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Just before Christmas 1984, Harry Belafonte wanted US artists (and especially black artists) to create a charity album to benefit starving people in Africa as the Do They Know It's Christmas single by the days most popular UK bands was a huge success. He teamed up with manager to the stars Ken Kragen to put together the team that would write and record the lead single. Immediately, Ken enlisted his client, Lionel Richie, to write the song. Lionel and Ken knew they'd need all-star producer Quincy Jones to put it all together. Quincy thought it would be a good idea to get the biggest pop star in the world, Michael Jackson, involved and things snowballed from there as Ken brought on legends like Bob Dylan, Bruce Springsteen, Willie Nelson, Diana Ross, Kenny Rogers, Dionne Warwick, Stevie Wonder, Ray Charles and artists that were popular at the time like Billy Joel, Kim Carnes, Cindy Lauper, Huey Lewis and more.
But how would they get all that talent in one room at one time? Ken devised the idea that so many would be in LA for the American Music Awards on January 28, 1985 so that would be the ideal time. But that was 5 weeks away!!! So Ken went about finding the venue and Lionel and Michael worked on the song. It was all kept very hush hush and even the artists didn't know where they were going after the AMAs until they were on the way. And to make the night even more stressful for Lionel, he was hosting the AMAs and was performing twice (not to mention collecting 6 awards that night). The documentary was a fascinating glimpse into one special night where all egos were put aside in order to record a special song for a worthy cause. If you haven't seen it on Netflix, check out The Greatest Night In Pop - it's a fascinating story!
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No matter which candidates you may have voted for, we at The Wolf are just glad it's all over. The nasty ads and ridiculous yard signs are no way to spend your fall. Win or lose, it's time to get back to what's important - Keeping Rock Alive!!
On that note, we do have an election related story from our friend Autumn Whitaker who taught us about Gentle Giant's Octopus on episode 101. It turns out she was in Washington DC for inauguration week in January 2009 and on January 18th the We Are One Concert was put on at the Lincoln Memorial. Over 400,000 people showed up to see speeches from accomplished actors, activists and politicians. But more importantly, some of the biggest rock stars on the planet came to celebrate including Bruce Springsteen, Jon Bon Jovi, U2, James Taylor, John Legend, Beyonce, Shakira, Cheryl Crow, Stevie Wonder and more.
Autumn gives us the lowdown on what was happening in the green room as the performers took turns coming and going from the stage. And though she didn't perform to the crowd, she did pick up a guitar and strum out Led Zeppelin's All Of My Love in the green room. As she focused on her playing, she noticed a man's shoes directly in front of her. Steadfast in her playing, she responded "No, I'm OK" to whoever it was that offered her a pick. After she heard chuckles, she looked up to realize it was her idol - Bruce Springsteen!! With Autumn's endearing charm she talks about meeting The Boss, blowing off Jon Bon Jovi, messing with Bono and asking James Taylor what was wrong with his eye.
Whether you're on the right or the left, you'll enjoy this tale of an inauguration concert like no other!
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As kids who were 7-8 years old when Led Zeppelin broke up and teenagers in the 80s when they had ill-fated reunions (Live Aid, Atlantic Records 40th), The Wolf & Action Jackson were resigned to the fact that Led Zeppelin would never tour again. So when Jimmy Page & Robert Plant announced in 1994 that they were reuniting to do a TV performance reworking classic Zeppelin material and introducing some new songs, we lost our minds. Gathering around the TV to see our heroes together in action was something that we'd dreamed about and we looked forward to hear how they would reword classics that we loved.
The anticipation was met with a bit of ambivalence once we saw the setlist as it didn't include many of the big rockers that we loved. Instead, it focused on much of their acoustic catalog and slowing down great stompers into more mellow pieces. However, upon seeing the performance of these songs by these legends (and with an amazing cast of musicians) quickly changed our attitudes. Opening with the haunting No Quarter in the woods with Jimmy on acoustic 12 strings and Robert singing from the heart to open the video really set the tone. They stayed true to some like Since I've Been Loving You and What Is And What Should Never Be but reworked some (When The Levee Breaks, Nobody's Fault But Mine) into something unrecognizable.
