Showing posts with label Magnum. Show all posts
Showing posts with label Magnum. Show all posts

The 'Sacred' works of Magnum

Bassist Al Barrow talks about the making of prog-metal legends' new album
By Peter Lindblad

Magnum is Tony Clarkin, Bob Catley,
Mark Stanway, Al Barrow and
Harry James
Tony Clarkin never rests it seems.

The mastermind behind the long-running U.K. progressive-metal powerhouse Magnum is always working on new material, and bassist Al Barrow marvels at his bandmate's industrious nature, as well as his creative ingenuity.

"I admire each and every time I read Magnum lyrics," said Barrow, the band's bassist since 2001. "He seems to be able to pull the most imaginative images to put them to the music. I have for years been writing my own material but yet to have anything that even comes close to what he does."

Magnum's latest record Sacred Blood "Divine" Lies (Read a review of it here: http://backstageauctions.blogspot.com/2016/02/short-cuts-dream-theater-magnum-steven.html ) arrived in late February via the Steamhammer/SPV label with a batch of strong, soaring melodies, rugged riffs that never fail to satisfy and theatrical vocals that treat Clarkin's words with the sincere reverence they're due. Balancing forceful, driving rockers like the churning title track and the stirring anthem "Crazy Old Mothers" with the occasional ballad, Sacred Blood "Divine" Lies displays Magnum's might and awesome majesty with aplomb.

Barrow talked to All Access about the new album, as well as his indoctrination into Magnum – also singer Bob Catley, drummer Harry James and keyboardist Mark Stanway – after his stint in Hard Rain, a melodic hard-rock spinoff formed after Magnum split in 1996, in this in-depth interview.

Magnum - Sacred Blood "Divine"
Lies 2016
When Tony Clarkin presented the band with the songs he’d written for this record, what was your impression of them? Did the material seem different or special in any way?
Al Barrow: It`s a bit of weird process. Not that it`s bad in anyway, but when we hear the first rough ideas of the songs they are very disjointed, no vocals as such, just rough drum patterns off a drum machine and guid guitars and a few keys … maybe a chorus if we are lucky. You can get a vibe from it, but it really is too early to say wether it`s gonna be a huge album or not. We have worked this way for many years and we trust in the evolution of the process. There will always be a song that will hit you straight away, but this changes as the writing process continues and develops. There are so many massive changes to be done from the initial renderings of the early song ideas. I know that Tony was excited about the ideas for this new album right from the start and that always lights a fire amongst the band. We are always excited about creating new music that we enjoy and we hope others will enjoy also.

Are you privy to the process of selecting songs for a particular album or is that completely in Tony’s hands? And if so, how are the songs for recording sessions introduced to the rest of the band? Does a meeting take place where all of you go over everything?
AB: Tony will collect maybe 30 ideas he has worked on. He will then bring them to the main studio to transfer into Pro Tools. He will work on them a bit more and replace guide guitars with more guitars that have been run through his cabs and amps. This way he gets a better feel for what will work or not as the case may be. There is not meeting as such. It`s generally Bob, Tony, myself and Sheena Sear, the engineer, in the studio most days. Only when the songs have got to a reasonable stage will Tony say, okay, lets shelve those, keep those or put them in the "maybe" folder. Then he will concentrate on about 15 songs or so.

Describe what it was like recording this album. In what ways has the process gotten easier for what you do in the band since when you first joined in 2001?
AB: Lot`s of tea making by Bob (laughs). Tony is in the studio with Sheena getting the tracks up and ready for about 10 a.m. I arrive about 11 and chat to Tony about ideas, what we have seen on TV or the web and then may discuss artwork and plans for mercy and tours. Bob will arrive around midday. Tony will go over with Bob what we have discussed or done in the studio that morning. As we now use Pro Tools instead of tape the process is much more streamlined and easier to work with. Some things Tony and Bob will have taken home to listen to the night before will be looked at again for any changes they feel might be needed. Tony will continue to put down guide melody lines either with guitar or keyboards. Occasionally if Bob is unavailable Tony may get me to sing a few guide vocal tracks just so we can move along and to see if a melody he has in mind will work. Then Bob will replace it later. When it comes to recording the bass parts we spend a while getting the bass rig set just right and fine-tuning the sound to get close to what we want. To be honest, with the gear I use now it's pretty much plug and play. I use Warwick amps and on this album I also used TC Electronic amps and cabs. So we like to mix it up a little.

