who played with the Whitbread Brothers, Mike, Geoff, and John in Red Hunter from 1998 till 2003 and the re-formed ARC with Geoff on drums and lead vocals and Mike on lead guitar from 2007 till 2012.
Manic Mosh: How and when did the band get together and what was the very first line-up of ARC?
Mike Whitbread: The original ARC was John, Geoff, me, Steve Slater on bass and Dennis Paszkowec on rhythm guitar, and we were formed in 1979. We all lived locally in Stourport. Dennis worked with me at a local engineering company. He did technical drawing and we asked him to join. Dennis knew Steve, so he also joined Neither of them played guitar or bass when they joined so they had to learn fast.
MM: Has there been any 'officially' released demo tapes prior to the “Tribute” single?
MW: We did some studio work and recorded some original material, but it was never sold or promoted. We approached major companies like EMI and Virgin, but they were not interested. They all said they already had too many bands on their books.
MM: By the time it got to the recording of the debut single, there were a few line-up changes...what happened?
MW: I was in ARC from the start in 1979 till we split in 1986. The same original line up of ARC - me, John, Geoff, Steve, and Dennis – were the ones who recorded 'Tribute’ and ‘For my next Kick’ at the Old Smithy Studio in Kempsey near Worcester about 20 miles south of here. The changes in the line up came in 1980 between the release of ‘Tribute’ and ‘War of the Ring’.
After the ‘Tribute’ single, Steve and Dennis left to form a band of their own, because they wanted to do something different. John was then put into contact with bass player Steve Potter and guitarist Phil Lynch who both lived in Malvern, about 25 miles away. We asked them to join ARC and they both accepted. They then had the tough task of learning about 15 original songs before we could start playing gigs again.
MM: How many copies of the “Tribute To Mark Hailwood” single were pressed and was the 'Orchrist' label a way to name its independent release or was it an actual label?
MW: Orcrist wasn’t a record company, it was our own invention. The name was John’s idea and it was just used for the 'Tribute' single. I think it was the name of a sword in the 'Hobbit'. The Old Smithy Recording Studios put us in contact with a record-pressing factory in the Black Country, near Birmingham and we had 500 copies pressed of the ‘Tribute’ single.
MM: The material on the single sounds almost like a live studio / one take recording with later added dubs...
MW: It was recorded live together in the studio in two or three takes with maybe a couple of minor overdubs. We were well rehearsed because we had written the song some time before and we had been playing it on stage for some time. It was certainly not put together in the studio.
MM: Has there ever been a concept for a sleeve and what has been the reason it got released without one?
MW: We didn’t think about a proper sleeve for the 'Tribute' single. That came about when we released ‘War of the Ring’. It was John’s idea. He was very artistic and he designed the whole thing.
MM: So, where was the '81 'War Of The Ring' single recorded and what was the exact number of copies pressed?
MW: We recorded ‘War Of The Ring’ and ‘Ice Cream Theme’ at a mobile studio at a farm outside Worcester. We had 1,000 copies pressed, but I can’t remember where it was done. I think John found them, but it was not the same factory that pressed ‘Tribute’. The covers were printed by a small printing company in Stourport. They were delivered unglued, so we had to glue them ourselves. This is why when you see a copy of ‘War Of The Ring’ the cover has usually come unstuck or been re-glued.
Whenever I see the lyrics for ‘War Of The Ring’ published they are usually incorrect. These are the correct lyrics.
WAR OF THE RING © Copyright ARC 1981
Through Sauron's veil
One red eye pierces through the darkened skies
The Nazgul fly through the air
Shadows stain like black sin polluted rain
All are forsaken by fear
Mithril flash
And orc skulls smashed
And bones are dash to the ground
Within his tower, Sauron unleashes power
No sanctuary to be found
[Chorus]
Ring forged in Mordor's fire
Ringwraiths shall find you
Bearer of Sauron's ring
In darkness he shall blind you
Balrog’s breath, Mithrandir's death
But his spirit shall rise
Witch King dies, corrupting where he lies
Light reborn to the skies
Mordor's might, like an ever seething night
Spills like blood from a vein
Free people soon, prepare to meet their doom
Fate tips the balance again
[Chorus x2]
[solo]
[Chorus x2]
Blind you
MM: Was 'Slipped Disc records' another independent release and if so, why did it change name from 'Orchrist' to 'Slipped Disc'?
MW: We financed the recording and pressing of both singles ourselves. None of the major labels we approached wanted to know. Orcrist and Slipped Disc were not record companies or record labels, but were names John thought up for the purpose of pressing those two singles.
Geoff and John were both interested in the stories of the Hobbit. On a camping holiday in Wales with friends we decided to write another single, so the three of us just sat down and wrote it. The basis for the song ‘War Of The Ring’ is about good against evil.
MM: The style had now also considerably changed with a turn towards Doom / Atmospheric edged Metal with certain similarities to Judas Priest's “Victim Of Changes” on the slow burner “Ice Cream Theme”, complete with ad-lib guitar solo. Has the early Judas Priest material been an inspirational source for the band?
MW: John was very influenced by Judas Priest. I was influenced by Black Sabbath, Thin Lizzy and Steve Hackett, but I didn’t set out to copy anyone. I was always careful to develop my own style and guitar licks.
David Towers: We played ‘Living After Midnight‘ on stage with Red Hunter.
MM: Who played the lead guitar on this one, was this Phil Lynch or you, Mike?
MW: I played lead guitar on all ARC and Red Hunter recordings. Phil Lynch played rhythm guitar on ‘Ice Cream Theme’. I came up with the idea for the song and John wrote the lyrics. It is about an ice cream salesman who is bored with his job. I wanted us to play something completely different to what everyone else was writing and playing.
MM: At the time, there was also another U.K band around with the very same name. Is it therefore that the other act was named A.R.C Rock Band in order to avoid any possible confusion?
MW: We were aware at the time that there was a band with a similar name, although they were about three of four years after us. I think they were from the Birmingham area. Our name ARC came about when our mother was travelling on a bus. As the bus passed a factory she saw a welder at work and suddenly there was a flash from the welding rod that formed an arc. And so we were ARC.