Still, the driving force of Gallows Pole and Battle of Evermore really let the material shine. And though they made some new music with folks in Morocco, none of it really lived up to LZ standards (though one new song Wonderful One could have fit well on LZIII or Houses of the Holy). Winding up with an orchestra behind them for classics like Kashmir just demonstrated the majesty inherent in the LZ catalog. Not only did we watch the video hundreds of times, but we got to see the boys on tour with their amazing band and an orchestra which we count among the most special concerts of our lives.
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We welcome our friend and Pantheon Podcasts brother Jason from All Things Blues & Southern Rock to First Concert Memories 16 to talk about the first night he saw The Black Crowes in 1999. We all share our individual first Crowes experiences - Action saw them a month after Jason did in 1999 and Mac B. caught them in 1995 opening for the Dead - and delve into what makes the band so great live.
In 1999, The Black Crowes had signed with Sony and were touring on By Your Side (released January 12, 1999). Produced by Kevin "Caveman" Shirley, all guitar parts were played by Rich Robinson but the live band picked up Audley Freed on guitar and Sven Pipien on bass. And according to Jason, they made a hell of a lot of noise!
Hear from Jason why seeing this band live for the first time prompted him to go see them more than 20x and how it still fuels his passion to co-host All Things Blues & Southern Rock. The tumultuous Robinson Brothers can deliver live and it's fun to hear insight from a big fan at this time in the band's career. The Wolf was slow to warm to the Crowes as he felt that they were anointed by the industry without asking his opinion. But seeing them live made him a believer as it has for millions around the world. Thanks Jason - check out All Things Blues & Souther Rock Podcast!
Check out Jason at https://allthingsbluesandsouthernrock.com/
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We at The Wolf love hard rock, heavy metal, prog rock, classic rock and 80s MTV. While Bryan Adams may match a couple of those categories, we can't say that he was one of our very favorites. Because we were bombarded with him from 1983-86 on US radio and MTV and because girls seemed to like him (maybe his music too), he just didn't do it for us. However, his 5th album released in 1984, Reckless, boasts hit after hit like Heaven, Summer of '69, Run To You, Somebody, and It's Only Love. So as it turns 40 on November 5, we thought it would be a good idea to bring in friend to the show and Canadian rock guru Chris from My Rock N Roll Heaven to give us his perspective.
1984 not only saw the release of Reckless but the launch of Canadian MTV-type station Much Music which not only played videos but had to play a certain percentage of Canadian artists. That helped propel the album to become the first diamond selling album (1,000,000 in sales for Canada) in Canada by a Canadian artist. Aided in the songwriting by Jim Vallance and backed up on guitar by long time collaborator Keith Scott, Bryan had huge success in his home country, in the US and around the globe. The videos all had a theme and featured the same actor (Lysette Anthony) which helped create an image for Adams in the US. We go track x track and enlist Chris's Canadian perspective to see why this album was so popular and how it stands the test of time.
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We've reviewed a couple of rock movies that had a limited theatrical run - Rush - Cinema Strangiato was episode 42 while The Wolf lived in England and Dio - Dreamers Never Die was covered on ep 98 while he was living in Amsterdam. And while we had wanted to do a double episode on Tom Petty's Wildflowers at 30 with the later released double disc alongside the newly unearthed Tom Petty & the Heartbreakers Beach Party film, we felt that episode would be too long an in-depth. So because the recently "found" Cameron Crowe movie which captures the boys in 1983 around the release of the Long After Dark record was having a limited showing, we thought we'd concentrate on that.
