Ian Hunter

Ian Hunter's musical pedigree should require no explanation, but, for the uninitiated, the primer is as follows.

Born in Oswestry, Shropshire and fuelled musically by the likes of Little Richard and Jerry Lee Lewis, Ian Hunter Patterson played in various bands throughout the sixties, including The New Yardbirds and, as a bass player, backed Billy Fury,Freddie Fingers Lee, The Young Idea and David McWilliams. He also worked as a journalist and staff songwriter for Francis Day and Hunter before joining Herefordshire band, Silence, in 1969.

Renamed Mott The Hoople by manic mentor and producer Guy Stevens, Hunter became the group's vocalist, principal songwriter and focal point with visually striking corkscrew hair and omnipresent dark glasses. Mott recorded four crazed but critically-acclaimed and highly influential albums for Island Records and possessed enormous live prowess, but poor record sales led to a temporary split and a move to CBS/Columbia. With David Bowie's 'All The Young Dudes' as the launchpad, Mott The Hoople hit superstar status between 1972 and 1974 - seven hit singles, four chart albums (including 'Mott' - still regarded as a seventies' classic); they were the first rock band to sell out a week of Broadway concerts in New York's theatreland, and Ian wrote his universally acclaimed book,Diary of a Rock 'n' Roll Star.

Hunter's lyrical foresight and percipience were astonishing - 'The Moon Upstairs' (1971) pre-empted Punk Rock by five years, 'Crash Street Kidds' (1974) predicted social unrest and British street riots in the early '80s and Queen must have been listening to Ian's five minute operetta, 'Marionette', an obvious precursor to their #1 smash hit, 'Bohemian Rhapsody'.

Various personnel changes in Mott The Hoople ended with the recruitment of the highly talented Mick Ronson as lead guitarist, but personality clashes and strains within the group resulted in its demise after Hunter suffered a physical breakdown in the USA. In spite of the considerable pleadings of their original guiding light, Guy Stevens, Ian traded the safety of Mott the Hoople for unknown and risk-laden solo territory.

On paper, the combined potential of Mott and Ronson was frightening and Ian's first stunning solo album, recorded with Mick, illustrated the considerable opportunity that was missed. Hunter was soon trailblazing again and his second LP, released fifteen months later, whilst labeled commercial suicide, was soon mirrored by Sting after he quit The Police and issued his first solo records in a style reminiscent of 'All American Alien Boy.'

Hunter continued to pool his vocal and writing expertise with Ronson's instrumental and studio capabilities over the next fifteen years, both for recording and production work. The latter included Generation X, Ellen Foley, Hanoi Rocks and Urgent. By the mid '80s however, Ian's output was less frequent, being restricted to occasional songs for movie soundtracks, until he resumed his partnership with Mick in 1988, when they recorded and toured for the first and only time as 'Hunter Ronson'.

Ian has been cited as a major inspiration and reference point for numerous bands including the Clash, Kiss, Def Leppard, REM, Motley Crue, Blur and Oasis. Hunter's influence has remained incalculable; accompanied on stage by Ian Astbury of The Cult, Axl Rose and Slash, Roger Daltrey, Meat Loaf and Bryan Adams amongst others (and at their request), there are now over 50 different cover versions of Ian's songs from artists as diverse as Great White, The Presidents of the United States of America, Status Quo, Blue Oyster Cult, Bonnie Tyler, Barry Manilow, The Pointer Sisters, Willie Nelson, Thunder and The Monkees - further evidence, surely, that he is one of our greatest-ever songwriters.

Freddie Mercury of Queen enquired of a former Mott member in the '80s why Hunter had never reformed such a successful and influential group, a resistance which Mercury failed to comprehend. The clue is in the unprecedented diversity of albums such as 'All American Alien Boy', 'You're Never Alone With a Schizophrenic', 'Short Back n' Sides' and 'YUI Orta' which bear witness to Ian's belief that artistic honesty and independence outweigh any commercial consideration whatsoever. It is also interesting to observe that so-called 'greats' such as Dylan, Springsteen and Elton John have issued their share of patchy albums over the years whilst the quality of Hunter's recorded repertoire has never wavered from the very highest caliber and consistency.

- Campell Devine

In 2007 Ian released his most critically acclaimed album for a number of years. The album, Shrunken Heads ended up in Best Record Of The Year sections of Classic Rock, All Music and Harp to name but three.

Runka, runka, three chords and a cloud of dust. The Georgia Satellites were one of the most ferocious bands of the 80’s and what set them apart from the other 10,000 groups who cranked their amps up to 11 was that their wild riffs and tanked cries came from a band that, from the start, understood it’s place in rock tradition and fought hard to solidify it with each recording.

The story starts in the early 80’s at Hedgen’s, a “country club for the spiritually impoverished and emotionally destitute”, as chief songwriter Baird would later identify it. Bassist Keith Christopher, Drummer Mauro Magellan and Guitarists Rick Richards and Dan Baird were playing on the Atlanta circuit in various bar bands such as the Hellhounds, the Brains and the Woodpeckers. These bands would gradually morph into the original Georgia Satellites.

#1 fan and road manager Kevin Jennings, sold an EP of early Satellites recordings to an independent UK record label, Making Waves and the EP, Keep The Faith, provoked an extraordinary reaction from the UK music press, which, in turn, woke up the previously indifferent stateside music industry. The stand-out track on the EP and most peoples introduction to the band was Keep Your Hands To Yourself which was swiftly culled from the bands eponymous debut major label release on Elektra and became a runaway hit, both LP and single only being kept off the respective #1 slot’s by Bon Jovi’s Slippery When Wet and Living On A Prayer. A second hit single, Battleship Chains, consolidated the LP’s platinum success.

Where the Satellites really earned their reputation though, was with their live shows. All those years of three sets a night, paid dividends as their live performances laid waste to audiences across the States and in particular Europe, which took the band to it’s collective heart, a love affair that continues to this day.