MM: It seems you guys gigged frequently; have you supported any more common known acts and what has been the most memorable show of the band?
MW: We played frequently, sometimes all over the country. We did a big tour in 1981 to try and promote the ‘War Of The Ring’ single after it was released. We sold the single at the shows on the tour. Usually other local bands supported us on the same bill. The only major act we supported was the Steve Gibbons Band at a hall near Dudley.
The most memorable shows were at the Granary in Bristol and the Market Tavern somewhere in the West Country. I can’t remember where. We played there several times with both the 'Tribute' and 'War Of The Ring' line ups, but the 'War Of The Ring' shows were best because of the interest in that single at the time.
MM: What do you reckon has held back the success of the band as the potential definitely was there, only to be recognized in more recent times with the resurgence of the NWOBHM genre.
MW: We always set out to enjoy ourselves. Our set list was original material, but towards the end of a show we would play some covers like ‘Born To Be Wild’ to please the audience, because it is hard work for an audience to listen to a whole set of original songs. We all wore leather jackets and jeans on stage like bikers. Our attempts to seek publicity and a recording contract were not successful, but in 2019 High Roller Records released the ARC and Red Hunter recordings on CD and vinyl.
MM: What caused the split of ARC?
MW: Well, John got married and moved to Devon 170 miles away and I got married too. After that I didn’t do much, but I spent my time practising and learning new riffs. John and Geoff did a few things together between the two bands, like their time with the Black And Blues band. They made a cassette with 'Leviathan', 'Monday Morning Blues' and three covers – 'Tutti Frutti', 'Walk Right Back' and 'Woolly Boolly'. I think Phil Lynch was on those sessions too.
MM: Then, many years later, original members of ARC resurfaced as RED HUNTER and released an album; “Honestly, At Their Age” in 2001, displaying a potent mix of melodic edged, classic riffed NWOBHM with traces of Grimreaper and Traitor's Gate. How did the reunion and album come about, and when and how did Dave join the band?
MW: The name Red Hunter was my idea. It was the name of a motorcycle made by Ariel. It was my father’s favourite bike and he made one out of bits and pieces, which I still have. I got divorced and John’s marriage had also broken up, so I suggested we form another band. John and Geoff both lived in Thame in Oxfordshire, about 80 miles south of Kidderminster.
In early 1998 we put an advertisement in my local Kidderminster paper for a bass player and Dave answered the advert. He came around to my house to meet us and we asked him to join. He had been in a club band for 30 years and he had managed it for the last 20 years, so he had lots of contacts for getting gigs, which is what we wanted. We rehearsed a mixture of covers and originals here in the attic of my house. In clubs we only played covers, but in pubs, we played a mixture of covers and our own songs. John then moved to north London, 120 miles away, Geoff was in Thame, and me and Dave were in Kidderminster, so our gigs were all along the M40 corridor. Sometimes me and Dave travelled south for gigs, sometimes Geoff and John travelled north.
The Red Hunter CD was recorded at Smallwood Studios in Redditch, about 20 miles away, in April 2001. The engineer was Mat Webster. We recorded some songs from the ARC days, but it was mainly recent compositions by Geoff and John. Prior to the recordings, we warmed up on the first day by playing some covers that we featured in our set, and these were recorded for our own use. The instruments were plugged directly into the board and Geoff’s drums were gated, so there was no crossover during the recordings. Geoff and John produced all the songs. They said they knew exactly how they were all going to sound before we had even started the recording process. We also recorded a live set in 2000 when we entered a local band competition. We have that on CD, too. We wanted to record some of the newer songs, but we did not approach anyone about a record deal. I have the master tapes for the Red Hunter stuff and I have the ARC singles and the Black and Blues band stuff in digital format on CD.
MM: So, what happened to Red Hunter?
MW: John just seemed to lose interest and he and Geoff moved to Scotland. The Red Hunter CD should have been promoted properly, but it wasn’t. We made our own copies and we sold them at gigs. It was never an official CD release. ‘Ice Cream Theme’ has new lyrics added to it and it became ‘New Millennium’ on the Red Hunter CD. ‘Leviathan’ also came from the ARC days. John was responsible for writing most of the lyrics. No one ever approached us about re-releasing the ARC or the Red Hunter stuff until High Roller Records contacted us two years ago .
MM: Although it is many years from when you guys first started, trying to get the music out there without label support or international press feedback to lift it to a higher plan, it must be a great thing to see the Metal scene finally picked up on the quality of your band.
DT: In 2018, I was approached by High Roller Records in Germany about the possibility of re-releasing the two ARC singles and their ‘B’ sides. They are major producers of all kinds of Heavy Rock records. I was asked whether there was any other unreleased ARC material. So I went to Mike’s house and we sorted through some boxes of memorabilia and we found various cassette tapes. I took them home and catalogued their contents and then sent them to High Roller Records. We did not consider the tapes to be anywhere near sufficient sound quality for release, but to our great surprise after a few weeks we were sent an mp3 of ARC music which was to form a 36-track double CD and double album. The sound quality was superb considering the quality of the source. The CD also contains the Red Hunter CD and three live tracks, but the double vinyl albums on clear or black vinyl only contain the ARC recordings. It took me 18 months with Mike’s help to organise this and it was released in June 2019. Sadly, Geoff died just before its release.
MW: At last much of the work ARC did has finally seen the light of day after 40 years.
MM: Anything else you'd like to add...
MW: I now play for a local covers band called the Transporters and I occasionally attend local open mic nights.
DT: I occasionally play bass guitar for a local Rock and Roll band, and sometimes at an open mic night, but most of my work for many years has been playing double bass for a Jazz quartet and for a larger Jazz and Blues band.
Stourport / U.K based ARC is one of the many quality bands that simply got lost in the abundance of NWOBHM acts that emerged in the early 80's. With the resurgence of NWOBM in more recent times, ARC (not to be confused with ARC Rock Band ) came to the attention of collectors and avid fans of the genre, with the scarcity and musical potential of their singles skyrocketing the band to the upper echelons of 'rediscovered' NWOBHM gems.
