Robin George Wilderness Review

With each new release we are given an insight to some of the different facets of Robin’s musical style, Wilderness is no exception. It is a musically hard hitting, lyrically inspiring collection of songs. Robin’s typically original melodies are the driving force of this powerful album which offers a lesson in musical diversity and, more than others, tells a story which is revealed in the 12-page Wilderness Words book of rock poetry, included in this beautifully packaged, eco-friendly CD.

1. The Eyeball Kid sees Robin storm onto the stage with a full-on boogie romp. Dynamic doesn’t even come close! Charlie Morgan’s magnificent, power drums provide a solid rhythm to offset the structured yet wild guitar riffs and thunderous bass from the mysterious Biron Salcher, the solid rock bass for the whole album If this doesn’t rock your socks, I don’t know what will! ‘Big boys don’t cry’ and there ain’t ‘no painful kiss goodbye’.

2. Firefox Freddie is another wild and wonderful track, telling a gloriously seductive tale of outlaw lovers who won’t let the bastards grind them down! You certainly need to take a breath and take stock after this fast-moving track which culminates in an explosive climax of thunderous drums and awe-inspiring guitars.

3. Wild Eyed Woman, a driving rock ‘highway to the stars’ thrills with heavy guitars and a seriously catchy tune. Robin’s trademark choral harmonies and strong choruses are indeed ‘born with music of the universe.’ The humour, which pervades the whole album, is encapsulated here with ‘what goes down on tour stays on tour’… and those of you who have been on a tour will understand the sentiment!

4. Deadwood changes the pace, adding some shade to the blistering heat of your Wilderness experience so far, and, in the words of the song, offers sanctuary. A beautiful song to ‘set your spirit free’ with truly innovative guitar work which will amaze and delight.

5. Bittersweet Heartbeat is a real rock n roll love story ‘smoking with desire’ and packed with enticing lyrical references to Robin’s immense back catalogue that will delight fans. This song immediately powers up with some real dirty riffs before Robin throws in some moody vocals then lets rip with his guitar orchestra and plenty of harmonies.

6. Rainbow Ridge is a sensual, heartrendingly beautiful song harking back to an age of innocence and beauty with glorious lyrics and musical magnificence. It is almost cinematic in its scope and conjures up a fairytale world of fulfillment and beauty with its magical fusion of angelic harmonies, moody, bluesy, hypnotic guitars and driving, melodic drums.  

7. Cocoon is a hard-hitting, melancholy song lamenting the cynicism and superficiality of the music industry’s Wilderness. There’s something Bowiesque about the silver-suited Johnny Thunderbird; one of the many vibrant characters that dramatize this concept album and tell their own stories. Superb, soaring melodies are sprinkled with haunting harmonies and female vocals add balance and lightness. If this one doesn’t get into your head and drive you mad, I don’t know what will!

8, Freedom is a truly epic track. Opening with Robin’s throbbing guitar which transforms into a menacing electric rage, underpinned by Charlie’s mighty war drums; tribal and primal, this is a dark and Dangerous song. The musical union of these two brothers in arms is nowhere more clearly sensed. The contrasting silken, yearning harmonies singing their impassioned Freedom song shine a light through this captivating, compelling masterpiece.

9. Rock n Roll BusynessMan rocks in with a swirling guitar break before the story begins, I say story but the lyrics are all about the charlatans within the record industry and anyone in the music world will certainly recognise some of the song’s sentiments and may even understand the inspiration for this rocking little tune. As with every track, Charlie Morgan’s power drums are top drawer and lay a solid bedrock for the song.

10, Belief is musically full of harmonies and acoustic guitars, lyrically telling a story of religious diversity. I found myself enraptured by Robin’s words leading into a calming middle eight, before being whisked back into the deep, meaningful verses.

12. Wilderness rocks on with Robin’s sliding bottleneck guitar; an inspiring new genre of Rockleneck? Charlie’s marching drums guide the hero home from the Wilderness ‘back where I belong, rocking fields of clover’ to his love ‘I missed you in your pretty dress’. It feels like the final, joyous homecoming scene of a Technicolor Western and completes the conceptual cycle of the panoramic, cinematic world this bedrock shaking album paints.

‘Rock the World Magazine’ 2021     Roy Cooke and Debra Derryn         10/10

ROBIN GEORGE – WILDERNESS

Intriguing & enthralling

NOVEMBER 10, 2021 

Released early this year, Wilderness was the first album recorded as the world went into the Covid pandemic, and Robin would follow it up with 3 more albums since! He’s also edited and remastered 4 other releases during this time, so the man has been very busy! (All 8 releases available at his website). But going back a bit, British guitarist / songwriter / producer Robin George spent much of his career being more known for the names he had collaborated with early in his career – David Byron, Phil Lynott, Robert Plant, Glenn Hughes, Roy Wood….. plus, he had a huge hit in the 80s with “Heartline” from his 1984 debut album Dangerous Music. He remained busy, but his next solo album wasn’t until 2001’s Rock Of Ageist. Wilderness is the follow up to 2018 album Rogue Angels, and it’s a good rock album, with lots of great guitar work & mixes, lots of blues and groove throughout this album. There’s a great feel to the songs via Robin’s playing and the drumming of the legendary Charlie Morgan [Elton John]. For me the album starts out rockin’ with “Eyeball Kid”, and just gets better, with favorite tracks like “Deadwood”, “Freedom”, the title track, and “Belief”. Love the heavy riff that intros the outstanding “Cocoon”, as well. Robin’s vocals are kinda in that Marc Bolan style, which suits his songs, and there’s plenty of smooth backing vocals which add to the overall atmosphere, especially on the acoustic based tracks “Belief”, “Bittersweet Heartbeat” and “Rainbow Ridge”. Lots of stories told throughout these songs, with Robin being a poet and storyteller. Am looking forward to hearing more of his ‘Rockdown’ albums that followed this.

*Wilderness comes with a 12-page booklet of poetry and words.

Intriguing & enthralling

Robin has a great pedigree playing with amongst others. Phil Lynott, Robert Plant, Roy Wood and Diamond Head. Dangerous Music 11 is clearly an Eighties production, I can imagine some of the tracks playing in scenes from Miami Vice, glossy synth pop overladen with Robins guitar work.

ninebattles.com (April 2015)
 

ROBIN GEORGE - ‘HISTORY’ (AngelAir)

 A musician who has collaborated with Robert Plant, Glenn Hughes, Phil Lynott, and so the list goes on, should be a household name in Rock circles. Yet for Robin George that mainstream breakthrough never quite arrived. Yes he was a Kerrang! cover-star and achieved a chart hit with the wonderful 'Heartline', however George remains one of those figures for those “in the know”, while being hugely respected by his peers. In recent times he has been revealing some of the gems from his past, this release being amongst the most interesting.

Heading back to the period between 1979 and 1981 'History' is the debut album that never was, recording sessions squeezed in during studio downtime, drummer Dave Holland (Judas Priest/Trapeze), bassist Pino Paladino (The Who/Joe Walsh) and keyboardist Mark Stanway (Magnum) all dropping everything when the phone-call came to tell them the studio was free. Add in a guest bass slot from none other than Phil Lynott and this really is a star studded session.