Two more Elektra LP’s, Open All Night and the remarkable Salvation And Sin, plus a track, Hippy Hippy Shake, on the Tom Cruise movie soundtrack, Cocktail, followed, but by the early 90’s, all those years of incessant touring had taken their toll and the band split. Dan Baird went on to a successful solo career with Rick Rubin’s Def American, scoring major hits with the album Love Songs For The Hearing Impaired and single I Love You Period. A second LP, the critically acclaimed Buffalo Nickel, followed and Dan also developed a career as a highly sought after producer. In 2001 he released a live album, Redneck Savant, on Blue Buffalo. He also found time to record and tour as part of the alt “supergroup”, The Yayhoos who also featured Keith Christopher. The Yayhoos released an album, Fear Not The Obvious, on Bloodshot in 2002.

Like Keith, Mauro played on Dan’s first solo record and tour and then took time out to raise a family and concentrate on his other interests.

After recording Buffalo Nickel, bassist extraordinaire Keith joined Kenny Wayne Sheppard and has also played on a multitude of sessions.

In 2007 and following a succession of lengthy European tours in support of the double live cd - Feels So Good, the band decided to take some time off to concentrate on writing and to recharge their batteries. During this period, Ken had his first child and decided to spend some time at home. His legacy and importance to the band are stamped all over the forthcoming dvd - Fresh Out Of Georgia which will stand as a worthy testament to his time with the band.

His replacement is none other than Warner E. Hodges, guitarist extrodinaire with Nashville legends, Jason And The Scorchers.

Dan, Warner, Mauro and Keith embark upon the recording of a new studio album in February with a release and major UK tour planned for May.

Can you give me an amen?

Help Me Mama I'm A Scorcher Now…
The life and hard rockin' times of Warner E. Hodges.

At a time when full blooded rock 'n' roll music often seems to be in terminal decline and dour singer-songwriters hold sway, it's reassuring to know that there are still individuals out there ornery enough to believe that salvation and deliverance from the trials and tribulations of modern living can still be achieved through the application of excessive amplification. And it's always cause for celebration when such an individual returns to active service after a period of relative inactivity.

One such person is Warner E. Hodges of Nashville, Tennessee's legendary Jason & The Scorchers, a man who definitely knows what the business end of a Fender Telecaster is for. Warner has been a cult hero's to many for over two decades now. A figure renowned not only for his blistering and instantly recognisable style of playing, but also as the most dynamic and entertaining guitar player of his generation.

Warner was born June 4, 1959 in Wurtzburg, Germany. His father Edger, a serving U.S. Army officer, and Warner's mom Blanche were both keen musicians and played in USO country music outfit on base. On returning to The States the young family settled in Nashville where Warner grew up.

Surrounded by music from the day he was born Warner was a marked man and was playing drums in country bands by the time he was twelve. The bolt of lightning that compelled him to switch to guitar hit at an AC/DC concert in 1973, and by fifteen, Warner was regularly playing guitar in many of his parents bands.

With country music in his blood from birth, Warner now dived head long into the other music he loved - hard rock and punk. His influences ranged from; Kiss, AC/DC, Cheap Trick and Jimi Hendrix, to Elvis and Little Richard, The Rolling Stones and Creedence Clearwater Revival, then later The Ramones, Sex Pistols, New York Dolls and The Clash. Rock 'n' roll boot camp came in the form of his early, high-octane, Nashville outfits such as The Electric Boys and The Purple Giraffes.

The journey that led to Warner becoming a guitar player of international renown began, in the summer of 1981 when the son of an Illinois hog farmer packed his guitar and knapsack and headed for Nashville to start a new band. Jason Ringenberg had a vision to arc weld his love of Hank Williams, Eddie Cochran, and Bob Dylan to the reckless, methamphetamine rush of the Sex Pistols and The Ramones and finally make the kind of music he heard inside his head. It was Ringenberg's electrifying Jerry Lee Lewis meets Iggy Pop stage attack that attracted Warner and band mate, bassist Jeff Johnson to the singer in the first place. Johnson was the first member of what eventually became the Scorchers' classic line-up to see the edition of the band Ringenberg assembled upon arriving in Music City. The fledgling Scorchers were sharing a bill at Cantrell's with then-regionally acclaimed indie-rockers R.E.M. Immediately after the show, Johnson called Hodges and invited him to Ringenberg's next gig. This time, it was a slot opening for rockabilly legend Carl Perkins. "I went to the Carl Perkins show and thought, God Almighty, this guy is nuts," remembered Hodges, referring to Ringenberg's incendiary performance. "He spent the entire night in the crowd with this long guitar cord. Everybody else up onstage was scared to death. But Jason, man, he was the show."

It wasn't long before Hodges and Johnson had replaced the Scorchers' original guitar and bass players. Several weeks later, Perry Baggs took command of the drum kit, and the classic line-up of Jason & The Nashville Scorchers was born.

In those days before No Depression magazine and Americana radio The Scorchers' thermonuclear fusion of punk rock and honky-tonk music was totally unprecedented in Nashville. To the point that it could get you run out of a club or even worse and it almost did on several occasions. The bands sound at the time approximated nothing less then Joe Strummer riding a wrecking ball through the Grand Ole Opry.

As rock critic and early devotee Jimmy Guterman would later report, "Onstage, the early Scorchers...eschewed all subtlety. Drummer Perry Baggs concentrated on destroying his snare with style and bassist Jeff Johnson stood intent and rail-straight, an ideal foil for the two wild men up front...Guitarist Warner Hodges slid from delicate lap steel to Keith Richards-style guitar heroics without making one seem like a departure from the other. Whether he stood at the lip of the stage, leaning over the audience, sucking a cigarette, or he spun himself into speedy circles that would have made any mere mortal dizzy, Hodges personified the country boy too thrilled to be rocking to care how ridiculous he looked. The same went for Ringenberg. His own dancing during the rocking numbers suggested (The Honeymooners') Ed Norton on 'speed', but when he strapped on his acoustic guitar and stood centre stage, no one could argue that he wasn't haunted by the ghosts of Hank Williams and Lefty Frizzell."

Cut in four hours in somebody's living room, live to four-track, the Scorchers debut EP, Reckless Country Soul, hit stores in the second week of 1982, and immediately sent shock waves through the Nashville rock underground. "They called themselves Scorchers for good reason: They kicked butt," commented country music historian Robert K. Oermann, who was the senior music writer for The Tennessean, Nashville's morning newspaper at the time the Scorchers burst onto the local scene. Oermann also penned a USA Today story that helped break the band to the rest of the nation.