And we're so glad we did! When we reviewed Long After Dark on episode 64, we found that we loved it and that it was often overlooked and overshadowed by bigger selling albums with more radio hits. However, the melodies and heartfelt lyrics on that album are part of the larger philosophy of Tom and the band and this movie helped expose that. Though it aired once on MTV, the channel decided it wasn't a good fit for their programming at the time so for years it was unavailable. The limited release on October 17 & 20 gave fans the chance to see it for the first time and included 19 extra minutes with Cameron Crowe, Adria Petty (Tom's daughter) some insight from Jimmy Iovine and showed the band not only killing it onstage but filming the You Got Lucky video (which Tom & Cameron called a film). To hear earnest and honest remarks from Tom was so refreshing and made us realize how much we miss him. The live clips not only show a tight band and band leader who wants to create the best show he possibly can but some amazing guitars from Tom and Mike Campbell.
It was a rare glimpse with Tom at his home and talking to Cameron Crowe about why and how he makes music. The scene where Tom said he's the same guy at home as on the stage was so brilliant - he was never putting on an act, he was authentic and that's why his music will stand the test of time. Hopefully they release this on DVD/Streaming so more people can enjoy it but if you missed it, here's our take!
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In 1974, The Rolling Stones were once again searching for their identity. After hugely successful tours in 1972 and 1973 thanks to the overwhelming critical and commercial success of 1972's Exile on Main Street, the band were mired in problems of their own making. Mick Jagger was bothered by wife (and now mother of his child Jade) Bianca trying to tame him from his lothario lifestyle. Keith Richards was diving deeper into his heroin addiction. Mick Taylor was becoming disillusioned with his role in the band as he was contributing and writing songs but never given credit (or royalties). 1973's Goats Head Soup is a fan favorite but was derided by critics for not being as good as Exile.
Apparently the Stones were going to a half live, half covers album that eventually gave way to more interesting original materlal (Ain't Too Proud To Beg still made the album and was the 2nd single). Disenchanted with married life, being hounded by press and law enforcement helped create It's Only Rock N Roll - an ode to their lives as huge stars in the public eye. The title track is a classic both for the name and the story of Mick wondering what is enough for the fans and press. They come strong with killer Keith riffs (If You Can't Rock Me, Dance Little Sister), dirty roadhouse rockers (Short And Curlies) and forays into reggae, country, gospel and soul with the usual R&B sensibilities that make the Stones the Stones.
Of course, we were a bit put off that there is no Keith song on the album (the last time that would happen) but you know he had something to do with Fingerprint File, a song about running from the FBI and all manner of police. With Nicky Hopkins and Billy Preston lending their talents on the keys, Ronnie Wood and David Bowie making brief appearances and the boys experimenting a bit, this ends up being a fun Stones record to explore. It might not be chock full of radio hits but get to see the Stones going down paths they don't always go with surprising delight. Not the best or worst of the Mick Taylor era and one we're glad we researched and heard.
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We've developed our On First Listen series to give us a chance to explore albums that we didn't know but had heard about for years. Maybe a friend recommended it, perhaps it was popular at a time in our lives when it slipped past us or maybe we'd seen in on all-time lists. King Crimson's debut fit into the third category as many progressive rock fans hold In The Court Of The Crimson King in very high regard. And with many talented line-ups over the years including Greg Lake on bass & vocals, Ian McDonald on keys and many other things, and Robert Fripp on guitar on this album (with future versions featuring John Wetton, Boz Burrell, Bill Bruford, Tony Levin, Adrian Belew, Mel Collins and many, many more) we figured we'd give it a go.
However, while the musicianship is off the charts and they experiment with many keys, times and toys (the new mellotron was driving much of their experimental sound), sometimes it's not terribly listenable. 21st Century Schitzoid Man is abrupt and in your face as a protest to the Vietnam War but isn't a toe tapper. The wistful I Listen To The Wind is 180 degree turn as a lovely ballad but is more than 6 minutes long. And Epitaph, Moonchild (nothing like the Iron Maiden song) and The Court Of The Crimson King though they have moments of beauty and style fail to land in the fun zone. While many will appreciate the music for it's complexity and degree of difficulty, it's not an album you put on in the background of a party. Perhaps our blues based rock brains aren't mature enough to understand but we find 70s era Yes and Genesis far easier to digest and enjoy.