'History' opens the album, guitars stabbing through the bass thrum, George showing what a wonderfully engaging voice he had even at a young age. The song would go on to be released as a 12” single, the expectation being that Arista would follow up with the release of the album. As so often happened back then, things didn't work out that way, the album being shelved for an amazing 33 years! An embryonic, less polished version of 'Heartline' is a wonderful insight into where George was at the time, the Lynott infused 'Showdown' a heavier, yet synth driven joy, the Ted Nugent covered 'Go Down Fighting' a slow building melodic delight. However these tracks are not alone in captivating the imagination, the slightly funky 'Castles In The Sky' an acoustic hit in the making, 'Tonight It Was Meant To Be' a cross between what would go on to make Whitesnake huge a few years later and The Eagles’ accessibility.

Remastered by George himself, 'History' has been kept as an honest appraisal of its time, a little tape hiss and abuse of the sound limiters still in evidence. However don't let that put you off experiencing the ‘History’ of one of the UK's most under-sung Melodic Rock songwriters in his most honest, raw form.

Steven Reid, Fireworks Magazine

ROBIN GEORGE ‘DANGEROUS MUSIC II’ (Angel Air)

Recent years have been very kind to Robin George (he of 80s smash hit ‘Heartline’ fame) fans, with the guitar, singer and songwriter regularly teaming up with Angel Air to release a whole host of previously unavailable, or deleted albums - and George has more of both than most. Hot on the heels of ‘History’, which brought together a host of pre-debut album recordings, comes  ‘Dangerous Music II’,a set of songs intended for a follow up release to the album from which it takes its name.

The ‘Heartline’ single made George an overnight sensation, TV appearances and live performances  galore, however with time spent working with everyone from Phil Lynott to Robert Plant, Glenn Hughes to David Byron, it also disguised the true and respected talent he possessed. The ‘Dangerous Music’ album, which spawned the smash hit, was an album which keenly straddled the Soft Rock, AOR and Pop market of the time; synth and guitar equal bedfellows. So it should be no surprise that ‘…II’ follows a similar route. Now, nobody’s trying to pretend that the seventeen tracks presented here aren’t demos and as such, the sound isn’t always pristine (there’s even a   couple of sound drop-outs as the songs progress). Yet with Charlie Morgan (drummer for Kate Bush and Elton John) and Pino Palladino (now The Who’s bassist of choice) contributing to a number of selections, there’s also a serious Rock pedigree. Key to that is George’s guitar work, which, when it comes to the fore proves remarkably fiery and precise as it belts you about the nether regions.  However for much of this collection, dated synth sounds dominate, yet in a tasteful way which even at times reminds of Peter Gabriel (‘Computer Games’). Although for much of the album we are talking a far more 80s Pop vibe. That said, ‘The American Way’ is thumping Funk-Rock-Pop, ‘No More Mister Nice Guy’ is classy, glistening electro-AOR with a great guitar solo and ‘Red For Danger’ is a busy piece of Soul infused Pop that you can easily imagine Glenn Hughes thriving on. Many of the tracks are George working alone and as such, it is drum machine and synths which dominate, yet even here the super AOR of ‘Mona Lisa Smile’ or ‘Heart To Heart’ shine with a class few UK acts from the era could hope to match.

For Robin George fans this release is a simple must have, although the liner notes, interesting though they are, barely discuss the songs it contains. Casual listeners may take a while to adjust their ears to the sound quality and era these recordings comes from, but good songs are good songs. 

Steven Reid, Fireworks Magazine

Peter Haycock and Robin George had worked together on the charity album Love Power, then decided to make an album of their own in 2013. The duo assembled a band of well-respected musicians to record the album with the idea to then tour to promote it.

Bev Bevan (April 2015)The Move,ELO, ELO part 2, Black Sabbath
 

This album has to be the quintessential British buffet. What do I mean by that? Everything individually scrumptious, but when put altogether on one plate, a veritable feast. Having fallen deeply in love and indeed lust with Dangerous Music (The 1st) some 30 years ago, my expectations for the “sequel” were high, and being able to hear little snippets of tracks on YouTube and suchlike, piqued my curiosity; although I was in no way apprehensive about what I might hear. My instincts proved me right again I’m glad to say (the benefits of being a middle aged woman!!)

The title track Dangerous Music sounds as relevant and fresh today as it did way back…..this classic is what it is, with its down n dirty riff. No cause or need to elaborate further! Immediately fell in love with Streetwise….rocky, catchy, great melody and structure. I Believed In You delivers a sexy raunchiness….put it this way, it wouldn’t sound out of place being played in a certain venue housing a steel pole, and I’m not talking scaffolding! Heart To Heart has a sweet, light melody, although the lyrics are sinister. Great combination; reels you in; spits you out! Cool! The American Way…. one word. Funky! Flying. And genuinely, you feel you are. Soaring and floating through the clouds on a crescendo of a cool breeze. Don’t Come Crying. Opening makes me think “Soundgarden”. Plus, listen closely to the lyrics. Did you spot it? I did! Full marks to me for that and to Robin George for another cracker. Machine and Computer Games both a good surprise. They say variety is the spice of life and both these tracks veer down another pathway. Totally unexpected, but most welcome. Ace In My Hand. 70s feel about this one which makes me want to fist punch the air. Like it. Another surprise with Stop with its almost reggae feel and sound. Clever to incorporate rock with jerk chicken. Tasty!! Tragedy…. Not to be confused with any other versions. Appeasing melody and harmonies. No More Mr Nice Guy, really like Robin’s vocals on this one. Really soothing with a soothing solo midway to complement those vocals. Chance Of A Lifetime, good, sound track. Upbeat with a nice rock feel. Mona Lisa Smile. I think she would smile if she heard this, a great big toothy grin. DM II concludes with Red For Danger and Johnny, the latter commences acoustically and then crescendos into a full blown epic of a rock solo. An anthemic track and a great place for the needle to stop.
It’s not easy to justify a collection as diverse as this, not when there are so many genres in one place, but with the staple undercurrent of what we know and love about Robin George, and that’s his penchant for rock! This album uses the medium of time travel as it cascades you through so many different styles and techniques….you have no clue which decade you’ll be in next! I mentioned the good old British buffet earlier, but it’s more than that. It’s a Smorgasbord of many delicacies and I, for one, will be licking my lips every time I play this album. Thank you Robin George for continuing to write and record the contents of your head for us. What comes outta your mind has totally blown mine!

Vanessa Campbell-Kelly

The world lost a classy, true talent on October 30, 2013, when Pete Haycock, founding member, lead guitarist & vocalist of the Climax Blues Band, passed away suddenly of a heart attack at the young age of 62. Just prior, along with well travelled guitarist/singer Robin George, King Crimson alumni Mel Collins (saxophone), drummer Charlie Morgan, bassist Charley Charlesworth, and vocalist Jacquie Williams, a new band was formed, simply titled Climax Blues, and their debut album Broke Heart Blues completed for Angel Air Records. Sadly, due to Haycock's death, this will be their first and only release, but it's a good one, an album filled with gritty blues rock, pop, and a lot of soul.