"Their shows were so physical," said Oermann. "Jason acted like a guy who had been attacked with a cattle prod. And I still maintain that Warner Hodges was one of the most charismatic lead guitarists of his generation. The two were like twin poles of electrical energy. You could almost see the bolt of lightning that connected them. The Scorchers never sold more than a million records, but nobody who saw them will ever forget it."

But if in 1985 the Scorchers were poised to conquer the world, by decade's end the bottom had dropped out. Excess, personal problems and the fickle winds of the music business all contributed to a fall that was as dramatic as the band's rise was meteoric. It started with Capitol's ineffective marketing of 1986's Still Standing just as the record's first single, "Golden Ball and Chain", was getting some serious airplay. Soon Johnson left the group; by the time the band's more rock oriented Thunder and Fire surfaced in '89, the Scorchers were all but finished.

As Warner said later, "We worked on Thunder and Fire for two years, Jason wrote like 70 songs and we demoed and demoed and demoed just busted our butts putting the band back together [after Jeff's departure]. I didn't think it was that bad a record. Maybe not quite the direction we should have gone, but we gave the record company the record that they quote/unquote wanted. We put a lot of time and effort into it and then it just fell flat on its face. And then Perry got sick with diabetes and we said, 'The hell with it'. The Scorchers didn't break up, we fell apart."

Warner moved to New York, where he played with Iggy Pop and guitarist/producer Eric Ambels band Roscoe's Gang, before relocating again to California and largely abandoning the guitar to work in the video business. "I ran," he admitted. "I guess I hid and ran. I didn't know how we could try any harder and be any less successful. I seriously didn't know how we could put any more effort into it for so little return. We just couldn't play the game anymore."

In the early 90s it was Jeff Johnson who decided to try and reunite the band, after hearing and liking EMI's 'Essential Jason and the Scorchers', Volume One collection, which compiled the Scorchers first (and some would say best) two albums Fervor and Lost & Found, plus some choice rarities into one volume. Jeff called Warner first, who hadn't played guitar in roughly a year. Warner hung up on him after hearing Jeff suggest a reunion, but he called six more times that same night. Eventually, Jeff tried Jason, calling him at four in the morning "until Jason agreed to do it." Warner eventually agreed to a reunion as well, with his rationale being "Okay, I won't be the bad guy". Perry also agreed and with the original Scorchers together again, the group began touring in 1993. The reunion shows were a critical and commercial success, eventually extending into 1994. A demo tape of new recordings was also made that year, and Jason was able to secure the band a new contract with Mammoth Records. The band released their comeback album A Blazing Grace in 1995, following it with, Clear Impetuous Morning in 1996

In 1997, Jeff essentially retired from the music business and was replaced by Kenny Ames, who is with the band to this day. The bands final album was the live Midnight Roads and Stages Seen, which was released in 1998. After the demise of Mammoth Records and Perry deciding to leave the band, the Scorchers to all intents and purposes have been in semi-retirement ever since, although they did continue touring for a while with Fenner Caster joining on drums.

Post-Scorchers, Warner hooked up with guitarist Todd "Todzilla" Austin to form a new band called The Disciples of Loud. More than living up to their name, The Disciples were a much heavier sounding beast than the Scorchers and gave Warner the chance to handle lead vocal duties for the first time since before he joined the Scorchers. Over a two year period The Disciples undertook several successful U.S. and European tours and put out a self produced album.

Since then Warner has been tearing up the stage as a member of Stacie Collins road band, Hotter than a smoking pistol, Nashville up and comer Collins blends sassy hillbilly vocals, gut-bucket blues harp and Southern rock styles with the same reverence and disregard for tradition that the Scorchers applied to country music twenty five years earlier. In terms of looks, singing ability and attitude, Stacie's equal parts Daisy Duke, Kelly Willis and Joan Jett, with the harmonica chops of Slim Harpo and James Cotton thrown in for good measure. When schedules allow the band also features Stacie's producer Dan Baird on rhythm guitar.

With his passion for playing loud and proud rock n roll electric guitar well and truly reinvigorated, Warner is throwing himself into playing with more gusto than at anytime since the heyday of the Scorchers. 2007 is shaping up to be a pivotal year, not only is Warner continuing to tour with Stacie, but in June the Scorchers reformed for a jubilant home town benefit show to raise funds for Perry who is now suffering from kidney failure, although even that wasn't enough to stop the original Scorchers wildman from commanding the drum-stool for much of the three hour show.

September 2007 saw Warner kick off his solo career in no uncertain terms with a fifteen date U.K. tour. Backed by the current Scorchers rhythm section of Kenny Ames and Fenner Castner on all dates, Warner joined forces with Ginger of U.K. metal-popsters The Wildhearts for four special shows under the banner of Ginger & The Scorchers. Coinciding with the tour was the pre-release of Warner's debut solo CD. The album - Centerline - features ten songs, seven of which were written by Warner, covers of Merle Haggard's Branded Man and Jerry McCain's She's Tuff (as popularized by The Fabulous Thunderbirds) and a new version of the Scorchers standard Harvest Moon. The album was co-produced by Warner and Dan Baird, features contributions from both Dan and Stacie Collins. It's set for an Ap[ril release through JCPL, with some UK dates to coincide. The Dan Baird connection continued when Warner became the new guitarist in Homemade Sin, the first fruits of which will be a studio album in May and a major British tour to coincide.

Part of a thriving mid-eighties Nashville alternative rock scene that also included the Scorchers and Steve Earle, Ken McMahan and his band, the Dusters, criss-crossed the continent for seven years, thrilling audiences with a dynamic mix of roots rock and electric blues. The trio toured steadily and played hard, on-stage and off. By the time that the smoke had cleared, the band had recorded two solid albums (This Aint No Jukebox and Unlisted Number, respectively) and McMahan had earned a deserved reputation as a top-notch guitarist.

Ken is now a Product Specialist for Gibson Guitars and occasionally performs with bass player David Barnette in the Dusters.

McMahan stepped out on his own in 1994 with the self-titled Ken McMahan & Slumpy Boy CD produced by Dan Baird. Two years later, with Thats Your Reality, McMahan had further matured as a songwriter and performer and the well-received sophomore effort won exuberant praise from critics and fans alike on both sides of the Atlantic. His next release, Ball & Chain was a fitting follow-up to the previous solo records.