Here's an interview with original member, guitarist Mike Whitbread and bassist David Towers who played with the Whitbread Brothers, Mike, Geoff, and John in Red Hunter from 1998 till 2003 and the re-formed ARC with Geoff on drums and lead vocals and Mike on lead guitar from 2007 till 2012.
Manic Mosh: How and when did the band get together and what was the very first line-up of ARC?
Mike Whitbread: The original ARC was John, Geoff, me, Steve Slater on bass and Dennis Paszkowec on rhythm guitar, and we were formed in 1979. We all lived locally in Stourport. Dennis worked with me at a local engineering company. He did technical drawing and we asked him to join. Dennis knew Steve, so he also joined Neither of them played guitar or bass when they joined so they had to learn fast.
MM: Has there been any 'officially' released demo tapes prior to the “Tribute” single?
MW: We did some studio work and recorded some original material, but it was never sold or promoted. We approached major companies like EMI and Virgin, but they were not interested. They all said they already had too many bands on their books.
MM: By the time it got to the recording of the debut single, there were a few line-up changes...what happened?
MW: I was in ARC from the start in 1979 till we split in 1986. The same original line up of ARC - me, John, Geoff, Steve, and Dennis – were the ones who recorded 'Tribute’ and ‘For my next Kick’ at the Old Smithy Studio in Kempsey near Worcester about 20 miles south of here. The changes in the line up came in 1980 between the release of ‘Tribute’ and ‘War of the Ring’.
After the ‘Tribute’ single, Steve and Dennis left to form a band of their own, because they wanted to do something different. John was then put into contact with bass player Steve Potter and guitarist Phil Lynch who both lived in Malvern, about 25 miles away. We asked them to join ARC and they both accepted. They then had the tough task of learning about 15 original songs before we could start playing gigs again.
MM: How many copies of the “Tribute To Mark Hailwood” single were pressed and was the 'Orchrist' label a way to name its independent release or was it an actual label?
MW: Orcrist wasn’t a record company, it was our own invention. The name was John’s idea and it was just used for the 'Tribute' single. I think it was the name of a sword in the 'Hobbit'. The Old Smithy Recording Studios put us in contact with a record-pressing factory in the Black Country, near Birmingham and we had 500 copies pressed of the ‘Tribute’ single.
MM: The material on the single sounds almost like a live studio / one take recording with later added dubs...
MW: It was recorded live together in the studio in two or three takes with maybe a couple of minor overdubs. We were well rehearsed because we had written the song some time before and we had been playing it on stage for some time. It was certainly not put together in the studio.
MM: Has there ever been a concept for a sleeve and what has been the reason it got released without one?
MW: We didn’t think about a proper sleeve for the 'Tribute' single. That came about when we released ‘War of the Ring’. It was John’s idea. He was very artistic and he designed the whole thing.
MM: So, where was the '81 'War Of The Ring' single recorded and what was the exact number of copies pressed?
MW: We recorded ‘War Of The Ring’ and ‘Ice Cream Theme’ at a mobile studio at a farm outside Worcester. We had 1,000 copies pressed, but I can’t remember where it was done. I think John found them, but it was not the same factory that pressed ‘Tribute’. The covers were printed by a small printing company in Stourport. They were delivered unglued, so we had to glue them ourselves. This is why when you see a copy of ‘War Of The Ring’ the cover has usually come unstuck or been re-glued.
Whenever I see the lyrics for ‘War Of The Ring’ published they are usually incorrect. These are the correct lyrics.
WAR OF THE RING © Copyright ARC 1981
Through Sauron's veil
One red eye pierces through the darkened skies
The Nazgul fly through the air
Shadows stain like black sin polluted rain
All are forsaken by fear
Mithril flash
And orc skulls smashed
And bones are dash to the ground
Within his tower, Sauron unleashes power
No sanctuary to be found
[Chorus]
Ring forged in Mordor's fire
Ringwraiths shall find you
Bearer of Sauron's ring
In darkness he shall blind you
Balrog’s breath, Mithrandir's death
But his spirit shall rise
Witch King dies, corrupting where he lies
Light reborn to the skies
Mordor's might, like an ever seething night
Spills like blood from a vein
Free people soon, prepare to meet their doom
Fate tips the balance again
[Chorus x2]
[solo]
[Chorus x2]
Blind you
MM: Was 'Slipped Disc records' another independent release and if so, why did it change name from 'Orchrist' to 'Slipped Disc'?
MW: We financed the recording and pressing of both singles ourselves. None of the major labels we approached wanted to know. Orcrist and Slipped Disc were not record companies or record labels, but were names John thought up for the purpose of pressing those two singles.
Geoff and John were both interested in the stories of the Hobbit. On a camping holiday in Wales with friends we decided to write another single, so the three of us just sat down and wrote it. The basis for the song ‘War Of The Ring’ is about good against evil.
MM: The style had now also considerably changed with a turn towards Doom / Atmospheric edged Metal with certain similarities to Judas Priest's “Victim Of Changes” on the slow burner “Ice Cream Theme”, complete with ad-lib guitar solo. Has the early Judas Priest material been an inspirational source for the band?
MW: John was very influenced by Judas Priest. I was influenced by Black Sabbath, Thin Lizzy and Steve Hackett, but I didn’t set out to copy anyone. I was always careful to develop my own style and guitar licks.
David Towers: We played ‘Living After Midnight‘ on stage with Red Hunter.
MM: Who played the lead guitar on this one, was this Phil Lynch or you, Mike?
MW: I played lead guitar on all ARC and Red Hunter recordings. Phil Lynch played rhythm guitar on ‘Ice Cream Theme’. I came up with the idea for the song and John wrote the lyrics. It is about an ice cream salesman who is bored with his job. I wanted us to play something completely different to what everyone else was writing and playing.
MM: At the time, there was also another U.K band around with the very same name. Is it therefore that the other act was named A.R.C Rock Band in order to avoid any possible confusion?