Were there any unexpected obstacles that cropped up in the making of this record?
AB: No, not really. We have been doing this a while. If anything the obstacles we seem to get [have to do with] running order and the final mixes. Sometimes it's hard to separate yourself. I have a few days away and then come back and with fresh ears I can sometimes point out things that may pass the rest of the guys by. Sometimes you have to step back.

How do approach adding your bass parts to a Magnum record? Has that changed in any way over the years? 
AB: Not at all really. As I say, we have been doing this for a while so it's a situation we feel comfortable in. We have a good idea of our parts before going in the studio to record our parts. Tony wants to hear the basics first. What he gave us as guide. That way we can spend a few days putting down what we have rehearsed in our own studios. So it all comes together. So we get a good mix of what Tony wants and what we want to add. He gives us a lot of scope and time to do what we want. But to be honest with you Tony has a good idea from the start, so I don't tend to deviate too much from the roots. Magnum is not a band that has complex bass lines. It's the song that is important here, not being all freaky with bass lines, etc. 

What qualities do you admire most about your colleagues in Magnum?
AB: They have been there, done it all. They have the T-shirt and pretty much written the book on how to tour and write albums that stand up over the years. These guy have stories that would make Lemmy look like a virgin nun, but as they say, "What happens on tour stays on tour!" Those days have since gone, and these days it`s more professional and relaxed. It`s all about giving the fans the best show possible.

I also like that they are all talented in their own way, but as a band [they] show [their] strengths. I have always been told there is no bigger band member than the band itself. Some of us have bigger members though!

Tour artwork for Magnum's
upcoming 2016 trek
Do you think this is the most dynamic record Magnum has recorded since you’ve been in the band? What previous Magnum records does it remind you of?
AB: Absolutely! I have said it with every album I have been involved in. I believe that completely. We have stepped up to the bar and surpassed it each time. This has a lot to do with what the members bring to the band. But ultimately it's down to Tony writing another stunning album. It is its own entity. Obviously as the band [members] and the songwriter and production team are the same there will be some similarities. But I find with each album there is a progression to another level. Another story to write, a new sonic avenue to explore. With each album for me personally this has to be the best bass sound I have recorded … grittier and more upfront than any other album. This pleases me a lot, but it sits in the track well. It`s down to great production.  

The chart performances in some European countries of recent Magnum releases have been pretty eye-opening. Why do you think Magnum’s newer material is resonating with fans?
AB: Thats something you would have to ask them, but we have a great social media page and the interaction between the band and fans is great. We see them say what they think; they get the chance to ask the band questions, etc. I think this helps build a very personal feel between the band and fans. After all the music is very close to their hearts. It deserves a good interaction from us.

So from reading the pages it seems we are hitting the nail on the head most of the time. The new album has been so well-received. Of course, there will always be the few that will constantly harp on about Storytellers No. 2 or Wings of Heaven No. 2. But why as musicians would you want to repeat something that you have done already? We are in a band to create new and exciting music –something that floats our boat first, then we just hope it floats others.

We never want to rest on our laurels and not be tribute to ourselves. It's well documented Tony and Bob wish to always move forward and try something new. I bet if they did a new album that sounded like Storytellers we would get slagged for not pushing boundaries and playing safe to a formula we felt would sell … selling out almost – becoming a tribute to ourselves.

I am not saying that Magnum wish to forget their past. They are very aware of why fans got into the band to start. But we are a bunch of guys who want to create. We hope that fans understand that.

Are there specific bass parts on this album that really pushed you or challenged as a musician?
AB: No, not really. I mentioned that the bass lines in Magnum are very simplistic and just support and enhance the song. This is the most important part. If I want to go play all up the dusty end and give Frank Zappa a run for his money then I will find another project to work on. Now when it comes to backing vocals … that's another story. Tony pushes me and Bob to the max. He gets me singing notes I did not think I could ever hit. It`s always fun as they sit there laughing at me trying to hit some of the notes. Ye ye Im just here for entertainment's value (laughs).