Having three lead vocalists here really adds a nice dimension to the album, giving each song plenty of variety and flavors. "Gossip is Gold" is permeated by Williams' lovely vocals, supported by some rampaging guitar licks from Haycock & George as well as Collins' searing sax explorations. "Blue Monday" and "Cruel" are two of the harder rockers in the set, each chock full of tasty guitar work, and "Miss You So" is a funky blues rocker with no shortage of catchy hooks. The George penned "The Rubicon" offers up heavier riffs and layers of superb vocal melodies from all three singers, Collins sneaking in some jazzy sax lines in spots to add a majestic touch, while "Lonely Avenue" sees the band drop into a bluesy boogie shuffle. Other highlights include the laid back blues/jazz of "Bluesong", the raunchy title track, the irresistible "I Feel So Blue", and the scorching slide guitar workout that is "You Ain't Got the Right".

When Broke Heart Blues works, it's an album that is really on point, delivering memorable melodies, wonderful guitar work, catchy rhythms, and the always classic presence of Mel Collins. On another hand, it does suffer from perhaps too many songs (10 would have been perfect here), as the listener can start to get a little fatigued three quarters of the way through, but the good clearly outweighs the lackluster. It's just still so sad that Pete Haycock is no longer with us, but he's left behind a monumental body of work with Climax Blues Band as well as this enjoyable little album.

http://www.seaoftranquility.org/reviews.php?op=showcontent&id=17354

Dangerous Music II is, as if you hadn’t guessed is the follow up to Robin’s impressive Dangerous Music debut, an album that spawned ‘that song’. I will try not to mention it’s title, as even though it is a great track, Robin has a lot more to offer, as is evident on this release, which due to Robin’s record company going bankrupt, hasn’t seen the light of day in nearly 30 years.

As you would hope for, the songs on this release follow the same pop/rock formula as defined the debut, however one thing is certain, with 17 tracks on this cd, the 2nd album should it have been released was going to be huge. If you break this cd down, there is a massive 2nd album here, although I personally wouldn’t want to choose the track listing, and then there are possibly 6+ songs already recorded that wouldnt fit on a LP or Cassette, so would form the basis of the 3rd album. As it is, all the tracks recorded for the 2nd album are here, and all of them are worthy of inclusion.

‘Dangerous Music’ , opens this cd up, full of Robins guitar playing swagger, far more rock than pop, this proves a serious challenge to Heartline’ ( there, I’ve mentioned it ). As lead track and I assume lead single from this album, there was even a video made to accompany this. That is a lot of faith put into a song that hadn’t even been released. That faith is well justified, as this release proves time and time again offering up a great blend of 80’s synth pop and Robin’s rock guitar playing. This release really shows you what one bit of bad luck within the music industry can do, Nik Kershaw became a household name, yet Robin never did, despite the fact that Robin was better looking, wrote better songs, and certainly played guitar better, plus he was taller :-).
‘Streetwise’ has a great guitar hook, a sing-a-long chorus and a blinding guitar solo, a great pop/rock crossover track that Robin does so well.
‘I Believed In You’ in an Acoustic led track, with some great harmonies.
‘Heart To Heart’ heads back into pop/rock territory, and could certainly have been a hit had it been released as a single. Classic Robin George.
‘The American Way’ is typical of the musical style of the late 80’s when syncopated drum beats mixed with a funk rhythm section created a soundscape on which to play guitar off, Prince was a great ambassador of this type of songwriting, and Robin isn’t far behind here.
‘Flying’ is a light pop track full of keyboard flurries and understated guitar runs by Robin, however just after half way through, we head into an amazing section with Robin playing some serious overdriven heavy riffs backed by a glorious chorus section, then we close with an acoustic section. Amazing.
‘Don’t Come Crying’ picks up the pace, a great chorus line a great soaring joint guitar/keyboard solo towards the end help drive this song along. Worthy of a repeat listen straight away.
The pop duo of ‘Machine ’and ‘Computer Games’ do sound dated, but that is mainly due to the very electronic sounding synths. These would have been great on a 80’s Sci-Fi film soundtrack.

There is plenty of musical variety on here to enjoy, ‘Ace In My Hand’, Robin’s poignant tribute to former workmate Uriah Heep vocalist David Byron. ‘No More Mr Nice Guy’, ‘Chance Of A Lifetime’ with its brilliant guitar solo and ‘Red For Danger’, a song recorded by Robert Plant,’ being standouts.
Listening to this now, the fact that this album was never released seems like a crime, this is the album that could have turned Robin into a household name, as there are several songs on here that could easily have been huge hits for him. Has this been worth the wait, if you are a Robin George fan, than absolutely? Go out and buy it, you will not be disappointed.

http://planetmosh.com/robin-george-dangerous-music-ii/

CLIMAX BLUES – Broke Heart Blues
Angel Air [Released 09.03.15]

This album is a collaboration between Robin George and Pete Haycock (he was involved in the first ELO Part II line-up), one of the founding members of the Climax Blues Band (note this CD I guess couldn’t used the ‘Band’ tag as the band are still going!). This was recorded in 2013 and sadly shortly after completion Pete Haycock passed away in October 2013.

It is an interesting mix of styles, as you have the blues rock of Pete Haycock shining through on ‘Blue Monday’ and then on the pacy ‘Miss You’, those hook filled choruses that Robin George does so well work to great effect on a big blues riff.

Great to hear two guitarists having a blast (check out the soloing on ‘Lonely Avenue’ amazing stuff), with the sax of Mel Collins really adding to the soul/funk sound on a couple of songs. Jacquie Williams is the album’s secret weapon as she adds oomph into the backing vocals and gets the odd spot to show her vocal strength.

A fitting tribute for Pete Haycock and one for blues fans, Robin George fans and anyone who likes a good dose of quality blues music now and then. ****

Review by Jason Ritchie

One may argue if it was a good idea to launch CLIMAX BLUES into parallel existence with the current CLIMAX BLUES BAND where no original member is involved, but both bands founder Pete Haycock demonstrated a belligerent stance coming up with the pieces such as the slide-kissed “Gotta Get It Right” – an obvious reference to the old line-up’s “Couldn’t Get It Right”- and finding a kindred guitar partner in Robin George. Unfortunately, in a familiar twist of fate it became one more doomed project for the latter who’d seen his efforts with Phil Lynott and David Byron grind to a halt due to their passing, as Haycock died in October 2013, right before this album was finished.

The tragedy made naming the record “Cruel” cruel, indeed – even though a rocking piece with the same name has a life-affirming ring to it – yet it didn’t make the tracks sad, no matter what their titles may imply. So while a soft, if taut, cover of Ray Charles’ “Lonely Avenue” hits the right spot, opener “Blue Monday” is a vivacious slice of a heartbreak which sees guitars twinned with Mel Collins’ sax who also soars on the “Gossip Is Gold” blues, thrown onto a heavy riff, as Jacquie Williams joins in the chorus of the main men’s vocal clinch.