MW: We were aware at the time that there was a band with a similar name, although they were about three of four years after us. I think they were from the Birmingham area. Our name ARC came about when our mother was travelling on a bus. As the bus passed a factory she saw a welder at work and suddenly there was a flash from the welding rod that formed an arc. And so we were ARC.
MM: It seems you guys gigged frequently; have you supported any more common known acts and what has been the most memorable show of the band?
MW: We played frequently, sometimes all over the country. We did a big tour in 1981 to try and promote the ‘War Of The Ring’ single after it was released. We sold the single at the shows on the tour. Usually other local bands supported us on the same bill. The only major act we supported was the Steve Gibbons Band at a hall near Dudley.
The most memorable shows were at the Granary in Bristol and the Market Tavern somewhere in the West Country. I can’t remember where. We played there several times with both the 'Tribute' and 'War Of The Ring' line ups, but the 'War Of The Ring' shows were best because of the interest in that single at the time.
MM: What do you reckon has held back the success of the band as the potential definitely was there, only to be recognized in more recent times with the resurgence of the NWOBHM genre.
MW: We always set out to enjoy ourselves. Our set list was original material, but towards the end of a show we would play some covers like ‘Born To Be Wild’ to please the audience, because it is hard work for an audience to listen to a whole set of original songs. We all wore leather jackets and jeans on stage like bikers. Our attempts to seek publicity and a recording contract were not successful, but in 2019 High Roller Records released the ARC and Red Hunter recordings on CD and vinyl.
MM: What caused the split of ARC?
MW: Well, John got married and moved to Devon 170 miles away and I got married too. After that I didn’t do much, but I spent my time practising and learning new riffs. John and Geoff did a few things together between the two bands, like their time with the Black And Blues band. They made a cassette with 'Leviathan', 'Monday Morning Blues' and three covers – 'Tutti Frutti', 'Walk Right Back' and 'Woolly Boolly'. I think Phil Lynch was on those sessions too.
MM: Then, many years later, original members of ARC resurfaced as RED HUNTER and released an album; “Honestly, At Their Age” in 2001, displaying a potent mix of melodic edged, classic riffed NWOBHM with traces of Grimreaper and Traitor's Gate. How did the reunion and album come about, and when and how did Dave join the band?
MW: The name Red Hunter was my idea. It was the name of a motorcycle made by Ariel. It was my father’s favourite bike and he made one out of bits and pieces, which I still have. I got divorced and John’s marriage had also broken up, so I suggested we form another band. John and Geoff both lived in Thame in Oxfordshire, about 80 miles south of Kidderminster.
In early 1998 we put an advertisement in my local Kidderminster paper for a bass player and Dave answered the advert. He came around to my house to meet us and we asked him to join. He had been in a club band for 30 years and he had managed it for the last 20 years, so he had lots of contacts for getting gigs, which is what we wanted. We rehearsed a mixture of covers and originals here in the attic of my house. In clubs we only played covers, but in pubs, we played a mixture of covers and our own songs. John then moved to north London, 120 miles away, Geoff was in Thame, and me and Dave were in Kidderminster, so our gigs were all along the M40 corridor. Sometimes me and Dave travelled south for gigs, sometimes Geoff and John travelled north.
The Red Hunter CD was recorded at Smallwood Studios in Redditch, about 20 miles away, in April 2001. The engineer was Mat Webster. We recorded some songs from the ARC days, but it was mainly recent compositions by Geoff and John. Prior to the recordings, we warmed up on the first day by playing some covers that we featured in our set, and these were recorded for our own use. The instruments were plugged directly into the board and Geoff’s drums were gated, so there was no crossover during the recordings. Geoff and John produced all the songs. They said they knew exactly how they were all going to sound before we had even started the recording process. We also recorded a live set in 2000 when we entered a local band competition. We have that on CD, too. We wanted to record some of the newer songs, but we did not approach anyone about a record deal. I have the master tapes for the Red Hunter stuff and I have the ARC singles and the Black and Blues band stuff in digital format on CD.
MM: So, what happened to Red Hunter?
MW: John just seemed to lose interest and he and Geoff moved to Scotland. The Red Hunter CD should have been promoted properly, but it wasn’t. We made our own copies and we sold them at gigs. It was never an official CD release. ‘Ice Cream Theme’ has new lyrics added to it and it became ‘New Millennium’ on the Red Hunter CD. ‘Leviathan’ also came from the ARC days. John was responsible for writing most of the lyrics. No one ever approached us about re-releasing the ARC or the Red Hunter stuff until High Roller Records contacted us two years ago .
MM: Although it is many years from when you guys first started, trying to get the music out there without label support or international press feedback to lift it to a higher plan, it must be a great thing to see the Metal scene finally picked up on the quality of your band.
DT: In 2018, I was approached by High Roller Records in Germany about the possibility of re-releasing the two ARC singles and their ‘B’ sides. They are major producers of all kinds of Heavy Rock records. I was asked whether there was any other unreleased ARC material. So I went to Mike’s house and we sorted through some boxes of memorabilia and we found various cassette tapes. I took them home and catalogued their contents and then sent them to High Roller Records. We did not consider the tapes to be anywhere near sufficient sound quality for release, but to our great surprise after a few weeks we were sent an mp3 of ARC music which was to form a 36-track double CD and double album. The sound quality was superb considering the quality of the source. The CD also contains the Red Hunter CD and three live tracks, but the double vinyl albums on clear or black vinyl only contain the ARC recordings. It took me 18 months with Mike’s help to organise this and it was released in June 2019. Sadly, Geoff died just before its release.
MW: At last much of the work ARC did has finally seen the light of day after 40 years.
MM: Anything else you'd like to add...
MW: I now play for a local covers band called the Transporters and I occasionally attend local open mic nights.
DT: I occasionally play bass guitar for a local Rock and Roll band, and sometimes at an open mic night, but most of my work for many years has been playing double bass for a Jazz quartet and for a larger Jazz and Blues band.