You were in Hard Rain, and that led to you becoming a member of Magnum. At the time, what were your hopes for Hard Rain and then Magnum? Was the transition difficult?
AB: Hard Rain was fun, but it just didn't have the backing or the prestige of what Magnum had. It was a lot of fun to record and tour, but I think it was a stepping stone back to where we are now. There were no issues with the transition at all. It was just a follow-on for me. Of course I was happy to get the call, but it all felt very natural.

Did you expect that Magnum would reform during those days? If so, when did it become apparent to you that things were headed in that direction?
AB: I was alway hoping in someway. Just in the fact that having the Magnum name would allow us to play more shows in bigger venues. Hard Rain had some stunning songs and we approached it in a very different manner. As I mentioned it's all a lot more of a professional approach these days. Less time in the pub and more time in the studio and rehearsals. I think we had the balance wrong on that. Now Magnum are on the ball, tighter and more polished than ever before.

Talk about designing the artwork for Breath of Life and Brand New Morning. Did you feel any pressure when working on them to articulate exactly what Magnum wanted?
AB: I had no idea. Me and Tony would just sit down and try to come up with ideas. It was very early days for me with design. Computers were all new to me, so I was learning as Tony was telling me what he wanted. I have to say I learned a lot, but I prefer to leave those covers well in the past. I can't look at them.

We work very closely with Rodney Matthews these days. We have swapped from time to time who gets the front covers. I think he has excelled this time on Sacred Blood.

You come from a family of musicians. What was your upbringing like and how did it influence you to do it for a career?
AB: My older brother was actually the drummer in Hard Rain. Rob had played for many years and was asked to step in when Kex Gorin was unable to continue. He recorded the second Hard Rain album When The Good Times Come with us. My younger brother is also a drummer and lives in Canada playing sessions for local bands. He has probably the quickest feet of any drummer I have ever seen play. He is crazy talented. He does not play so much these days but still keeps his hand in from time to time. My older sister is a singer and has also sang on Magnum albums and also sings in a Journey/Toto band.

Again extremely talented and has been very inspiring to me over the years. They had been doing it for years before I got to the point I wanted to be a pro musician.


Tony’s talked about how hard it is to write hard rock songs, as opposed to ballads. Can you feel how difficult a song’s creation was when you hear it for the first time?
AB: I can only speak from a personal point of view when it come to writing songs ... I have learned from (Tony), though. He has some formulas in some areas, but even he says himself he has no idea how you write a song. Each album for him is a massive uphill struggle. To find something new and fresh after all the albums he has produced, just not to repeat your own ideas must be so hard. He still says he has something to say, but it's how you say it and make the connection from something that is personal to him and others.

One thing I know he hates is when people ask him to explain his lyrics. He's been better in the last few years. But he likes the music to speak for itself.

Magnum have some stunning ballads. Tony has said writing ballads is easier, but the hard part is trying to talk about love, loss and heartbreak in a new way. That's the trick!

What excites you most about being in Magnum these days?
AB: Pretty much everything. At this point I have just gotten back from a trip out into the mountains in Tennessee. I got an email on my phone telling me the mid-week chart placements in the UK. It was probably the most bizarre feeling. Feeling so far away from everything I am used to, out in the middle of the mountains trying not to get eaten by bears – yes, there are bears here – and seeing how well Magnum's new album had sold. We only hope that this gives us a lift and gets the promoters to sit up and take notice and start booking us into more cities around the world. The fans are there. We will be there to play for them if the promoters will take the chance and book us.

It`s a very exciting time tight now. I am looking forward to getting on the road with the boys and playing some of the new album live. What's not to like?

Thanks for taking the time to ask some questions today and we hope to see lots of you on the next tour. Cheers for now. Al Barrow. Play it live , play it loud. Live your dreams!