Her soulful pipes take the duet of “Miracle” beyond the pale, whereas “Miss You So” offers an effervescent, brass-bonded swing, and “You Ain’t Got The Right” picks up the original CLIMAX baton, too. But “Bluesong” that signalled Robin and Pete’s first joint venture on the “LovePower And Peace” charity action, is present here in electric and acoustic versions, in which the licks are being swapped and Haycock’s voice shines. Quite a last will and a testament for true master for those who carry the legacy

Released one year to the day since his tragic passing, "Broke Heart Blues" is what turned out to be the final outing from the late, great and much missed Climax Blues Band and ELO Part II co-founder Pete Haycock. In many ways it is a perfect musical alliance with Robin George and is a real return to Haycock's rock and blues roots. It really is the most apt and fitting of farewells. Ably assisted by Mel Collins [Saxophone], Charlie Morgan [Drums], Jacquie Williams [Vocals] and Charley Charlesworth [Bass], this rebooted Climax Blues epic really impresses, particularly when legendary saxophonist Mel Collins adds his classy contributions.

One can only imagine what this sensational six [6] piece would have sounded like on the road. From the opening chords of "Blue Monday", this album grabs your attention ... and keeps it throughout! The vocals of Pete, Robin and Jacquie entwine perfectly and, when combined with the seamless rhythm of Collins, bassist Charley Charlesworth and percussionist Charlie Morgan, delivers a powerful punch.

Two great tracks underpin a strong release in lead single "Bluesong" and title track "Broke Heart Blues" with Haycock excelling on vocals and with his trademark guitar craft. An acoustic version of "Bluesong" is also included that totally enchants. There is solid rock here with "Blue Monday", "Cruel" and "Miss You So" being prime examples. There are Blues aplenty too with "Gossip Is Gold", "Lonely Avenue" and "You Ain't Got The Right" [complete with Pete's superb slide guitar skills!].

It seems fated that this final Climax Blues album includes a track that perfectly updates what is widely recognised as the most well known CBB song: "Couldn't Get It Right". If there were any song title that summarises this LP, it is "Gotta Get It Right". Pete Haycock, Robin George and their friends did get it right with "Broke Heart Blues". Bring on the CD release! [9/10]

Track listing: [1] "Blue Monday" [4:15]; [2] "Cruel" [3:31]; [3] "Gossip Is Gold" [5:04]; [4] "Miss You So" [4:11]; [5] "The Rubicon" [4:26]; [6] "Gotta Get It Right" [3:16]; [7] "Bluesong" [6:31]; [8] "Broke Heart Blues" [4:17]; [9] "Miracle" [4:30]; [10] "Lonely Avenue"; [11] "I Feel So Blue" [5:06]; [12] "You Ain't Got The Right" [3:10] [13] "Bluesong [Acoustic]" [6:30]

Keith James Sinclair 5 star review

 Broke Heart Blues is a magical mixture of Pete Haycock’s true blues and Robin George’s rock rhapsodies. The result is spellbinding. As we’d expect from the poet, Robin George, the lyrics are profound, intelligent and evocative but take on a deeper, haunting resonance, armed as we are with the heart breaking knowledge of Pete’s sudden, untimely passing.

Superb musicians and masters of their craft, Climax Blues amazes with the breadth of talent and the depth of feeling. Crescendos of sheer brilliance erupt from the convergence of Mel’s sax with Pete’s slide and Robin’s rock guitar, climaxing in solo sections unlike anything I’ve heard before. In the same way the melding of Jacquie William’s beautiful, soulful vocals with Robin’s unique, harmonious voice creates a sound that merges and transforms into something truly inimitable. Pete’s voice; warm, rich and silky, blends beautifully with the rock solid, rhythm section and the result is alchemy.

This innovative yet final incarnation of Climax Blues is a lasting and fitting tribute to Pete, as well as to the other superb musicians who have poured their heart and soul into this breathtakingly fine album.

Fiona Bond 5 star review

With the album excellently remastered and five bonus tracks don't let 'Dangerous Music' pass you by as I did all those years ago.

LovePower And Peace’ is an eclectic but somehow cohesive collection of songs put together by Robin George and Angel Air Records in aid of charity. Uniquely, all  the proceeds from its sales will go to the 3 charities of choice here.

George is joined by the great and the good from the UK’s rock, metal and soul scenes, underground movements all, but simply bursting at the seams with talent.At random:- Daniel Boone, Ken Hensley, Pete Goalby, Pino Palladino, Pete Way, John Wetton and Brian Tatler.

As you might expect, there are several choice cuts from George’s back catalogue, plus reworks of pop/rock standards. All in all, 17 cracking tracks.The real highlights are the sinuous, soulful title track, sung by Jacki Graham and Ruby Turner and ‘Pride’, a George/Turner co-write with a smouldering, seductive groove, liberally sprinkled with Motown magic, again sung by Turner.

There’s plenty of room too for George’s tech rock, though it’s unusual hearing Sean Harris singing his very own version of ‘Cocoon’ and Charlie George singing ‘Bluesong’. ‘Wasted Time’ is an old Asia demo from the eighties, dug out and dusted down by Wetton and George. They turn it into a deeply satisfying – if slightly dated - Tech Rock / ELO pop hymn.

Elsewhere, Daniel Boone’s achingly eloquent vocals wring out every ounce of pathos from ‘Another Lonely Night’, a song originally written by Boone and George for Alvin Stardust. But we won’t hold that against them. George’s breakthrough song, ‘Heartline’ pops up again, densely constructed in the studio with Nick Tart contributing a suitably hard rock vocal performance.

Ribboned with melancholy, Phil Lynott’s tribute to Elvis,‘Kings Call’ gets another outing, an ode from a giant of rock who went too soon to a giant of rock who went too soon.

Charity albums are often an indulgence, where unwritten excuses are made for second rate performances, but this stuff is dynamite. An outstandingly good rock album in its own right. And for the casual fan, a highly entertaining voyage of discovery.

The 3 charities are : Compton Hospice in Wolverhampton; Haven House in Essex and the Birmingham Centre For Arts Therapies.All 3 have websites. Take a look
http://www.compton-hospice.org.uk/  http://www.havenhouse.org.uk/ http://www.bcat.info/

Brian McGowan www.midlandsrock.co.uk

Things move fast in the Music biz and when guitar legend Robin George was touched personally by the hospice movement and also saw your old scribe's piece about Music therapy and the arts therapies , he went into action. Opening his address book, which looks more like a Who's Who of contemporary music, Robin pulled together the critical mass of talent that now makes up the LovePower project. A clever combination of studio time fitted around everyone's busy tour schedules, with skillful drop-ins from those on the other side of the world, result in a set of masters (you can't call them 'master tapes' in the digital age) of musical excellence and diversity that would add up to a masterful talent showcase even if there wasn't a higher purpose.