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ARC – 7” UK'80 “Tribute” (To Mark Hailwood)”
label: Orcrist records (private)
songs: Tribute (To Mark Hailwood) / For My Next Kick //
First out of a 2-single career by this Stourport based band, independently released on their very own Orcrist 'label' in a limited press of 500 copies that were never issued with a picture sleeve. A side number, “Tribute” is 70's styled mid / up-tempo HardRock number with slower, Doom-edged passages, psychedelic choirs and vocals with piercing, higher pitched modes. Arc neatly merge the Psychedelic thing with a mild, Progressive edge whilst still retaining this raw, unpolished appearance that is complimented by the fact that this indeed is a live studio take. Flipside tune, “For My Next Kick” has the higher pitched vocals in the centre of attention, and rolls on a more straight forward up-tempo drive and sort of sounds like the material found on the Heavy Metal Heroes vol.I compilation. In all, a promising set of songs that offered just that little bit extra in atmosphere and appearance, yet it failed to grasp the attention of record labels despite the band's efforts to do so.
specs: never in picture sleeve / limited press of 500 copies
Paul van der Burght
ARC – 7” 81 “War Of The Ring”
label: Slipped Disc records
songs: War Of The Ring / Ice Cream Theme //
This follow-up single was another independent release, on the band's newly named and private Slipped Disc 'label'. The single was also recorded in a modified line-up and finds the band increasing on the lightly Doom tinged approach, as clearly evidenced on the title-track; a moderately paced Metal number that sounds much like Sabbath meets early Judas Priest, two of the band's inspirational sources. Again, the vocals are the centre-point of the music, delivering a theatrical voice that goes from rough and narrative to siren-like a la Rob Halford. Inspired by stories of The Hobbit (J.R.R Tolkien's literary work), the song is surrounded by a mystical atmosphere that finds its expression in the lead vocals, the Gregorian type chants, Folk-ish modes and the lyrical content. The oddly titled “Ice Cream Theme” (which would re-appear in 2001 on the Red Hunter album as “New Millennium” and fitted with different lyrics) is a largely guitar oriented affair and shows more than one similarity to Judas Priest, topping the reach in a “Victim Of Changes” style falsetto. This slow burner has gained guitars rather than distorted feedback but still sounds very heavy and solid because of its delivery, 'raw' feel and all-Metal style vocals. The ad-lib guitar solo further compliments the real and unpolished feel and gives the song this 70's (Hard) Rock vibe. This 2-songer, pressed in a run of 1000 copies, is an excellent coupling of quality tracks and the one single that the band is most know for. This single was the last thing the band did as Arc split up in 1986 with three of its original members resurfacing in a band called Red Hunter in 1998 with bassist David Towers to complete the line up.
specs: 1000 copies
Paul van der Burght
ARC – 2019 “Raiders Of The Lost Arc”
label: High Roller records
This is a collection of ARC and Red Hunter material captured on both CD and vinyl format, released and available via High Roller records here: https://www.hrrecords.de/
RED HUNTER – CDR 2001 “Honestly...At their age...”
label: Orcrist (private)
Independently made CDR
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Above left: Red Hunter line up 2001. Above centre and right: Red Hunter CDR
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BEYOND SHADOWS – E.P 2020 “Wolf's Blood”
label: private
songs: Never An Answer / Wolf's Blood / Regret Is My Name / Screaming Eyes (Go Unheard) //
web: https://www.facebook.com/beyondshadows/
Beyond Shadows is a 2-man project originated by former members of 90's Thrash unit Midian whose “The Last War” demo tape was all over the international fanzine scene. The new material however shows a completely different direction although the intensity factor of the old days has remained intact. Beyond Shadows deliver a brand of modern styled, melodic DeathMetal with a Nordic backbone and atmospheric vibes. There's hints of DeathThrash down the fast-slow patterned “Never An Answer”, whilst “Regret Is My Name” couples Thrashy riffs with Nordic modes and Blackened DeathMetal over blast beats and machine-gun style bass-drums provided by Chris Hawkins. The Nordic atmospheres slip into dramatic modes down “Screamy Eyes”, lightly tending towards the Goth thing without the use of choirs or synths. The melodic undertone Throughout the material, the melodic undertone is mainly brought in by the harmonized guitars but also reflects in the overall sense for balance that nicely merges with the intensity of the vocals and drums. “Wolf's Blood” is a textbook performance and carried by a fat, full-band production courtesy of singer / bass & lead guitarist Daniel Sheperd.
Paul van der Burght
label: private
songs: Never An Answer / Wolf's Blood / Regret Is My Name / Screaming Eyes (Go Unheard) //
web: https://www.facebook.com/beyondshadows/
Beyond Shadows is a 2-man project originated by former members of 90's Thrash unit Midian whose “The Last War” demo tape was all over the international fanzine scene. The new material however shows a completely different direction although the intensity factor of the old days has remained intact. Beyond Shadows deliver a brand of modern styled, melodic DeathMetal with a Nordic backbone and atmospheric vibes. There's hints of DeathThrash down the fast-slow patterned “Never An Answer”, whilst “Regret Is My Name” couples Thrashy riffs with Nordic modes and Blackened DeathMetal over blast beats and machine-gun style bass-drums provided by Chris Hawkins. The Nordic atmospheres slip into dramatic modes down “Screamy Eyes”, lightly tending towards the Goth thing without the use of choirs or synths. The melodic undertone Throughout the material, the melodic undertone is mainly brought in by the harmonized guitars but also reflects in the overall sense for balance that nicely merges with the intensity of the vocals and drums. “Wolf's Blood” is a textbook performance and carried by a fat, full-band production courtesy of singer / bass & lead guitarist Daniel Sheperd.