Short Cuts: Dream Theater, Magnum, Steven Wilson

CD Review: Magnum – Sacred Blood "Divine" Lies
Steamhammer/SPV
All Access Rating: A-

Magnum - Sacred Blood
"Divine" Lies 2016
Forever inhabiting and exploring the more progressive terrain of hard rock and heavy metal, the good ship Magnum forges ahead, its old parts still in good working order. Dependent on the prolific songwriting of Tony Clarkin, brilliant instrumental chops and the emotional, expressive delivery of singer Bob Catley, Magnum's dramatic power reaches critical mass on the worldly, dynamic and engaging – if at times overly sentimental – Sacred Blood "Divine" Lies. Here's where an uplifting, heavenly ballad such as "Your Dreams Won't Die" can soothe nerves put on edge by the menacing undercurrents and tightly drawn guitar figures of a title track destined to become a Magnum classic. Where the bracing stomp and racing heartbeat of "Princess In Rags (The Cult)" propels a grandiose scheme, the rousing anthem "Crazy Old Mothers" seeks adventure and renewed vitality and finds both in spades. The divine and the sacred are found here.

CD Review: Steven Wilson – 4 1/2
Kscope
All Access Rating: A
Steven Wilson - 41/2 2016

Most of 4 1/2 comprises disparate scraps left over from the critically acclaimed Hand. Cannot. Erase., as progressive-rock auteur Steven Wilson seamlessly pieces together a lush, celestial quilt of a six-song EP that holds together remarkably well. Moments of blossoming transcendence emerge from immersive instrumentals like "Year of the Plague," but it's the well-crafted, flowing melodies of "My Book Of Regrets," interrupted by a jazzy eruption and dissolving into a spacious, dreamy interlude, and "Happiness III" that worm their way into listeners' memories and set up permanent residences. A live recording of the Porcupine Tree favorite "Don't Hate Me," further manicured in the studio, closes this brief chapter in Wilson's creative arc with its haunting grace and sense of desperation, as Wilson and Ninet Tayeb exchange lovely male-female vocal retorts in a duet full of world-weary, heartfelt yearning. Mini-LPs like this are rarely essential. This one is an exception.

CD Review: Dream Theater – The Astonishing
Roadrunner Records
All Access Rating: B+

Dream Theater - The Astonishing 2016
Even those with voracious appetites for all things Dream Theater might find The Astonishing to be a lot to digest. Bulging at the seams with 34 tracks spread across two CDs, interspersed with quite a bit of filler, it might be the progressive-metal institution's most theatrical and ambitious undertaking, its grand compositions artfully emboldened and fleshed out by an orchestra and choir conducted by David Campbell. A cinematic concept album touching on themes similar to Rush's magnum opus 2112, The Astonishing imagines a future where the oppressed revolt against a totalitarian regime going to extremes to control the masses, but there is also a refreshing romantic element to the story. The sweeping majesty of "2285 Entr'acte" opens Disc 2 with dramatic force, whereas the passionate urgency and motoring drive of both "Moment of Betrayal" and "My Last Farewell" seem engulfed in a violent energy and "Dystopian Overture" blackens into an ominous storm cloud gathering strength, just before the innocent longing and immaculately conceived songcraft of "The Gift Of Music" let in the light. Settle in, because it's going to take some time to fully appreciate and comprehend what Dream Theater has accomplished here.

Turn the radio to FM

Melodic hard-rock favorites return with 'Heroes and Villains'
By Peter Lindblad

FM is Steve Overland, Pete Jupp,
Merv Goldsworthy, Jem Davis
and Jim Kirkpatrick
A band like FM was never going to survive the grunge revolution. They could see the writing on the wall in the mid-1990s and decided they weren't going to swim against a rising tide of record label indifference.

"We, or should I say our whole genre of music, became very unfashionable with the Grunge explosion," said Steve Overland, leader singer for the U.K. melodic hard-rock outfit. "Recording (1995's) Dead Mans Shoes was a bit of a struggle as we had limited budgets. It just seemed to be the right time. There was no animosity in the band. We all still got on. We just all felt we’d taken FM are far as we could at that time."

Formed in 1984, as ex-Samson members Merv Goldsworthy and Peter Jupp joined forces with Wildlife's Overland brothers, Steve and Chris, as well as keyboardist Philip Manchester, aka Didge Digital, FM enjoyed more than a modicum of success, especially in their native country.