Ken played on Trent Summar and the New Row Mob's CD Horseshoes & Hand Grenades, which hit 3 on the R&R Americana Chart. Released by Palo Duro Records. Trent Summar is just coming into his own as an artist, entertainer and songwriter. Always known as a consistent and exciting touring artist, Summar has garnered notoriety in the Nashville songwriting community with songs recorded by hit makers Gary Allan, Pat Green and Billy Currington. In fact, "Love You" a Summar/Jay Knowles co-write hit the Top 10 in both the Billboard and Radio & Records Country Singles Chart for Jack Ingram.

In 2000, Ken and Dan Baird went to the UK to see what they could get into. In 2001, a show from that tour was released as a live album titled Redneck Savant. In 2003 and in support of a new album of previously unreleased Dan Baird and Georgia Satellites tracks, Out Of Mothballs, the band hit the road for a major European tour. This time ex-Satellites and the rhythm section from Dans Def American solo records, Mauro Magellan and Keith Christopher were on board. A performance from this line-up was featured on the legendary German television show Rockpalast. This was followed in 2004 by a second tour where the shows were recorded for a new live album Feel So Good which was released to coincide with a third tour in 2005.

The captivating energy and soul of rock ‘n’ roll and the blues empower the stages of today’s music world. With the audiences’ undying passion for both musical styles, THE CRASHERS uniquely juxtapose the commercial appeal of rock ‘n’ roll with the embracing seduction of the blues. THE CRASHERS feature veteran blues / rock guitarist GARY HENDRICKSON, who has dazzled the scene with his tone and natural delivery (really cool sound) for over two decades. JENNIFER DEPREZ, is the vocalist and charmer of the combo, her voice is heard all over the USA in various ads for radio and television. Her petite frame belies the power, clarity and heart of her vocal skills. Founding member JOHN WARTENWEILER, is steady and in the groove, when he plays the doghouse (upright bass to you), the entire feel and mood of the band changes with him. MAURO MAGELLAN has been in the band a mere thirteen years. He provides the fat back (powerful rhythmic drive) and his unique powerhouse drumming style gives the band a distinct feel which sets them apart from other blues based acts. The ex GEORGIA SATELITTE still travels the world pounding out his bombastic style of rock ‘n’ roll. JIMMY VOGELI plays piano and Hammond organ. Not only is he exciting to listen to, he’s even more fun to watch. This sought after keyboard player is not shy when it comes to getting the audience rockin’. THE CRASHERS are frequently backed by the talents of many outstanding musicians – the album is produced and features contributions from MAURO’s old sparring partner in the SATELLITES, DAN BAIRD – giving them a fresh sound every time they play their unique style of the blues.

Trailblazers for 1980s Scottish acts like Big Country, Wet Wet Wet, Del Amitri, Deacon Blue, and Texas? Very likely so. Heroes and inspiration for Guns N' Roses? Most definitely. But The Nazareth Story isn't just another from-rags-to-unheard-of-riches tale of making it in rock'n'roll.

Dan, Pete, Manny and Darrell developed the knack of stamping their very own identity on somebody else's hit song, something which for Nazareth in the mid-1970s proved to be the key to the world highway. Whereas their breakthrough in Britain was down to the strength of their own original songwriting on the Razamanaz album with Broken Down Angel and its follow-up single Bad Bad Boy charting at 9 and 10 respectively, it was their knack of coming up with totally fresh covers of strong songs written by other people that broke them abroad. They became huge in Canada after This Flight Tonight soared up the singles' charts there, whilst reaching number 11 in Britain. Taken from Joni Mitchell's 1970 Blue album, Nazareth's version – produced by Deep Purple's Roger Glover as part of the Loud'N'Proud sessions - is more than a re-working. What they've done is taken the song from its folk-ballad roots right through to heavy metal. Small wonder then that Joni Mitchell both was stunned by and loved this version, reportedly even calling it a Nazareth song from then on.

Britain in 1973 most definitely was the year of Nazareth, a year when Melody Maker readers voted them Brightest Hope. Razamanaz reached number 11 and in 1974 Loud'N'Proud reached number 10, later that year, Rampant also charted.

1975 saw the release of Hair Of The Dog and the song itself lays down the blueprint for stadium heavy rock and metal anthems of the future: that 'son-of-a-bitch' chorus custom-built for crowd response, and a very heavy rock rhythm from start to finish. Comparisons with AC/DC are natural – but the point is that Nazareth and Aerosmith were the pioneers.... and the rest followed. So it's not surprising then that Guns N' Roses were big fans of Nazareth. Naz also recorded the Everly Brothers' hit Love Hurts written by Boudleaux Bryant. This went nowhere in England but was top ten in America; and then in Norway it reached number one – and stayed there for almost forty weeks.

Nazareth's cover of Tomorrow's 1967 hit My White Bicycle got them to 14 in the singles chart in spring 1975. Holy Roller crept up to 36 in late 1975 whilst 1976's crop of three singles - Carry Out Feelings, You're The Violin, and I Don't Want To Go On Without You – all flopped.

Close Enough For Rock'n'Roll - Naz's seventh album - came out in early 1976 and helped to consolidate Nazareth's hold on Canada where they became one of the biggest British acts ever, notching up no less than fifty gold and platinum albums there during the 1970s.

Play 'N' The Game was album number eight (not counting Greatest Hits) and released in November 1976.

A year later in November 1977 came album number nine – Expect No Mercy – and a definite shift by Nazareth to the AOR market, a strong cover of Randy Newman's Gone Dead Train from the album reached number 49 in the singles charts.. At the same time they released an extended-play 45 called the Hot Tracks EP which featured Love Hurts, This Flight Tonight, Broken Down Angel and Hair Of The Dog as well. Reaching number 15 it would be Nazareth's final 7" top twenty hit.

Guitarist Zal Cleminson (ex-Sensational Alex Harvey Band, Zal, and Tear Gas) was asked to join, in time to record Nazareth's tenth album – No Mean City which came out in January 1979. Naz as a twin-guitar quintet worked wonders even in Britain where May The Sun Shine almost nudged the top twenty, reaching number 22. Star was the follow-up in July 1979 but only got to 54, and as such was Nazareth's final singles chart entry.