Paul van der Burght
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Above left and right: EL-34 live at the Ruskin Arms, London. Centre: EL 34 concert poster. EL-34 photos provided by Tony Hatton
East London based EL-34 were right there at the rise and height of the NWOBHM with its origins dating back to as early as '79. The band never documented any material on vinyl and neither have they appeared on even the most obscure NWOBHM compilation LP. Over against that, EL-34 built a strong reputation as a live-act with regular shows at the famous Ruskin Arms pub in London's East End. EL-34 disbanded in 1986, but through Iron Maiden's Steve Harris, EL-34 guitarist Chop Pitman hooked up with former Maiden drummer Doug Sampson and re-united with EL-34's bass player, Tony Hatton, forming the core of a new band called Airforce. It wasn't until 2016 that Airforce made their first official release but they never lost their touch and are now back in full force with their soon to be released album “Strike Hard”. Here's an interview with original member Tony Hatton (bass guitar) about the early days of EL-34 and its continuation as Airforce.
Manic Mosh Metal: When and how did the band get together and what was the very first line-up of EL-34?
Tony Hatton: EL-34 were formed around 1979 in Walthamstow, East London. Chop had joined up with drummer Mick Dietz and they were looking for a bass player. I was playing sporadically in my own band 'Pure Alcohol' at the time. Mick knew me and asked me to do an audition / jam (in Alan Gordon's rehearsal studios) with him and Chop; it went well and I joined EL-34. I had a very good friend, Gary Sims who then joined as our vocalist. The first EL-34 was now complete and featured: Gary Sims (vocals), Chop Pitman (guitar), Tony Hatton (bass) and Mick Dietz (drums).
MMM: Were there any demo-tapes recorded and if so, what year and which tracks?
TH: There were, but mostly now lost. I remember we did record a song with Gary Sims called “A Light In My Head”; however, the only EL-34 recorded song I still have is the original EL-34 version of “Don’t Look in Her Eyes” which featured our later EL-34 vocalist Paul Clark and appeared on our little known, self-made Aiforce CD “Never Look Back”. Most songs on “Never Look Back” were later included on the “Judgement Day” album (2016). “Don’t Look in Her Eyes” has been re-arranged and updated and this new version is on the soon to be released new Airforce studio album “Strike Hard”; this updated version features Paul Dianno as guest vocalist alongside Flavio Lino.
MMM: It seemed EL-34 was a popular live-band at the time, frequenting venues and pubs across (East) London; is there any other bands that you played with, either as a headliner or a support act?
TH: This is a difficult question, hard to remember. There was a band called T-34 at that time, and I remember playing a show with them at 'The Bridge House' in Canning Town.
It sticks because of the similar band names, EL-34 (the valve used in Marshall valve heads), T-34 (a Soviet tank). The show was advertised by the Bridge House as 'Numbers Night'.
MMM: The band also played 'The Ruskin Arms' regularly, any particular shows there that you remember?
TH: No particular show; it was always a great time at 'The Ruskin' back then. I know that the first ever EL-34 show at 'The Ruskin' was on a Monday night; the owner at that time, Joe Lucy, used Monday nights as an audition for 'The Ruskin'. We obviously did O.K as we moved on to play either Friday or Saturday nights later on.
MMM: How was the East London Rock / Metal scene in those days, it must have been thriving... did you guys hang out with other local bands?
TH: It was a busy time. I don’t remember hanging out with other bands as there was a great rivalry between bands in those days. I did hang out with Pete Franklin who had a band called Strident and then went on to form Chariot in 1983. Pete was going out with my sister back then, and is now our Airforce recording engineer and co-producer.
MMM: At the time, a lot of U.K HardRock / Metal bands independently released 7” singles, has there ever been any intentions to release an EL-34 single?
TH: We just never got around to it.
MMM: Have there been any line-up changes during the existence of EL-34 and when did ex Iron Maiden drummer Doug Sampson join the band?
TH: Keeping a regular vocalist onboard has always been something that has plagued us, EL-34 & Airforce, back then and now, for a variety of reasons; a lot of it caused by wives and girlfriends. This happened again around 1985 / 86 when Paul Clarke decided to leave EL-34, so we decided to disband. Doug was never part of EL-34. Sometime in 1986, Iron Maiden's Steve Harris (who was a long term friend of Chop) introduced Doug Sampson to Chop. Doug had been Iron Maiden's drummer from 1977 – 1979 and had quit Maiden due to health reasons, but was now ready to return to the music scene. Chop knew Doug only vaguely until then. Steve, Doug and Chop had a Jam together and Chop and Doug joined forces. I was called up and the 3 of us formed Airforce. (No one quite remembers how we came up with the name).
MMM: Did this come with a change in musical concept / style?
TH: Not really, obviously Doug changed the dimension a bit, but we all were listening to much the same music back then and Doug lived in Walthamstow too.
MMM: Were the EL-34 songs integrated in the Airforce set, and have any of the EL34 songs been recorded on later Airforce releases?
TH: Not until now with the new Airforce version of “Don’t Look in her Eyes”
photo above: early Airforce line-up
MMM: Did Airforce record any demo tapes in its early days?
TH: We did; those early Airforce recordings are included on the “Judgement Day” Album.
MMM: Although Airforce goes back a long time, it wasn't until 2016 that the band recorded their debut album, “Judgement Day”. Whatever happened to the band; was there a split, and how did the band get re-united again...
TH: Airforce did produce our little known self-made CD “Never Look Back” a little while after Doug and I left in 1990, this probably dates to around 1992, it was never officially released. In 1990 our then Airforce vocalist Rolf Prommel decided to leave Airforce due to girlfriend pressure. Doug’s brother Sam Sampson had been Airforce vocalist before Rolf, and when Sam quit Airforce, the long process of looking for a reputable replacement and rehearsing up to standard began, leading to Rolf. I couldn’t be going through this whole process again, so I quit serious music involvement to concentrate on a growing business career, only toying with the music business occasionally playing 'Pure Alcohol' shows until fate and fans brought Chop, Doug and me together again in 2016. Doug also decided to hang up his sticks again at this time with the departure of Rolf. Chop kept the name Airforce going on and off with various line ups.