They built a devoted following while touring in support of such musical giants as Meatloaf, Tina Turner, Status Quo, Gary Moore and Magnum, and there was that time they rocked the Hammersmith Odeon with REO Speedwagon. FM's big break, however, came late in 1985, when Bon Jovi brought them aboard for the U.K. leg of the "Slippery When Wet" tour.

Through changes in record labels and personnel, FM persevered, penning well-crafted, radio-friendly fare that, for whatever reason, rarely ever made the airwaves. Not even a writing summit with hit-making guru Desmond Child in the States would do the trick. And when labels went scouring the land for the next Nirvana, Soundgarden or Alice in Chains, FM knew its days were numbered.

Then, in 2007, FM returned to headline Firefest IV at Nottingham Rock City, and the crowd embraced these prodigal sons of pop-metal. The experience convinced them to carry on, leading to the recording of 2010's Metropolis LP and playing out with bands like Europe, Thin Lizzy and Foreigner and performing at high-profile events such as Graspop, Sweden Rock Festival, Loreley and Download Festival.

Five years later, FM is following up with a new Frontiers Music release dubbed Heroes and Villains, with Goldsworthy (bass), Jupp (drums), and the golden-voiced Steve Overland (lead vocals/guitar) teaming with keyboardist Jem Davis – Digital's replacement, who appeared on Dead Man's Shoes – and lead guitarist Jim Kirkpatrick.

Steve Overland talked about with All Access recently by e-mail to discuss the new record and share some memories of FM's heyday.

What’s the significance of the album title Heroes and Villains?
Steve Overland: There’s no real significance. Merv came up with the idea for the title, we thought it was great and that’s it. Nothing sinister or deep. Just all the band liked it, very simple really.

In what ways does Heroes and Villains remind you of earlier FM albums, and in what ways is it different?
SO: We’ve always been known for big choruses, huge hooks, [and] melody, but by using modern studio techniques, we’ve tried to make our sound more contemporary and modern. Whenever we record we always try and take what we consider the essence of the FM sound and bring it up to what’s happening now.

With the last record, 2010’s Metropolis, you had two songs play listed on national radio in the U.K. for the first time. How did that affect you personally and the band as a whole? Did you see it as validation that had been a long time coming?
SO: We’ve had four songs play listed on Radio 2 I think. We’re getting more play on National radio now than we ever did, which is great. It’s weird when people, or your auntie, come up to you and say they’ve heard you on Radio 2. We’re not complaining at all. It shows they think we’re still relevant. 

“You’re the Best Thing about Me” and “Life is a Highway” are just such perfectly crafted songs. Talk about the making of both and your feelings about them after hearing them on the record.
SO: Those were two of the last songs we recorded for Heroes and Villains. "Life Is A Highway" is definitely old school FM. Steve had had the idea kicking around for a while. Merv really liked the vibe, and so we went into rehearsals and arranged and finished it quite quickly. "You’re The Best Thing About Me" was another idea Steve had. We demoed it and presented it to the guys. From what I can remember the arrangement is identical to that of the demo, but everyone has put their stamp on it.

FM - Heroes and Villains 2015
Heroes and Villains does not sound like records that are out there today. Like you don’t hear a song such as “Walking With Angels” out there today. What do you think is the biggest difference between the songwriting of FM and songs mostly heard on the radio today? Are there any similarities?
SO: I think we sit perfectly on radio stations like Planet Rock, and they are very supportive, but then they’re not going to play EDM or One Direction. We’re never going to fit in with the Radio 1 demographic. It’s a million miles away from what we do. We’ve been play listed on Radio 2, so we obviously fit in there. We write rock songs, but to us, melody is king. "Walking With Angels" is maybe a departure from the norm to us, but it’s such a great song. We just wanted it to be very simple and organic, personal. It has had such a great reaction. We’re glad we believed in our convictions.