Note: We recorded this a year before releasing it as we planned for it to be our first On First Listen but scheduling necessities caused us to leave it on the shelf. We mention that it's 54th anniversary is coming up but as we release this it's the 55th anniversary of original release. And it was before we interviewed director Toby Amies about his fabulous documentary King Crimson: In The Court Of The Crimson King for episode 158.
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By 1989, Ace Frehley had been out of KISS for 7 years and during that time he'd maintained a debaucherous lifestyle including car accidents and very little in the way of new music. Finally Eddie Trunk helped get him signed to Megaforce and got him working. Frehley's Comet released 2 albums in 1987 & !988 (Frehley's Comet, Second Sighting) trying to reestablish himself on the rock circuit. And while 1989's Trouble Walkin' was a solid offering for the time it was released, looking back it's easy to see why it didn't crack the top 100 in the US.
Though Ace and Richie Scarlet put together some catchy, heavy riffs with some signature Ace guitar licks, Ace's vocal need help. Left alone they're too bare unless they have the sing-a-long chorus behind him. Shot Full of Rock Five Card Stud and the title track are great straight ahead rockers...until the vocals kick in. As usual, Ace's lyrics are somewhere between silly and bad. But we're Ace fans darnit! So we like hearing what he does. Fractured III connects the record to his 1978 solo and first Frehley's Comet album with a solid instrumental. But lyrics on songs like Back To School, 2 Young 2 Die and Five Card Stud illustrate why KISS had to reign him in on those records.
And the mystery is why did Ace cover Hide Your Heart, a song written by Paul Stanley, Desmond Child & Holly Knight, which was originally sung by Bonnie Tyler and that KISS would feature on their album Hot In The Shade? It's a head scratcher but maybe Ace was ready to show his old bandmates that he can still rock, even with their tracks. But as college students, we loved this one and wanted to celebrate Ace as Trouble Walkin' turns 35!
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All of us have dreamed of going backstage after a killer concert to hangout with our favorite hard rock heroes. For more than 40 years, that's been Mick Wall's job. While writing for Kerrang!, Classic Rock, any number of newspapers and magazines around the world or working on one of his more than two dozen books, Mick Wall has met them all and seen it all. By 1988, you might say that Mick was a bit jaded - been there, done that, got the (free) t-shirt.
But in April 1988 in Worcester, Mass while on assignment for the 200th episode of Kerrang!, Mick had the chance to not only witness David Lee Roth live but to hang with him one-on-one through the wee hours of the morning into the next afternoon. We crack up hearing stories about lobster dinners with dancing girls, Steve Vai, and large bags of....party favors. We dive into what a showman Dave was, what a party animal Dave was and what might have become of Dave had he been born in different eras.
Mick's dry wit and attention to fun details makes this one of our most fun conversations in the four years of our podcast. Was Dave in real life like he was on MTV and those famous music videos? He was all that and then some! You're gonna love this story from Mick Wall!
Join Mick Wall's Patreon: https://www.patreon.com/user?u=60531281
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For our 200th episode we wanted to bring in a guest that rock fans would be excited about but someone The Wolf and Action Jackson really admire. After hosting amazing guests on our 50th (Ryan Condal, House of the Dragon), 100th (live review of Nick Mason's Saucerful of Secrets after interviewing Guy Pratt and Gary Kemp on ep 96), and 150th (Steve Kilbey of The Church) we needed someone special to commemorate this milestone.
As luck would have it, legendary guitarist and member of the Rock N Roll Hall of Fame Steve Howe (Yes, Asia) is releasing his latest solo album, Guitarscape, on September 27 and made himself available to us. As we tried hard not to be complete fanboys, we asked Steve to walk us through how he started building the bones of the album in 2019 thanks to a new Novatron that he'd acquired. We speak with Steve about the different textures of the album from acoustics (Spring Rhyme) to his signature hollow body electrics (Distillations, Passing Thoughts) to his brand new pedal steel (Equinox, Steel Breeze). With his son Dylan on the drums, Steve has put together a colorful palette of textures using his many talents and toys.