Malice In Wonderland Nazareth’s eleventh album released in February 1980.

Completing the dozen, The Fool Circle was out in February 1981.

After The Fool Circle a respected young guitar slinger and songwriter from Glasgow Billy Rankin and keyboard player John Locke relaced Zal, the next album release – the very high energy live double-album 'Snaz recorded in Vancouver in May 1981 featured Naz's take on rock classics such as J.J. Cale's Cocaine and Z.Z. Top's Tush. The album became a massive international seller. 2XS the next album was released in 1982 and sold well in the States and Europe but amazingly wasn't even released in Britain thanks to legal hassles with their new label NEMS

With John Locke having left, the 5-piece produced Sound Elixer in 1983, another eclectic set taking in soul and funk as well. After the tour to promote the album ,Billy decided to leave the band to persue a solo career.

Nazareth were now back to their original 4-piece line-up.

In 1984 they landed a UK record deal with Vertigo and released The Catch.

In 1986 Nazareth put out there rockiest album in years Cinema It was a welcome return to form for the band.

In 1989 came the controversial Snakes and Ladders – out on Vertigo in Europe but not released in England. Events and weird scenes that surrounded the production of that album eventually led to Manny Charlton leaving in 1990 after twenty-two years with the band. With the departure of Manny the band agreed there was only one logical choice to fill Manny's post Billy Rankin. Billy accepted and rejoined Nazareth as Lead guitarist.Soon after they entered the studio and began writing new material for the new album that was to become No Jive which was released in 1992.

NAZ were back and stronger than ever. In 1994 the band were back in the studio again to record Move Me, with a new deal with Polydor. Unfortunately as the band were due to start rehearsals for the forthcoming Move me tour, Billy once again left, due to band politics. young Scots Guitarist by the name of Jimmy Murrison, who was playing with Pete's son Lee in the band 'Trouble in Doogie land' was contacted by Pete and asked if he would like to join the band, (Pete had seen Jimmy play Many times and was very impressed) Jimmy accepted' and became the new Guitarist for Nazareth. It was also decided to add a keyboard player to the band once again, so they contacted their old friend Ronnie Leahy. Ronnie accepted the offer to join.

Boogaloo-the long awaited new album featuring the new members Jimmy Murrison and Ronnie Leahy. was released in1998 the year that also saw them celebrating 30 years in the Rock Business, quite an accomplishment in the world of rock n roll.

As the Naz machine began climbing to the top again, tragedy struck! On April 30, 1999 founding member and drummer Darrell Sweet died suddenly from a major heart attack. In fine tribute to Darrell, the band selected Lee Agnew, Pete’s eldest son, to fill the drumming duties for Nazareth. Lee was a natural choice as he is a very talented and accomplished drummer, already knew the music, learned tips from Darrell and he knew all the guys already.

Over the last few years Nazareth have carried on touring around the world, sadly keyboardist Ronnie Leahy has decided to hang up his road shoes and retire from touring. So, once again Nazareth were back to being a four piece again, They took hold of the challenge that change brings, regrouped, and filled 2003 with a live schedule, which would leave many new bands gasping.

With 13 tracks recorded in Hoboken, NJ and produced by James Mastro (the Bongos, Health & Happiness Show, Ian Hunter), Songs for Bright Street features Amy’s long-time backup band, the Tearjerks and is graced by guests Gary Louris (the Jayhawks), Cliff Eberhardt and E-Street Band fiddler, Soozie Tyrell.

Influenced by artists like Son Volt, Ryan Adams,and the Jayhawks, Amy has a crystalline voice and story-like songwriting style that have caught on with many fans and music critics alike:

"She's got that rare gift for telling tales of situations that matter, with utter simplicity, in plain talk...via driving rock, louder or more restrained, but tasty. She's a real singing writer of songs," - Barry Mazor, The Village Voice

“The spirit of women who rock lives on..[Amy Speace] has music that is undeniably earnest and commercially accessible.” - Larry Flick, Billboard Magazine

“Intriguing story songs that have captivating melodies…really shines.” - Dirty Linen Magazine

Amy Speace was born in Baltimore, MD. Growing up in a high-energy, music-loving family, she started piano lessons at age 5 and later would take on the clarinet and tenor saxaphone. After graduating from Amherst College, she studied acting for a while at the National Shakespeare Conservatory. But then after teaching herself how to play guitar, she decided to focus on writing and playing music. She moved to New York City and started playing acoustic sets regularly at downtown clubs, like the Living Room. It wasn’t long before she also discovered and became part of a burgeoning singer-songwriter scene across the river in Hoboken, NJ. It was in Manhattan and New Jersey that she met musicians, Jagoda (drums), Matt Lindsay (bass), James Mastro (guitar) and Rich Feridun (guitar), that would become her band, The Tearjerks. The band honed their sound playing shows at colleges, clubs and cafes all over the country.

In 2002, Amy’s debut album, Fable, was released to high critical acclaim. Songs from this CD were picked up for TV and film placements and were spun by over 100 national and international AAA, college and commercial radio stations. After being spotted in a Nashville showcase, Amy was invited by Epiphone Guitars to be one of their only unsigned endorsees and was featured in their 2005 "Women Who Rock" Calendar along with Joan Osborne and Gretchen Wilson.

An engaging poet and storyteller, Amy draws from and overlaps the traditions of country, folk, rock and pop, while weaving through a decidedly American landscape. She is one of the most exciting and in-demand new artists to emerge from the downtown NYC acoustic scene!

The Quireboys were formed in London in late 1985/86. The main nucleus of the band featured Spike, Guy Bailey and Chris Johnstone. Nigel Mogg was recruited to fill the vacant bassist slot. The band were originally called 'The Choirboys' after a movie they had seen, but colleagues on the building site where Spike and Guy worked joked they should be called 'The Queerboys' due to the way they looked.