'C' is for 'Cocoon', one of Robin George's tunes from his 'Life' catalogue. 'Pride', track 4, by Ruby Turner could stand up as a motown great (reminiscent of Stevie Wonder's productions). 'Kings Call' invites comparisons with the Travelling Wilburys; written by Phil Lynott and Robin George, it was an evolution beyond Thin Lizzy and deserved more attention than it got at the time, so this release might do the trick.

Help From My Friends?

Regular readers might expect the old scribe to supremely cynical about yet another rendition of this Lennon/McCartney classic, which is so often cheesily covered. This straight cover avoids dairy product comparisons, sentiments are never cheesy (a bad thing) and guitar solos never yogurty (good or bad depending on context). A singalong classic that gets respectful treatment from

1. Ruby Turner, Jaki Graham & The LovePower Band: Love Power &Peace
2. Seven Golden daffodils: Seven Golden daffodils
3. Sean Harris & Howard Scarr: Cocoon
4. Ruby Turner & The lovePower band: Pride
5. Charlie george & The lovePower band: Bluessong
6. The lovePower band & Friends: World
7. The lovePower band: Kings Call
8. David Byron & The lovePower band with Roger Flavalle: Tired Eyes
9. The lovePower band & Friends: Another Lonely night
10. The lovePower band & Friends: With A littel Help From My Friends
11. Pete Goalby & Robin George: Mona Lisa Smile
12. John Wetton & Robin George: Wasted Time
13. Damage Control with 'Fast' Eddie Clarke: Alice
14. Marshall law with robin George: No Justice
15. Life with Nick Tart: (sounds like a TV show title) Heartline
16. Robin George & Friends: Next To You
17. Robin George & Friends: Angelsong

Conclusions

If this had arrived as a compilation showcasing the talents on a record company roster, from Soul greats like Ruby Turner & Jaki Graham, and Jaqui Williams, to a roll call of legendary rockers (including apearances from band members of Asia, Uriah Heap, UFO, Bad Co., AC/DC, King Crimson, Qireboys, Hanoi Rocks, UK Subs, Diamond Head, Trapeze, Magnum, Life, Notorious, Climax Blues Band, Tina Turner, Giorgio Moroder, Manfren Mann, The Who, the God of Hellfire Arthur Brown, Steve Hunter, Robert Plant and Jools Holland) and sax breaks from the man whose solos have graced the Rolling Stones, and your old scribe would have been well disposed to the content. Your old scribe loves a good compilation and this is certainly that, and well recorded despite having to be constructed from components in some places, because of the impossibility of getting this line up in one place at one time.

If I didn't like this CD I would not have written a review, to protect the worthy causes, but the CD is worthy of recommendation on sound quality grounds and musical content. So there is no excuse, buy it immediately as it is released on October 3rd 2011.

© Copyright 2011 The Old Scribe - www.tnt-audio.com Mark Wheeler

Those with elephantine memories will remember Robin George from his 1985 debut album ‘Dangerous Music’, possibly the greatest soft-rock album ever written; or maybe from the ‘History’ EP which preceded it, or from Ted Nugent’s cover of ‘Go Down Fighting’; or maybe from his production credit on Diamond Head’s second single. Whichever, the guy’s a genius with a lengthy track record although has never really focussed enough on any one direction to gatecrash the big time.

George’s latest offering ‘LovePower And Peace’ is a charity album with a split personality. The first ten tracks are a mix of originals and covers and feature the LovePower band – Robin George (guitars and vocals), Jacqui Williams (vocals) Pete Haycock (guitars), Mel Collins (sax), Charley Charlesworth (bass) and Charlie Morgan (drums) – aided and abetted by a host of luminaries including Ruby Turner, Ken Hensley, Sean Harris, David Byron and Morgan Fisher. Amongst the scattergun of rock, blues and soul, the pièce de résistance is undoubtedly the eight-and-a-half minutes of ‘With A Little Help From My Friends’ which allows the guest guitarists (including Brian Tatler, Dom Brown, Eddie Clark and Conny Bloom) to flex their muscles. The LovePower Band’s take on Phillip Lynott’s ‘Kings Call’ is a worthy effort too, and it’s great to hear David Byron on such good form on ‘Tired Eyes’.

After that come another seven cuts featuring just Robin George and assorted guests: Marshall Law romp through their own ‘No Justice’; the Pete Way/Robin George composition ‘Alice’ sounds like a track from ‘Dangerous Games’ as remixed by Kurt Cobain and features Eddie Clarke once more; and yet another version of George’s greatest solo hit ‘Heartline’ pops up, although the reworking and vocals courtesy of Diamond Head’s Nick Tart don’t really do it any favours this time around.

All profits go to Compton Hospice, Wolverhampton, Haven House, Essex, and the Birmingham Centre for Arts Therapies, and the album has such broad appeal there’s bound to be something on there you’ll like. So go buy a copy now.

Whilst Robin George may not have become the household name he surely deserves to be, a quick glance at the amount of names willing to offer their contribution to this album goes a long way to showing just how much respect he has in the music world. His latest album for Angel Air Records LOVEPOWER AND PEACE was recorded and released with the intention to give one hundred per cent of the profits to three charities which is a fantastic effort really considering just how much work has gone into creating it.

This has been a labour of love over the past couple of years for Robin George as he has assembled a set of top draw musicians and vocalists to appear on this charity album. Before you even mention the guest musicians, the LovePower Band itself features such names as Pete Haycock (Climax Blues Band/ELO Part 2), M People’s Jacqui Williams and respected saxophonist Mel Collins, who has worked with Bad Company, Camel and the Rolling Stones amongst many others.

The songs on here come from all of Robin George’s solo and band output to date including Life, Notorious, Damage Control and Marshall Law are present with ‘No Justice’, as Robin George produced one of their albums. Even those that are sadly no longer with us like David Byron, have their original vocal backed by a modern band recording.

Highlights? Being totally honest the whole damn album! But to cherry pick a few great top hear Pete Goalby (ex-Uriah Heep) again on ‘Mona Lisa Smile’. There is a mini-Fastway reunion on ‘Alice’ with ‘Fast’ Eddie Clarke hooking-up again with UFO’s Pete Way – Spike of the Quireboys shares the lead vocal on this one with Robin. There is a superb run through ‘With A Little Help From My Friends’ where Robin is joined by Sean Harris (ex-Diamond Head) and Jacqui Williams (boy can she hit the high notes!). Former Mott The Hoople man Morgan Fisher and Conny Bloom (The Electric Boys) are amongst the backing musicians. ‘Seven Golden Daffodils’ is worth a listen for the sublime harmony vocal parts. Finally, ‘Heartline’, Robin’s biggest solo hit, gets a reworking with current Diamond Head vocalist Nick Tart singing on this one. At first it sounds very strange but it soon grows on the listener and gives the original a good run for its money.

A winner in two ways – a good resume of Robin George’s work to date and all the profits go to three worthy charities.