We also manage to work in some questions about touring with Yes in the US with Deep Purple; however, when we interviewed him the tour was yet to begin, at the time of the release of this episode the tour had concluded. It sounds like there will be more new Yes music and future tours which is wonderful to hear. And, of course, we managed to squeeze in an Asia question because as long time listeners will tell you, it all comes back to Asia. The bottomline is we think you'll love our chat with Steve Howe and encourage you to pick up Guitarscape September 27.
And thanks to everyone who's supported us through the first 200 episodes - we have much more in store so stay tuned. If you keep listening, we'll keep doing the show!
www.yesofficial.com
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In 1984, The Replacements were gaining a reputation as fun live punk band, always delivering loud, raucous tunes with setlists full of covers and aggressive originals. They intentionally thwarted management's efforts to get them on bigger labels by sabotaging shows they knew record company reps would be attending. The Minneapolis quartet of Paul Westerberg on vocals, Bob Stinson on guitar, Tommy Stinson on bass and Chris Mars on drums carved out a loyal following and had begun to win over fans around the country thanks to opening for REM. But Westerberg's songwriting, especially his lyrics, were too strong to be for only those moshing around through a drunken haze.
With Let It Be, the band explores more personal themes (Unsatisfied, Answering Machine, Androgynous) and captured more melody than they had previously. They still had plenty of straight ahead punk songs (We're Comin' Out, Tommy Got His Tonsils Out, Gary's Got A Boner) but also tried to empathize with those who might not understand the world around them and how to relate (Sixteen Blue). Westerberg's lyrics are personal and poignant and still resonate to this day. Plus, there's a KISS cover song on the album so what's not to like? We didn't find this record until later in life but if you're unfamiliar, I think you'll like a lot of what you hear as we delve into deep topics we don't always weigh in on thanks to this punk classic.
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U2 were on a sharp trajectory up after 1983's War and the 1984 live album Under A Blood Red Sky. With sharp guitar licks from The Edge, powerful and earnest vocals from Bono and a killer rhythm section with Larry Mullens, Jr (drums) and Adam Clayton (bass), U2 were on their way to being the next great rock band. However, the boys yearned for something more than rock stardom and big American fame through disposable pop hits. They wanted a more European sound that was cultivated by the likes of Roxy Music and Ultravox.
So much to the chagrin of Island Records founder Chris Blackwell, they employed Brian Eno (Roxy Music, David Bowie) and his engineer Daniel Lanois to help guide them on a mystical musical journey that would change their sound forever. And while they did score a big radio with with Pride (In The Name Of Love), most of the album is more ambient and often subdued. Deep cuts like Bad, A Sort of Homecoming and Indian Summer Sky may have caught the attention of fans and rock DJs, the album didn't become the game changer for which they may have been hoping. However, it set the groundwork for the next album, The Joshua Tree, which would propel them to superstar status around the globe. As it turns 40, we explore this left turn by U2 which would eventually pay enormous dividends.
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Oasis was one of the world's biggest bands in the 90s and 2000s. Led by main songwriter and lead guitarist Noel Gallagher and lead singer Liam Gallagher, the band achieved heights rarely seen. But in the UK, Oasis were about as big as The Beatles and were the soundtrack to a moment in time around Cool Britannia and forward looking socioeconomic and political change at the time. Though they didn't become nearly as popular in the US, they attracted a core fan base including The Wolf (eventually). We've done shows in the past on the difference between the band's success in the US vs. the UK (episode 78).
When they announced 14 dates (now 17) in 5 cities in the UK and Ireland on August 27, it was the biggest news around the world. So we felt compelled to give you our Hot Take reactions to the announcement, when and where they were playing, how we could attempt to get tickets, who will be playing in the band (Paul "Bonehead" Arthurs and Gem Archer have been confirmed) and where they might go after those initial dates. As some additional information has come out since we recorded our Hot Take, we address that news at the end of the show. We're beyond excited for this reunion but worried we might be left out in the cold on tickets! Should we pay way too much for 2nd hand tickets and see their first few shows before they breakup? Should we stay put and hope they come to the US? We discuss it all and hope for the best!