'The Queerboys' started building up a following, playing the old Marquee, regularly selling it out. Unfortunately for the guys their name was causing a real stir, forcing some gigs on a 'Cherry Bombs' tour to be cancelled. On top of that, the group were offered a slot on the Reading festival during 86/87 on the understanding they would change their name and so 'The Quireboys' were born . After playing Reading, the band had built up a solid following and released a couple of singles 'Mayfair' and 'There She Goes Again' through Survival Records. By this time Ginger (now in The Wildhearts) was a full time member of the band, making his debut when the band supported Guns N Roses at the Hammersmith Odeon. At this time the boys were attracting major record company interest, mainly from the US. Ozzy Osbourne's wife Sharon stepped in and took over management from Bush Telfer, who was then manager of the Marquee.

EMI won the race to sign the band and it was at this time that Ginger parted company with the boys, which left a vacancy for a guitarist. Enter Guy (Griff) Griffin, who had been playing in a band called 'The Cradle Snatchers' who had supported 'The Quireboys' a couple of times. The band then went to LA in April 89 to begin recording 'A Bit Of What You Fancy' with Rod Stewart guitarist Jim Cregan. Rod even came down to the studio and gave it his approval. At end of 89 the band released the single '7 O'clock' in the UK which scraped into the top 40. The album 'A Bit Of What You Fancy' followed, entering the UK charts at number 2. Over the next 13 months, the band toured the world.

In June 1990, whilst touring the US, the band were offered a special guest slot with the Rolling Stones at St James Park, Newcastle.( Spikes' dream gig) In August the same year they played to 72,000 people at The Monsters Of Rock Festival at Castle Donnington with Whitesnake, Aerosmith and Poison. They finished of the year with a memorable gig at the Tokyo Dome on New Years Eve with Bon Jovi, Cinderella and Skid Row in front of 50,000 people.

Following the high of 1990 Spike, Guy and Griff went to Ireland to work on the new songs for the follow up album 'Bitter Sweet & Twisted'. The band were beset by more problems with the album being delayed and the bands A & R guy leaving EMI. Finally a single'Tramps & Thieves' was released in late '92 followed by the album'Bitter Sweet & Twisted' in '93. Another tour followed but unfortunately for the band the music scene had changed seemingly overnight with the birth of Grunge. Even though'The Quireboys' were never part of any particular scene, they suffered and although the sales never quite matched that of their first album, they still went platinum in Canada. Having sold over one million records EMI dropped the band with Sharon Osbourne departing shortly afterwards. After Axl Rose personally asked them to appear with Guns N Roses on the'Use Your Illusion' tour in Scandinavia and Germany, the boys decided it was time to call it a day.

In the summer of 2000 Spike met up with Griff and laid down a couple of demos. A friend of Spikes played them to the guys at Sanctuary Records and to their surprise they were offered a recording contract. They were not going to call the band 'The Quireboys' until Nigel Mogg expressed a desire to join the band, when he did, it seemed the most obvious name to be called. All that was needed was another guitarist and drummer so Luke Bossendorffer and Martin Henderson from Guys' old band 'Glimmer' stepped in.

'This is Rock N Roll' took seven weeks to make and was released in July 2001. The album was well received, getting the band back on the road in Canada the US and Europe, with Keith Weir (The King, Nancy Boy, Bap Kennedy) on keyboards. Keith from Northern Ireland, has remained with the band ever since then. Back in England the boys played two sell out shows at The Garage in London and played Hyde Park with old friends Status Quo and The Beach Boys!

Clear Channel Promotions and Danny Bowes (Thunder) brought back the Monsters of Rock idea, putting it in the arenas in November 2002. Alice Cooper was to headline with Thunder supporting. They needed a band who had performed at one of the original shows at Castle Donnington, so who else to ask, but 'The Quireboys'. Of course they gladly excepted. Martin Henderson decided to quit the band and Jason Bonham (son of John Bonham from Led Zeppelin) was asked to help out on drums. The concerts were recorded and with Sanctuary Records no longer in the picture, Demolition Records put out the 100% Live 2002 album .This was released in the early part of 2003. The rest of 2003 saw the guys playing The Bulldog Bash, Series Z Festival in Spain and a small tour of the UK. Jason left to join UFO making way for Michael Lee ( Page & Plant, The Cult ) to fill the drum slot from August to December.

In the mean time Guys' stepdad, who runs The Music Centre in Bedford, had teamed up with a young producer Nick Mailing ( The Pecadiloes) to build a studio. With the boys having the luxury of their own recording facilities they decided to make 'Well Oiled', their fourth studio album, with new members Paul Guerin ( Red Dogs, Michael Schenker, The King) on guitars and Pip Mailing ( The Pecadiloes) on drums. It was at this time that Phil Mogg (UFO) asked his manager Peter Knorn to take on 'The Quireboys'. Peter then managed to secure a deal with SPV Records in Germany and Crown/Nippon in Japan. 'Well Oiled' was released in June 2004. Support slots with David Lee Roth and UFO, headline gigs and major festival appearances in Spain, Italy and Germany has made it a great year for 'The Quireboys'.

The band finished off 2004 as special guests to Whitesnake throughout the UK in October.

Today The Quireboys are still one of the best live acts on the scene. With bands like Jet and The Darkness doing big business, the timing is just right for the guys to be out there doing what they do best, playing good 'Rock n Roll'. The band has never sounded better!

Jason and the Scorchers are one of the original alternative country bands. They formed in Nashville, Tennessee in 1981 when Jason Ringenberg, raised on a hog farm in northern Illinois and fresh out of college, came careening into Nashville looking for a "rock n' roll wild band" and found the Scorchers, three Nashville upstarts who had punk-rock leanings, stand-up comedian attitudes, great musical chops, and more than their share of vices. Jeff Johnson, Warner Hodges, and Perry Baggs joined Jason in Jason and the Nashville Scorchers, and with manager Jack Emerson pulling the right strings, the band roared into the eighties.

Their sound was described as "TNT From Tennessee," "country punk," and "Merle Haggard meets the Ramones." Jason was nicknamed "Jerry Lee Rotten." In reality, the band was simply working out on stage what they had in their heads and hearts from their teenage years: roots in country, hearts in rock, minds more or less in the gutter. All the members of the band grew up around country music, but they were interested in rock as well. The way Warner Hodges told it, his father (who was a traveling USO musician) heard Warner's bands thrashing through Van Halen and Kiss-type songs and suggested that if they played Merle Haggard or Johnny Cash, it would sound great. So perhaps it was one part their own doing, one part Edgar Hodges', and one part divine inspiration.