*****
Classic Rock/Jason Ritchie Review

You can’t blame Robin George for his desire to play safe after two of his promising endeavors have been thwarted by ailing singers, David Byron and Phil Lynott who chose substances-fuelled deaths over life. Both are present here, on the guitarist’s star-studded project from which all profits fuel three British charities -- all in the name of life.

There’s Lynott’s spirit in the LOVEPOWER BAND’s take on his Elvis’ tribute "King’s Call", in George’s hands a moving, acoustically framed lament for THIN LIZZY’s singer himself, while Byron’s own voice carries another twilit ballad, "Tired Eyes". That highlights the leader’s MO: a careful use of existing tracks for additions and overdubs. Yet it never sounds like a recycling, as DIAMOND HEAD’s Sean Harris breathes fire in LIFE’s "Cocoon" and Jacqui Williams’ voice completely transforms old chestnut "Seven Golden Daffodils", rough in DAMAGE CONTROL’s version and totally transcendental now. One of the latter group’s recordings, "Alice", forms a part of the bonus section of the CD, "Friends of LovePower" alongside gems from Robin’s archives featuring, among others, more URIAH HEEP’s members, Pete Goalby and John Wetton, but the bulk of it rides on the back of new songs.

It starts with a title cut which grows from an acoustic roll into a gospel hot-air balloon soaring on Ruby Turner and Jaki Graham’s soulful belting and floating with Mel Collins’ sax, Ken Hensley’s Hammond and a mighty choir. The same package lies in the foundation of the grooving, slide-smoothed "World" where Arthur Brown joins the "Emmerdale" actress Freya Copeland Vix and Robin George at the idiosyncratic mic. And, of course, there’s his shining guitar in the center of it all, but the veteran’s only happy to share the spotlight even in these stakes, so "Bluesong" cradles Steve Hunter’s solo. What with the seriousness of it all, "Pride" is a jolting slab of funk to shake up one’s mood, and "Another Lonely Light" harks innocently back to the early ’60s. Perhaps, "With A Little Help From My Friends" seems a bit hammy as a closer to the main part of the for more veterans – from MOTORHEAD, MOTT THE HOOPLE and more - and, in the end, it is what it does when an artist calls for the indifferent kindred spirits to get there for the right reasons. Listening is taking part in this one success of an endeavor.***
Dmitry Epstein http://dmme.net

Notorious – Radio Silence (Angel Air)
Robin George is one of those nearly men, both in the sense that he has collaborated with some of the biggest names in rock and metal (Phil Lynott, Glenn Hughes, John Wetton, Robert Plant, David Byron) and also in the sense that a lot of the projects he’s been involved with nearly got an album released! In recent years Angel Air Records have made it one of their goals to collaborate with George to allow much of this hidden and unreleased material to see the light of day.

The latest in this line comes in the shape of ‘Radio Silence’ by Notorious, which was the name for George’s collaboration with the at the time just departed lead singer from NWOBHM legends Diamond Head, Sean Harris. George had produced the song ‘Sweet & Innocent’ on the Head’s classic ‘Lightning To The Nations’ album, so when Harris departed the band it didn’t take long for the pair to pool their talents and record the quick fire set of songs that make up ‘Radio Silence’.  Instead of, as they were advised, releasing the album straight away in its rough and ready state, two years were wasted going from studio to studio and through countless producers trying to make the songs absolutely perfect. Perfection though never appeared and the chance was gone, with these fifteen songs ending up gathering dust for twenty five years.

So with George’s blessing ‘Radio Silence’ is silent no more and what a surprising mix it is. I suppose with the electro-AOR sound of much of Robin George’s solo material, I shouldn’t be surprised that there are many of those same influences on show here, but I had expected Harris to bring a more metal based edge to proceedings. On the strength of the opening title track, that proved to be the case, with a gritty riff and some excellent layered vocals, it is a rip snorting beginning to the album. However it all goes off at a tangent from there, with everything from Richard Marx and INXS, to The Police and the drum sound of Fine Young Cannibals being evoked across a set of songs that never quite lives up to the harder hitting, more straight forward approach of the opener. George is superb, if a little too deep in the mix and Harris brings more commercial sheen to his delivery than his previous work had ever suggested, with the mix of rock, AOR, funk and eighties synth, being an obvious attempt to gain some chart success. In truth, I’m not sure that these songs are really quite sharp, or smart enough to have broken Notorious big, but they are enjoyable enough, even if very of their time.

Whilst not essential ‘Radio Silence’ is a further interesting chapter in the colourful story of Robin George’s vast and eclectic musical journey and for that alone, it is well worth a listen.

Steven Reid Fireworks

 Steven Reid

Robin George (the archetypal nearly man) recorded this album together back in 1985.
George's outstanding solo album, 'Dangerous Music' had gone under with its bankrupt record label. Harris had just broken with Diamond Head.
Young, ambitious, tenacious, with 'Radio Silence' they aimed to "revolutionise the world of rock".
 
The cruel historical fact is that it didn't. But the truth is that it could have.
They laid down 15 tracks full of raw emotion, searing imagery and two performances from the heart. This original recording was just brimming over with great songs and benchmark performances.
The Record Company execs wanted a more polished, pristine sound. As is often the way, the many recording sessions in countless studios emasculated the duo's original sound, resulting in a stillborn version of the album.
25 years on, Angel Air have given George and Harris the opportunity to let the world experience their original vision, with the release of that first recording.
 
And what an album this is. Harris is an absolutely outstanding vocalist. His voice has such an emotional range. It can soothe, it can rip up the scenery.  It can do rugged, it can do seduction. It can do rock, pop, funk.
George's sturdy, sinuous melodies, frequently set to thunderous riffs and wailing axes are perfect for Harris's dynamic, dominant vocals. The title track, 'Radio Silence' inherits George's Tech AOR sound, while the magnificent 'The S'Walk' might easily have been the prototype for INXS's funk/groove/rock recordings that filled dance floors and dominated Top Forties in the eighties and nineties.
By the time you get to third track, 'Arianne', a commercial poprock monster of a song - eerily echoing Lloyd Cole - you wonder why the execs ever thought any of this needed fixing.

The sweet, wordy 'Better The Devil You Know' has an air of innocent wonder, full of jangling guitars and oohing, aahing bgvs, borrowed from the fresh, immediate pop of the sixties, and there won't be many whose pulse isn't quickened by 'It's Energy's booming, arena friendly hook.
The sudden swing to the thumping Westcoast rock'n'soul of 'Do Like A Man' might be a little hard to take, but at a minimum it demonstrates this duo's versatility.
And that notion clearly pulses loud and proud at the heart of this album. Two young musicians with enormous talent who can turn their hand to anything.
It released to enormous critical acclaim.
But guess what?
Within the year of release, the label folded and the album was deleted.
Thank God for visionaries like Angel Air, exposing us to the fleeting genius of Notorious.

Written by Brian Revelationz Mazgazine

The silence may come after defeaning thunder - and two heavy stalkers provide it here in exquisite spades.