Diehard fans of Iron Maiden had tracked Airforce down via Doug and Chop's Maiden connections, which led to the early Airforce track “Wargames” with Sam Sampson, being released on the Maiden themed compilation album “Origins of Iron”. This track was well received, so Chop and Doug along with Andy Holloway and Erwin Holland, conceived, compiled and released the “Judgement Day” Album. This is where I came back in; I received a phone call from Chop about the upcoming release of “Judgement Day” and the launch party, which up until then I was unaware of. Chop Doug and I met up again and decided to reunite again as Airforce with the 3 original members 26 years later.
MMM: Has the revival in NWOBHM triggered an increased interest in Airforce
TH: Some, yes, but I also believe with our own individual sound and maturity we have carved our own path. Of course our Iron Maiden historical connections have also created a lot of Airforce interest.
MMM: The 2019 single coupling “Band Of Brothers” and “Sniper” features vocal duties by Paul Mario Day (ex More) (“Band Of Brothers”) and guest vocals of Maiden's Paul DiAnno on “Sniper”; how did this come about?
TH: Paul Mario Day was the very first vocalist with Iron Maiden. Paul now lives in Australia and hadn’t been back to the U.K for more than 20 Years. He was coming over to the U.K to visit and Steve 'Loopy' Newhouse came up with an idea to mark the occasion; a special all day event at the 'Cart & Horses', “Cart Day”. Airforce were asked to contribute to the occasion by recording a song with Paul Mario Day while he was in the U.K; we agreed and offered the unrecorded Airforce song “Band of Brothers” for Paul to guest on.
“Band of Brothers” was recorded at 'The Steve Harris Barnyard Studios' at Steve’s home in Essex. Paul met up with Steve and the other original members of Maiden while he was in the U.K. The Song “Sniper” (with Paul DiAnno on guest vocals) had already been released as part of the Airforce “Black Box Recordings Vol 2”. We paired the two songs as a double A-side CD single as both Pauls were ex Maiden Vocalists
MMM: There is a new Airforce album in the works; can you tell some more about it, and what is the recording line-up?
TH: We have signed to a record label for the new album, so cant say to much as the album is now in the hands of the record company. It is titled “Strike Hard” and it is complete and ready for release. As we speak the label are delaying the release because of manufacturing, marketing and distribution issues due to the Corona Virus Pandemic. The album consists of 11 tracks; a mixture of brand new songs, a couple of reworked vintage Airforce / EL-34 songs, a couple of reworked recent Airforce songs, and one cover.
The Recording Line up on the album is;
Flavio Lino (vocals), Chop Pitman (guitar), Tony Hatton (bass), Doug Sampson (drums).
Guest artists are;
Paul Dianno (vocals), Ivan Gianini (vocals), Zal Cleminson (guitar)
AIRFORCE link:
https://www.facebook.com/pg/chop.airforce/
TH: We did; those early Airforce recordings are included on the “Judgement Day” Album.
MMM: Although Airforce goes back a long time, it wasn't until 2016 that the band recorded their debut album, “Judgement Day”. Whatever happened to the band; was there a split, and how did the band get re-united again...
TH: Airforce did produce our little known self-made CD “Never Look Back” a little while after Doug and I left in 1990, this probably dates to around 1992, it was never officially released. In 1990 our then Airforce vocalist Rolf Prommel decided to leave Airforce due to girlfriend pressure. Doug’s brother Sam Sampson had been Airforce vocalist before Rolf, and when Sam quit Airforce, the long process of looking for a reputable replacement and rehearsing up to standard began, leading to Rolf. I couldn’t be going through this whole process again, so I quit serious music involvement to concentrate on a growing business career, only toying with the music business occasionally playing 'Pure Alcohol' shows until fate and fans brought Chop, Doug and me together again in 2016. Doug also decided to hang up his sticks again at this time with the departure of Rolf. Chop kept the name Airforce going on and off with various line ups.
Diehard fans of Iron Maiden had tracked Airforce down via Doug and Chop's Maiden connections, which led to the early Airforce track “Wargames” with Sam Sampson, being released on the Maiden themed compilation album “Origins of Iron”. This track was well received, so Chop and Doug along with Andy Holloway and Erwin Holland, conceived, compiled and released the “Judgement Day” Album. This is where I came back in; I received a phone call from Chop about the upcoming release of “Judgement Day” and the launch party, which up until then I was unaware of. Chop Doug and I met up again and decided to reunite again as Airforce with the 3 original members 26 years later.
MMM: Has the revival in NWOBHM triggered an increased interest in Airforce
TH: Some, yes, but I also believe with our own individual sound and maturity we have carved our own path. Of course our Iron Maiden historical connections have also created a lot of Airforce interest.
MMM: The 2019 single coupling “Band Of Brothers” and “Sniper” features vocal duties by Paul Mario Day (ex More) (“Band Of Brothers”) and guest vocals of Maiden's Paul DiAnno on “Sniper”; how did this come about?
TH: Paul Mario Day was the very first vocalist with Iron Maiden. Paul now lives in Australia and hadn’t been back to the U.K for more than 20 Years. He was coming over to the U.K to visit and Steve 'Loopy' Newhouse came up with an idea to mark the occasion; a special all day event at the 'Cart & Horses', “Cart Day”. Airforce were asked to contribute to the occasion by recording a song with Paul Mario Day while he was in the U.K; we agreed and offered the unrecorded Airforce song “Band of Brothers” for Paul to guest on.
“Band of Brothers” was recorded at 'The Steve Harris Barnyard Studios' at Steve’s home in Essex. Paul met up with Steve and the other original members of Maiden while he was in the U.K. The Song “Sniper” (with Paul DiAnno on guest vocals) had already been released as part of the Airforce “Black Box Recordings Vol 2”. We paired the two songs as a double A-side CD single as both Pauls were ex Maiden Vocalists
MMM: There is a new Airforce album in the works; can you tell some more about it, and what is the recording line-up?
TH: We have signed to a record label for the new album, so cant say to much as the album is now in the hands of the record company. It is titled “Strike Hard” and it is complete and ready for release. As we speak the label are delaying the release because of manufacturing, marketing and distribution issues due to the Corona Virus Pandemic. The album consists of 11 tracks; a mixture of brand new songs, a couple of reworked vintage Airforce / EL-34 songs, a couple of reworked recent Airforce songs, and one cover.