Whatever the impetus, from 1982 to 1985 Jason and the Scorchers were one of the best live bands ever. EMI signed them in 1984 and re-released their EP "Fervor." 1985 brought the powerhouse "Lost and Found," almost non-stop touring, and a creative high-water mark. The Scorchers were so confident in 1985 that they could go on stage anywhere and slay 'em. Heck, they had survived 35 hillbillies throwing beer bottles at them in punk clubs in 1982 for playing "Ring of Fire." Australia and Japan must have seemed a grand adventure, and for a while they took on the world.

Nevertheless, enough money still wasn't coming in. EMI didn't realize what they had, so they tried to make the Scorchers into something they weren't - a radio-friendly act. EMI might have tried just shoving the band down the throat of the mainstream, and make the mainstream adapt with a big promotion budget. Huge companies do this all the time with a new U2 or Michael Jackson album. But EMI didn't make it happen. There was also the requisite amount of rock n' roll madness going on in the group, which is highly understandable when you're 24, drinking, and careening off each other 150 nights a year. The band was revered in Europe, but that didn't translate into enough record sales. Mainstream America was still five to ten years away from accepting alt-country.

"Still Standing" came out in 1986 and had some great songs, but again, it wasn't what the Scorchers did best. The band took the stage with a lot of the same energy, but things had become more complicated. There was a heaviness to a lot of the shows: more makeup, more hair, louder guitars, heavier rock. Sometimes, as in 1982, less is more. In 1987, EMI dropped the Scorchers, and Jeff dropped out of the band. A fallow period ensued. In 1989, the band released "Thunder and Fire" with a new bassist and guitarist. This record didn't sound much like alternative country, which isn't to say that it didn't rock. The songs were more metal-influenced, as Warner had a big hand in the production. Then Perry Baggs was diagnosed with diabetes during a tour in 1990. Warner called Jason and said he couldn't do it any more. As Warner said it later, "we didn't break up, we fell apart."

In 1991 and 1992, pretty much the whole band went through divorces. Jason put out a solo album that put a toe in the pool of the Nashville mainstream, but he didn't dive in, God bless him. On tour, his wild stage persona came out, contrasting with the studied craft and hooks of the songs. Warner moved to Los Angeles and worked in the video business. By 1992, he hadn't played guitar for a year. Jeff Johnson moved from Los Angeles to Atlanta. Perry was still in Nashville.

Then Jeff bought a copy of "Essential Volume One," a posthumous Scorchers release that packaged "Fervor" and "Lost and Found" on one CD. He liked it and decided to try to re-unite the band. He called Warner first, who hung up on him after Jeff suggested the reunion. Jeff called six more times that night. Then he started calling Jason, ringing him at four in the morning until Jason agreed to do it. Warner finally agreed, with his rationale being "Okay, I won't be the bad guy." Perry came on board, and Jeff had accomplished the seemingly impossible: he had rescued a band that had literally been scattered to the four winds.

The reunion shows of 1993 rocked. Word got out and people flocked to see the band. The reunion tour stretched into the fall. What the hell, the band must have thought - this is more fun than working construction, and we're not throwing as many things at each other any more. Sober minds also led to more focused shows, and the band started growing again, picking up steam slowly but steadily into 1994. They put together a demo tape of songs they recorded at the Castle, and Jason drove it to Chapel Hill, NC. Jay Faires was the head of Mammoth Records there, and he was a big Scorchers fan from way back when. Jason drove home to Nashville with a record contract in his pocket. Things were looking up.

1995's "A Blazing Grace" announced to the world that they were back, and in February of that year, they played the Exit/In during the NEA Extravaganza and burned down the house. They toured a lot in 1995 and then had an important meeting that fall. 'Do we want to try to make a career record?' they said. Everybody in the band decided they wanted to try. So Jason wrote ten terrific songs that winter, including three with Tommy Womack, and that spring they recorded "Clear Impetuous Morning" at Bakos Amp Works in Atlanta. Released in October 1996, the album stunned people left and right. Jason and the Scorchers were really going for it. They've come a long way since they were twirling around with beer cans on their heads.

Jeff left the band in January 1997, retiring from the road to be with his wife and away from the cruel vagaries of the music business. That ended a glorious chapter of the band, but a new and fascinating one started when Kenny Ames came aboard that spring. Ames was young, energetic, funny, and a great musician. He dove into songs from "Thunder and Fire" that the band hadn't played for eight years and would never have played again if Jeff had stayed. In fact, Kenny's entrance caused the band to re-examine their whole catalogue, which opened up a whole new set of musical dynamics every night on stage.

It was just as well that they looked at all their songs that year, too, because they recorded a live album that November. Jason's wife was pregnant, and they raced to get everything done before she gave birth. They made it by a week or two. "Midnight Roads and Stages Seen" came out in May 1998, to widespread good reviews and a general sigh of relief from longtime fans. Whew, we said. At least some of these songs won't go into the dustbin forever - "Golden Ball and Chain," "Greetings From Nashville," many others. So many good out-of-print songs! Now it's 2001, and we hear from time to time about how EMI is going to re-release "Still Standing," and that there are other reissue projects waiting in the wings. We remain hopeful, but longtime fans will tell you that they'll believe it when they see it, and not much before.

The Disney mouse bought Mammoth in 1997, then folded the label in 1999, leaving the Scorchers without a record company again. Kenny Ames joined Dash Rip Rock, although he is still officially in the Scorchers. The band played some festival dates in Tennessee in 2000, the last one in Chattanooga in September. Warner said in the interviews for their Exit/In show on December 31, 1999 that their 20th anniversary year would be something special. Jason released the lovely acoustic record "A Pocketful of Soul" on his Courageous Chicken label in 2000. He toured all over America and Europe to support it, despite having a new girl, Camille Grace, at home.

2008 sees the Scorchers hit Europe for a spot at the prestigious Lillehammer festival and a high profile show at London's Forum.

The 20-foot long, 1971 Buick Skylark sat in the driveway. My first car. Sort of excited, I got in and turned on the radio. At this point I discovered that not only was the radio just A.M., but that it only received one station – WKCK, Northern New Jersey's Home of Country. So was born my forced love affair with country music.