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As a teenager, did you ever fantasize about sitting at home when there was a knock at the door, only to find that there stood 3 young California Girls ready to take you on an adventure for the night? Well Scott Holiday, lead guitarist of Rival Sons, didn't have to dream about it because it happened to him on June 10, 1995 as an 18 year old living in Huntington Beach. So as a red-blooded American boy, he naturally jumped in with them to The Hollywood Bowl to see Tom Petty & the Heartbreakers.
But the story takes a turn when an unexpected addition to the evening comes in the form of a party favor before the show starts. From there it's a journey great music, bright lights, giggly girls, a quest to find the car and a trip back to Huntington Beach. It was a memorable night for Scott (and I'm sure for the ladies as well) and now he and Rival Sons are making memories on co-headliner bill with Clutch in the US this fall. Learn more about dates & cities: www.rivalsons.com/tour/
First Concert Memories is the monthly sidecast from your friends at The Ugly American Werewolf In London Rock Podcast. We live to hear the stories when live rock music made for a special night in lives of those who love it!
www.rivalsons.com
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The Wolf spent 3+ years just a stone's throw from Abbey Road in NW London, just six blocks from the studio that goes by the same name. The studio was EMI for decades until it was renamed in the 1970s after the final album recorded by The Beatles (Let It Be was released later but those sessions took place earlier and at different studios). After throwing out exotic locales for the album cover, George Harrison suggested they walk across the street and the most iconic album cover was born.
The boys may not be the world's biggest Beatles fans but to love rock n roll, one must have an appreciation for them. The Wolf remained largely unfamiliar with Abbey Road until he realized he had to pick up a copy if he was going to walk down that street everyday for 3 years. As it turns 55, the boys go track x track, discuss the famous cover and dive into the state of The Beatles in their final days.
Paul was trying to manage the band since the death of Brian Epstein and still deliver the goods in the studio. John was getting deeper into heroin and Yoko Ono. George was growing up and saving some of his best for his debut solo album. And Ringo just wanted the boys to stop fighting in meetings all the time.
But George brought the goods with Something and Here Comes The Sun. John offered up Come Together and the pre-heavy metal I Want You (She's So Heavy). Paul put together some of his and John's best new melodies for the epic medley on the 2nd side. And dear Ringo gave us Octopus's Garden, a place he'd rather be than haggling with the band all the time.
We dive deep into each song, where each member of the band was at the time and where they were going. This may not be our favorite album but it is an important document of a band that had had enough but could still bring the most amazing harmonies to life.
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In 2004, Green Day were in a bit of an existential crisis. It had been a decade since Dookie went Diamond in the US and platinum around the world and their appearance at Woodstock 94 helped propel them to one of the biggest bands of their generation. And while big hits and successful tours followed throughout the 90s, I can understand that it's hard to find things to rebel against when your rich and famous. Their 2000 album Warning didn't light the world on fire and then their next attempt at a new album was scuttled once the master tapes were stolen. It would have been easy for Green Day to call it day at that point.
However, Billy Joe Armstrong, Mike Dirnt and Tre Cool decided to create a concept album that points out the lies and perils associated with chasing the American Dream against the backdrop of a neo-conservative government leading us into wars without justification. It follows the story of a young man from suburbia who wants out but finds that his dream of the big city is fraught with peril. And through all his trials and tribulations he manages to find love and the realization that maybe all wasn't so bad back in his hometown. But just because it's a concept album doesn't mean it's without radio friendly hits as it boasts chart toppers like Boulevard of Broken Dreams, Wake Me Up When September Ends, and The Wolf's favorite - Holiday. They have prog-like nine minute epics with different pieces which would rival those of YES and incredibly brilliant lyrics from Billy Joe against some of the best riffs of the era.
No matter your side of the political spectrum, American Idiot will grab you sonically and then pull you in with intelligent lyrics that reflected what America was becoming and warning about things we see coming to pass today. It's an amazing album from a time when rock bands weren't given much press but Green Day still managed to not only make their masterpiece but have it celebrated all over the world.