Another album marked by a Robin George curse, which means it sunk on the original release to be ripe for rediscovery and revaluation two decades on. This time the guitarist's partner in crime was Sean Harris from DIAMOND HEAD whom George produced, but what the pair delivered had a pronounced commercial edge. Perhaps, not too commercial for the late '80s to make it big time, though the bubbly shuffle of "The S'Walk" was a neat chart-biter with its P-Funk gloss instead of metal one could expect from its masterminds, while "You Need More" is an upbeat, if airy. ballad up there with the best from the hairy royalty of its decade.

Here, re-sequenced and expanded, the songs punch the bag from the title cut, that has a bluesy slide lick squeezed between the funky jive and harmony choruses, to the swaggering closer "Good Times" that sums up the hour spent with this album. Even when the flow is loose, like in the bass-shaking and harmonica-riding "Do Like A Man", it goes straight to the nerve as does the silky, strings-wrapped blues "I Believe In You" which showcases Harris' soft spot rather than hard place - but "The Game's Up" recycles the "All Right Now" riff for the umpteenth time, while "It's Energy" feels too generic to ripple a soul. The Philly-sounding brass and guitars mix of "Soul On Fire" rectifies that, yet "Radio Silience" still remains a product of its time, a nice one with it.

Let it Rock DME music site

One of the interesting things about specialist reissue label Angel Air is that a number of their releases are by artists who could be classed as "nearly men"; ones who almost made that all important breakthrough but for reasons of record company politics, management incompetence, poor timing or simple bad luck it never worked out. That could certainly be said of Notorious, the band assembled by Robin George and former Diamond Head vocalist Sean Harris who cut these recordings back in 1985 only to see them gather dust for two years by which time their moment had passed.

Life - Cocoon (CD, Angel Air, Pop)
Reissue of Life's 1997 album (actually recorded in 1995 but released in 1997) remastered...with bonus tracks. This band was the project spearheaded by guitarist/vocalist/producer Robin George working with vocalist Nick Tart (from Diamond Head). Cocoon has a big, thick, arena rock sound that incorporates elements from 1970s progressive rock with 1990s heavy metal. Plenty of big keyboard sounds and fast noodly lead guitars here. Fifteen tracks including "Dangerous Music," "What Goes Around Comes Around," and "The End of the Line."

Damage Control are a power trio formed by Robin George…what you get on Raw is good old fashioned blues rock. One of the joys of the album is, as the name implies, the raw sound of George’s guitar; its rough edge dominating this classic sounding album.

Classic Rock Society Magazine 

Formed by Robin George, with Pete Way and Chris Slade, this powerhouse trio rocks the blues.
Mojo

 Only a moron would dismiss an album that pools the pedigree of Robin George (ex-Thin Lizzy), Chris Slade (ex-AC/DC) and Pete Way (ex-Ozzy). The three warhorses of Damage Control stare defiantly from Raw’s back cover with snarls and sunglasses. Needless to say these guys can all play- George’s beefy, British sounding guitar, in particular would thrill even if he was playing Three Blind Mice…

A British Rock Supergroup, Damage Control produces an album of bluesy hard rock..although at times the sound takes on a surprisingly grungy edge.

The three musicians involved are all undoubtedly skilled veterans of the rock scene and Robin has plenty of nice licks up his sleeve.

Heavy Magazine

The name LIFE Robin George, then a young guitar slinger, first used for his debut single in 1980 and revived this four-letter word in the early '90s when, having gained a great experience as a sidekick for THIN LIZZY's Phil Lynott and URIAH HEEP's David Byron and a producer, he came up with a band of his own in the company of Nick Tart on vocals. The group toured intensively recording this album along the way, but in the times of grunge reign this kind of melodic hard rock, fashionable half a decade earlier, didn't find a listener, yet now, in expanded form, it proudly stands its ground.

It's a strong work, the George-Tart co-write "The Language Of Love" boasting a catchy blues jive and a lot of funk, whereas the titular song is gospel-tinged and "Oxygen" flows as a soulful ballad. Some songs on the record had obviously been in place before the band came to be: the opener, "Dangerous Music", riff-rich and adorned with John Young's keyboards, originally was the title track for Robin's 1985's album, yet here it has much more grit - which must have made a live favorite - and provides the base for the more loose "Don't Come Crying". Still, while the leader's guitar playing is excellent throughout, tracks like "Losing You" are strictly of their era and today sound dated; at the same time, "Let It Burn" and "Rush" rage very contemporarily.

Sadly, LIFE's life wasn't long - "The End Of The Line" bids farewell on an exquisite acoustic passage - but with George still active and Tart fronting DIAMOND HEAD, "Cocoon" has both historic value and emotional zip to be viable in this day and age.

***

http://dmme.net/reviews

With an album entitled Cocoon we might have expected the Life project to make their first release on the Chrysalis label.
"Oh no!" groan plebs, stage left, "the old scribe's CD reviews are prompting punnilingus"

Robin George, the guitarist and driving force behind this project, has produced or remixed many of the Angel Air releases and notably played on the Damage Control supergroup project. A lifestyle more workaholic than rock and roll seems to have overcome middle aged rockers as their greater experience and increased skill makes possible those ideas they may have carried half-formed for years. naturally the psychological aesthetics of the middle aged writers and performers are more likely to strike a chord with middle aged listeners like your old scribe. This is good news for such performers as we're a disc buying public not a file sharing public and we tend to demand the higher quality that journeyman honed skill creates. Another winner is Angel Air Music who are a small independent record company not a multinational entertainment conglomerate who would be more interested in the reality show quick buck.

In addition to being a skilled producer Robin is a versatile first call guitarist who seems to be able to produce any style and any tone at will. This is what has kept him earning and perhaps what has kept him safely away from becoming public property; guitarists with a one-trick sound often become more famous with the record buying public who recognise the style as a brand and dislike anything new or different. A public whose loyalty to those types of players is not unconditional; such superstar fan loyalty is 100% dependant on the artist sticking to familiar product, even to the extent of shouting 'Judas' in one famous Manchester Free Trade Hall incident incident suggesting religious mania seizing those who demand the same old stuff from performers. Robin George doesn't offer that at all; in 1988 I had the same reaction to Jeff Healey the first time I saw him perform (at Nottingham's Rock City) that he was too versatile to become a guitar hero and was more a music lover's musician than the potential object of a musical personality cult. The chameleons of sound, who can match their playing to any material sound fresh every tune but can't be predictable enough to inspire mindless worship. This rambling preamble is to prepare you not to expect the same as Damage Control or Robin's work with David Byron (hence nor of Uriah Heap), so what should audiophiles expect of this new CD?

Robin plays safe with the opener by using Dangerous Music, title track of his '85 album and possibly the least challenging track on this album, described as "a typical cheesy intro" by my 15 year old son. The second track guitar sounds like so like Free we have to ask what kind of deal Robin struck at the crossroads... and if Robin George has much of the deceased Koss about him, singer Nick tart is scarily comparable to the probably still alive Robert Plant, emphasised by Robin's production which does at time resort to emphasising this resemblance.