As I cruised New Jersey listening to my one-station radio, two things drew me in – the simplicity of the music, and the honesty of the words. So when time and circumstance ultimately led me to create my own music, it was born out of these things."

This time was about three years ago. The circumstances were the end of his marriage as well as the death of someone very close to him. Jeff taught himself some basic chords on an old accoustic guitar and sang songs he wrote for anyone who would listen - for as long as they would listen (mercifully, not too long back then).

Eventually a couple of musicians in his neighborhood heard some of his songs and offered to play with him. These sessions led to Jeff's philosophy on arrangement - "listen to the song with just acoustic guitar and vocals - then add only what the song demands".

This philosophy was shared by Keith Lentin, a phenomenal (by anyone's standards) guitarist Jeff met around this time, who serves not only as lead guitarist, but as the band's Music Director and producer of Jeff's first album. Keith provided the introduction of Steve Holley - extraordinary percussionist and backbone of the live band.

Anyway...
...while the music Jeff writes today contains elements of country, rock and blues, the one thing that has always been consistent in his music is honesty - and so it will continue that way.

Terry Reid's life is interweaved with an amazing array of legendary musicians. Yet Terry has remained largely unnoticed outside of these musicians and a small, but fiercely loyal set of fans. As Mick Taylor of the Rolling Stones recently said, "Terry's a national treasure and one of Britains best kept secrets".

Terry Reid first came to public attention as the featured vocalist with Peter Jay & The Jay Walkers a hard working, hard gigging band that were to unwittingly, play a large part in Terry's future, by virtue of the fact that during one of those many gigs, the Jay Walkers found themselves on the same bill as the Hollies and more importantly for Terry (as we'll see later), a certain Graham Nash.

The Jay Walkers found themselves more and more in demand and, in 1966, found themselves booked to appear with the Rolling Stones, Yardbirds and Ike and Tina Turner, all of whom had members that would contribute to the Terry Reid story in later years.

In 1967, the band played alongside the Beach Boys and Terry struck up a friendship with the band that still lasts today. The tour brought the band to the attention of EMI records, who paid for some recordings to be made. Unfortunately, these failed to set the charts alight and Terry decided that it was time to move on.

He formed a new band, called quite simply - The Terry Reid Group - with Eric Leese (Keys) and Keith Webb (Drums). Graham Nash (remember him), suggested to Mickey Most (producer of the Jeff Beck Group), that he put up some recording time for the band. Mickey agreed and placed the band into the studio to record what would become Bang Bang, You're Terry Reid. Whilst all this was going on, Aretha Franklin, on tour in the UK at the time, made the comment, "There are only three things happening in London, the Beatles, the Rolling Stones and Terry Reid'.

Jimmy Page from the Yardbirds was looking for a vocalist for the New Yardbirds. Terry was approached, but fired up by the potential of his new band and the deal with Mickie Most, declined Jimmy's offer. Jimmy's New Yardbirds settled on the then relatively unknown Robert Plant and the band changed their name to Led Zeppelin.

Terry, meanwhile had landed the guest slot on Cream's farewell tour of America at personnal request from Eric Clapton. Elsewhere on that American visit, Terry also got to play alongside the likes of country Joe and the Fish and Jimi Hendrix. The album failed to make the impact hoped for and at the beginning of 1969, Terry went back into the studio to record what many feel is his best album, Superlungs. Later that year, he opened for the Rolling Stones across America, a tour that culminated in Altamont and is documented in the film Gimme Shelter.

Before leaving for the States, Terry had received a promise from Mickey Most, that he'd await Terry's return before mixing Superlungs. Terry returned to the UK to find the promise broken and the album mixed. A row insued and Terry's band members, decided the time was right to breakaway and start their own band.

Whilst in the States, Terry had made friends with multi instrumentalist David Lindley, who, on Terry's return to the UK, contacted him with a view to working together. Joined by Lee Miles from Ike & Tina Turner's Ikettes, the band started making music. Writing took place in a house on the river Ouse and the band, joined by Alan White, took time out to play the Isle Of Wight festival in 1970 on a bill that included The Doors, Jimi Hendrix, The Who, Joni Mitchell, Miles Davies, Free, Leonard Cohen, Joan Baez, The Moody Blues and ELP and at that time, attracted the largest UK festival audience on record.

Terry was still under contract to Mickey Most, but desperate to release another record. In stepped Ahmet Ertegun co-founder of Atlantic records who managed to negotiate Terry's release from the Mickey Most contract.

In 1971, Terry was invited to play at Mick Jagger's wedding reception and claimed his place in the history books by being the opening act at the inaugural Glastonbury Fayre (Festival).

The album sessions for whatr would become The River, were stretching on, band members were receiving lucrative offers to relocate to the USA and Terry went with them, settling in California. The album was finally released in 1973.

This is where Graham Nash re-enters the scence, writing and recording and producing with Terry on the Seeds Of Memory sessions. The album, alongside, Superlungs, remains, one of Terry's most enduring works, but again, due to indifferent promotion, did not achieve the success it might have.

Never one to get downhearted, Terry started work on his next project. Recorded at the Beach Boys Calibou studios, with producer Chris Kimsey, Rogue Waves is possibly the most immediate of Terry's albums, due in part to the number of covers on the album, albeit, covers that are larely unrecognisable from their original forms.

Terry stayed in California throughout the '80's contributing to various sessions and as writing, writing new material. In the UK some of the demos got the ear of Warner UK chairman Rob Dickins who invited Terry over to the UK and teamed him up with producer Trevor Horn to work on sessions for what would eventually be releasede as The Driver .

Back in LA Terry struck up a partnership with ex Rolliong Stone, Mick Taylor. In 1998, Terry was part of the all star bill at the Roxy in LA when there was a benefit concert for the recently deceased Carl Wilson of the Beach Boys .

In 2001, Terry was invited to England to do three dates as a support act on the Nick Lowe tour. And the following year, 2002, Terry was invited to play at Womad.

In 2005 Terry appeared at Glastonbury 34 years after his debut there. Also in 2005 Rob Zombie decided to put three of Terry's songs from Seed of Memory on his latest film, The Devil's Rejects.

In 2006 Terry recut a version of Seed of Memory a collaboration with US rapper Damizza who has recorded with Mariah Carey and Dr. Dre, amongst others.