The Recording Line up on the album is;
Flavio Lino (vocals), Chop Pitman (guitar), Tony Hatton (bass), Doug Sampson (drums).
Guest artists are;
Paul Dianno (vocals), Ivan Gianini (vocals), Zal Cleminson (guitar)
AIRFORCE link:
https://www.facebook.com/pg/chop.airforce/
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Above left and right; some classic Airforce phots, taken at the Marquee, London. Photos provided by Tony Hatton
centre: the new, upcoming Airforce album
centre: the new, upcoming Airforce album
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RAW DEAL – LP / CD 2019 “Cut Above The Rest”
label: High Roller records
songs: Make or Break / Cut Above the Rest / Shadow Play / Out of My Head / In the Mood / Cut Above the Rest (alternative version) / Deviation / Out Of Control / Out in the Cold / Baby, I'm in the Mood //
LP version: HRR 728 / THOR 001; limited edition of 350 copies: 200 x black + 150 x transparent ultra clear vinyl, 425gsm heavy cardboard cover + insert
CD version: HRR 728 CD/ THOR 001; limited to 500 copies in slipcase.
Raw, pure sounding NWOBHM from Orpington, Kent. This is the very same band that appeared on the obscure “Kent Rocks” compilation LP and also had a single, “Out Of My Head” in circulation before disappearing from the scene. High Roller records has brought the band back to life in both vinyl and CD format with added, unreleased tracks and alternative versions, alongside previously released material that have all been remastered, restored and put together in a slice of NWOBHM that truly is “A Cut Above The Rest”.
To order your copy directly from High Roller records, visit: https://www.hrrecords.de/
label: High Roller records
songs: Make or Break / Cut Above the Rest / Shadow Play / Out of My Head / In the Mood / Cut Above the Rest (alternative version) / Deviation / Out Of Control / Out in the Cold / Baby, I'm in the Mood //
LP version: HRR 728 / THOR 001; limited edition of 350 copies: 200 x black + 150 x transparent ultra clear vinyl, 425gsm heavy cardboard cover + insert
CD version: HRR 728 CD/ THOR 001; limited to 500 copies in slipcase.
Raw, pure sounding NWOBHM from Orpington, Kent. This is the very same band that appeared on the obscure “Kent Rocks” compilation LP and also had a single, “Out Of My Head” in circulation before disappearing from the scene. High Roller records has brought the band back to life in both vinyl and CD format with added, unreleased tracks and alternative versions, alongside previously released material that have all been remastered, restored and put together in a slice of NWOBHM that truly is “A Cut Above The Rest”.
To order your copy directly from High Roller records, visit: https://www.hrrecords.de/
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LOUD RAGE MUSIC
https://loudragemusic.com/ Transylvania / Romania based Underground Metal Record Label and Mailorder / shop, founded in 2013. Label is focused towards the heavier and more atmospheric territories including raw Black Metal, dark Doom, Death Metal, atmospheric Black Metal etc. Label features international bands and promotes Romanian bands. Shop features vinyl, CD's and merchandise. |
XENTRIX – 2019 “Bury The Pain”
label: Listenable records
songs: Bury The Pain / There Will Be Consequences / Bleeding Out / The Truth Lies Buried / Let The World Burn / The Red Mist Descends / World Of Mouth / Deathless And Divine / The One You Fear / Evil By Design //
web: https://www.xentrix.co.uk/
Prime U.K Thrashers Xentrix have been around for a long time and first entered the scene in '87 with the “Hunger For Death” demo. In '89 the band released their first full-lengther “Shattered Existence”, but disappeared from the scene shortly after their '96 “Scourge” album. Now, some 23 years onwards, the band is back and sounds like 80's all over again! New singer Jay Walsh performs in the old-school Xentrix tradition, delivering a deep and roaring voice that moves somewhere in between Chuck Billy (Testament) and James Hetfield (Metallica), with the Testament click thickened on opening track “Bury The Pain” going through the whole repertoire of classic, West Coast Thrash features; a bobbing snare drummed drive, crunching guitars, rhythmic 'pause' passages, galloping modes and a good lot of controlled technicality. The moderately fast paced “There Will Be Consequences” furthers the Bay Area thing, to peak on the driven “Bleeding Out” that shows certain similarities to Testament's “Over The Wall”, as does the razor sharp “The Red Mist Descends”. This is a top Thrash album that catapults straight back to the mid-late 80's and grips from start to finish. You will not be disappointed! Great comeback album.
Paul van der Burght
label: Listenable records
songs: Bury The Pain / There Will Be Consequences / Bleeding Out / The Truth Lies Buried / Let The World Burn / The Red Mist Descends / World Of Mouth / Deathless And Divine / The One You Fear / Evil By Design //
web: https://www.xentrix.co.uk/
Prime U.K Thrashers Xentrix have been around for a long time and first entered the scene in '87 with the “Hunger For Death” demo. In '89 the band released their first full-lengther “Shattered Existence”, but disappeared from the scene shortly after their '96 “Scourge” album. Now, some 23 years onwards, the band is back and sounds like 80's all over again! New singer Jay Walsh performs in the old-school Xentrix tradition, delivering a deep and roaring voice that moves somewhere in between Chuck Billy (Testament) and James Hetfield (Metallica), with the Testament click thickened on opening track “Bury The Pain” going through the whole repertoire of classic, West Coast Thrash features; a bobbing snare drummed drive, crunching guitars, rhythmic 'pause' passages, galloping modes and a good lot of controlled technicality. The moderately fast paced “There Will Be Consequences” furthers the Bay Area thing, to peak on the driven “Bleeding Out” that shows certain similarities to Testament's “Over The Wall”, as does the razor sharp “The Red Mist Descends”. This is a top Thrash album that catapults straight back to the mid-late 80's and grips from start to finish. You will not be disappointed! Great comeback album.
Paul van der Burght