"This is a REAL STEREO website" challenge plebs, stage left, "Track by track obsessions are surely the province of Music Nerds and their ilk."

There are tracks equalling the best of Red hot Chilli Peppers (comment by 17 year old son) or Alice Cooper (ditto), but it's not that he's too generic; the opposite is true, Robin George is almost not generic enough (the 17 year old's view again). This is an album without fillers. While Cocoon lacks a consistent identity (perhaps your old scribe was brought up on too many concept albums) it also lacks fillers. Despite the handy remote control there's no temptation to skip.

This CD holds the listener's attention with consistent musicianship and sound quality until the closing track; perhaps too much compression on individual instruments for audiophile tastes, overall compression is much less than typical these days. The final The End of the Line track is well cranked up, relying on production skill for dynamic shading, and succeeding.

Life's Cocoon is immaculate and I'm beginning to suspect Robin George has OCD in the control room, an occasional mistake might roughen the texture like Viktor Schlovsky's Ostranene.

TNT MAGAZINE

The secret weapon of British guitar army shoots with both his barrels.

Mostly known as a sidekick to the stars, it's on his own that Robin George gets a real kick out of the music he plays; it's not vanity, though, it's the fact that the guitarist's own voice - not pretentious but pleasant vocals - doesn't distract from his instrument. Here's the whole package, then, on these two discs, with 10 years between them, the studio and concert one.

The earlier, "Dangerous Music Live", has a period charm but transcends it thanks to the angular riffing and fiery solos, so the commerical gems "Heartline" and "Showdown" come counterbalanced with spiky groovers such as "Spy", which Robin would re-cut two decades later with his new band, DAMAGE CONTROL, that picked up where DANGEROUS MUSIC left off with this set. It rocks hard, bonus tracks underlining the power of "No News Is Good News", where the rhythm section, RENAISSANCE's Jon Camp and MAGNUM's Ken Gorin, propel the main man's axe to rage wildly together in "History", with the title track and "Go Down Fighting" packing the best punch.

"Crying Diamonds" is much more mature work, infused with a sense of tragedy from losing two friends: URIAH HEEP's David Byron, the guitarist's partner in shaping up the muscular bluesy funk of "Learn The Dance", and Phil Lynott who George co-wrote the titular Beatlesque song with and whose "King's Call" he re-imagined acoustically to make it a valediction to the THIN LIZZY man. But the memorable chorus of "Face To Face" bubbles with vitality, while "Cocoon", the soulful would-be axis of Robin's next band's album, sees the master foray into the Brian May harmonic solo territory. Unlike many other guitarists who made their names in the '80s, Robin George, also known as a skilful producer, never overplays, and his work is tasty on each of the 14 tracks, plus four additional cuts including a couple recorded in his own time by Robert Plant; yet there's no classic rock slant to the record, what with the alternative edge of "Whatever Goes Around Comes Around" that presages the due recognition its author is getting now. A little classic.

The David Byron Band

This is enjoyable rock; great vocals, great guitar and good keys feature…A little slice of history.
Classic Rock Society Magazine

David Byron Band - Lost and Found (Double CD, Angel Air, Rock/pop)
Most of us only know David Byron as the lead vocalist in the 1970s progressive rock band Uriah Heep...and that is most certainly what he is universally remembered for. David's high range wailing was one of the trademarks of the Uriah Heep sound...along with the ultra-big keyboard sounds of Ken Hensley. After several years of major success with Heep, apparently Byron and Hensley started having interpersonal problems...and David ended up leaving the band. Sadly, in 1985 he ended up dying from what were apparently complications related with alcohol consumption. Lost and Found sheds light on Byron's post-Heep music. The double disc set features material recorded from 1980 to 1982 with Robin George. The tracks on this album are much more like direct shots of rock and blues than what was offered by Uriah Heep. This is an interesting snapshot showing what could've been if David had survived. In addition to studio tracks, the second CD also includes eight cuts recorded live in Liverpool in 1980.

Baby Sue Rock Reviews

Boasts great guitar lines from Robin George and might be today regarded as a minor classic if only it had been released at the time. An interesting release I certainly enjoyed listening to. 

Heavy Magazine
David Byron Band  – Lost And Found  - Angel Air
The late David Byron deserved a better lot in life, but like too many others before him he died of a lifestyle;  succumbing  to his battle with alcoholism in 1985 only a month after his thirty eighth birthday. Byron of course made his mark as the charismatic front man for Uriah Heep who between 1969 and 1976 churned out ten albums which included such classics as Demons & Wizards and The Magician’s Birthday. However by 1976 his problems had escalated to the point where Heep were forced to sack him. Without the security of Heep, and more importantly without a strong songwriting partner like Ken Hensley or Mick Box, Byron’s various post-Heep projects and solo career never really got off the ground.

Lost And Found is double CD re-release from Angel Air Records that gathers together David’s demo recordings, rehearsals, and portions of a live show recorded in Liverpool in 1980. Disc one concentrates on original recordings from 1982 and features the young baby faced guitarist Robin George trying his best to rev up what unfortunately amounts to a bunch of tepid sounding rockers, although Byron does turn in a very poignant vocal on the final track “One Minute More”. The second disc only fairs slightly better, as it begins by taking the listener through a rather ragged sounding London rehearsal from 1981.The set concludes with the energetic Liverpool show, which sees the band, which in addition to George also featured sax man Mel Collins, concentrating primarily on new material from his then yet to be released On The Rocks album. Songs like “Bad Girl” and “Start Believing” definitely comes across better in the live setting, and in general the material here has more of an edge to it than the studio versions. Byron doesn’t abandon his past entirely either as they offer up a couple of Heep classics in “July Morning” and “Sweet Lorraine” to keep the punters happy. Is it enough to make this collection a worthwhile purchase? Well I’d say if you’re a casual fan then you can probably afford to take a pass on Lost And Found. If on the other hand you’re a diehard fan of both Heep and David Byron’s solo work, then you’ll probably want to add this one to your collection, even though it definitely feels like it’s aimed at the completist.

    -Ryan Sparks

Unearthed from the personal archives of guitarist Robin George, Lost and Found covers the era of the David Byron Band from the early 80's and is issued as an expansive two disc set via Angel Air. Disc One offers the bands demos from 1982 for an album that never ultimately saw the light of day; the charismatic Byron was clearly still singing well even at this point in his career and in Robin George he had found an ideal guitarist to give the material a more contemporary edge. George contributes some smooth blues based riffs and "Bad Girl" and "Fool For A Pretty Face" would both have made ideal singles. Disc Two is split between band rehearsals from 1981 and eight songs from a live show in Liverpool in 1980. The latter is of particular interest as an example of just how tight the band were at the time and inevitably the Uriah Heep classics "July Morning" and "Sweet Lorraine" are the highlights and made all the more memorable by some sprightly sax from Mel Collins.

Detailed sleeve notes and previously unseen photographs make this a very worthwhile package and one which hold significant appeal for fans of the golden age of Uriah Heep and provides an excellent reminder of what a star performer David Byron really was and how much he is missed.