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One of the best things about having a rock music podcast is hearing new albums before the general public has the chance. Once The Wolf and Action Jackson heard the ringing guitars and soaring vocals of October Drift on their 3rd album, Blame The Young (out September 27, 2024), they wanted to spread the word far and wide. So they tracked down lead singer and lyricist Kiran Roy to talk to them about the making of the record, his song writing style and the growth of October Drift's popularity.
Kiran and his bandmates Alex Bispham (bass), Chris Holmes (drums/vocals) and Dan Young (guitar) have taken a big step forward with their latest album and fans of 80s alternative music from the 120 Minutes days will love what they hear. From the raucous title track to the hard charging Don't Care to the triumphant and glorious finale Not Running Anymore you might hear bits of bands like The Smiths, The Replacements, Echo & The Bunnymen, REM and Psychedelic Furs. Hear Kiran uncover a bit about their writing process, how they came out of COVID stronger as a band and utilized some time together at an AirBNB to put together their best album yet. Also, you can hear bits of the three singles Demons, Blame The Young and Tyrannosaurus Wreck plus two early singles Robots and Airborne Panic Attack.
It was a fun chat with an up and coming singer with a band set to embark on their first headlining tour of Europe this fall. Kiran's thoughtful and relatable lyrics connect through his harmonies with Chris Holmes and the ringing guitars classic alternative rock fans love. We may be a classic rock podcast but if we don't find a promote the current generation of rock n rollers, there will be no more rock n roll to love. So give it a listen and then go buy/download their albums!
Learn more about October Drift here - https://octoberdrift.os.fan/ and follow them on socials:
https://www.instagram.com/octoberdrift/
https://www.facebook.com/octoberdrift
https://x.com/octoberdrift
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After a grueling 100+ date tour to support their Piece Of Mind album, no one would blame the boys in Iron Maiden for taking some well deserved time off. Instead, after 3 weeks off they went back to start writing and rehearsing for their next album, Powerslave, which would prove to be HUGELY important in breaking them in the US, South America and all around the world. Thanks to having the same lineup as the last album for the first time and a work ethic driven by Iron Maiden's eternal leader Steve Harris, the boys produced an album with the imagery and songs that would propel them to global superstardom.
Derek Riggs artwork was at its finest for the Egyptian themed cover and would also be the backdrop of the incredible stage setup of one of the most epic tours ever. On almost 200 dates in 11 months covering 28 countries including going behind the Iron Curtain, the tour nearly broke every member of the band at some point. However, with radio friendly hits like Aces High and 2 Minutes 2 Midnight, Maiden got on the UK charts. But it was their proggy epics like the title track and Rime Of The Ancient Mariner that solidified IM as a unique act in the heavy metal world. Plus, Maiden would record their timeless live album and home video Live After Death at the Long Beach Arena in California on this tour which introduced millions to the band around the world.
As it turns 40, The Wolf & Action Jackson go track x track and relive some fond memories from Powerslave.
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On the 13th edition of the monthly sidecast from The Ugly American Werewolf in London Rock Podcast, we relive a special night in the life of Gerry Schramm. As the co-host of the Something For Nothing Rush Fancast, Gerry is devotee of Rush for 4 decades. But Gerry didn't hear them on the radio and explore their catalog or have a friend share their record collection with him to find Rush.
Instead, one one night in New Jersey in 1986, Gerry and his high school friend and future co-host Steve had an extra ticket and needed a ride to a concert at The Meadowlands that night. And Gerry was up for anything. So together they embarked on the first of more than 25 Rush shows for Gerry - the one that would hook him immediately that night and deeply for life.
Hear from teenage Gerry how the set built from hit to hidden gem and the level of musicianship blew him away. Learn what it's like to behold a solo from The Professor Neil Peart himself and marvel at the fact that no one is leaving during the drum solo. It was the Power Windows Tour and one of the best setlists The Wolf has ever seen, himself a four decade Rush fan who never had the chance to catch the Power Windows Tour. The Wolf and Action Jackson reminisce about camping out for tickets to their first Rush show and all the memories that friends make with live rock n roll!
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