FM went out on the road with some of music’s biggest names in the ‘80s, including Bon Jovi on the U.K. leg of the “Slippery When Wet” tour. What tour did you enjoy the most and what was the worst?
SO: The Bon Jovi tour was just so good for us. It was right around the time they went global with Slippery When Wet. It was infectious to be around them with all the excitement. I think we were in Newcastle when they heard they had hit the No. 1 spot in the States. They were a great bunch of guys, great to work with. They really looked after us, and that tour took us to a whole new level in the UK.

Since getting back together, the tour we did with Foreigner last year was just as memorable. You forget how many great songs they have. It’s just hit after hit. The band are amazing, and Kelly (Hansen) is a brilliant singer and front man. And what can you say about Mick Jones? The man is a legend. What a songwriter and such a lovely guy. We’ve never been badly treated on tour, but Magnum wanted us to play in front of the fire curtain at Hammersmith Odeon, which left about 6 feet max, if that, in depth, which was impossible and very unreasonable as Hammersmith has one of the deepest stages on the theatre circuit. We had to pull out of the show literally at the last minute and left a lot of disgruntled FM fans who had bought tickets, but it was totally out of our hands. Magnum wouldn't budge. We had no room to play. It was a bad situation, but what could we do? Why they did it I have no idea. We had been doing really well on the tour, so maybe they felt threatened by us. Who knows?

You played your first show on Valentine’s Day in 1985. What do you remember most about that performance?
SO: Our first ever shows were supporting Meatloaf in Germany, but the Marquee would have been our first headline gig in our own right. To be honest, I don’t remember too much about it. I remember we got ready for the show in a hotel on Russell Square. We didn’t use the Marquee PA. We hired a state-of-the-art American system; it sounded amazing, like a huge hi-fi. Did we sell it out? I can’t remember, but I do remember it being packed. I’d headlined it a few times before with Samson, but I always enjoyed playing there.

What do you think made your debut LP Indiscreet such a good record? Was “Frozen Heart” always going to be the big single off that album?
SO: It was an album full of great songs, and although we were never really happy with the final mixes, our fans took it to their hearts and it became the soundtrack to a lot of people's lives. "Frozen Heart" was the big ballad and was actually released as a single twice, but it didn’t get on the Radio 1 playlist either time. I remember it went top 75 in the first week, but CBS had given away some “Frozen Heart” FM radios as a promo item, which was construed as hyping, and we were penalized and the following week, despite great sales, the single was moved down instead of up as a punishment and momentum was lost.

Were you surprised that Iron Maiden covered “That Girl”? What did you think of their version?
SO: Maiden did the original written version of “That Girl.” When FM got together we thought the chorus could be stronger so we rewrote it. The two bands, as are the versions, are both very different, but I like what Maiden did with the song.

You recorded Tough it Out with Neil Kernon as producer, but you had to switch labels. You also wrote with Desmond Child. How did the making of that record differ from the first album, and how did the label changes affect the band?
SO: We produced Indiscreet ourselves with our then manager Dave King. Originally we went in with producer Peter Collins and recorded two tracks, but it didn't work out. We did some initial recordings, about four tracks, for Tough It Out with a producer called Jeremy Smith, but we felt they were not representative of the band and they were scrapped. Neil came in and he’s a very good producer. He got great performances out of everybody and knew what he wanted. Nigel Green mixed the album. Steve and Chris went over to the States and wrote “Bad Luck” and “Burning My Heart Down” with Desmond. They said he was quite eccentric but great at coming up with fantastic hooks. Changing labels was meant to be advantageous to us by opening up the American market to us, but there were a lot of internal politics with the MD in the States and UK. A lot of bands unfortunately suffered because of two massive egos.

FM reformed in 2007 for Firefest IV
What was it that got the band back together, and what’s been the most enjoyable part of reviving FM?
SO: An Irish guy called Kieran Dargen ran a festival called Firefest, and he’d been pestering us for years after we split to get back together and headline the festival. We kept declining, but at the end of 2006 he asked again. We had a chat and thought it was probably now or never, so we signed up for Firefest 2007. We really had no plans past that one show. We honestly thought if 400 people turned up it will be a result, we’ll have a laugh, a few beers and go our separate ways again. We sold out Nottingham Rock City, the first Firefest sell out; it was a roller coaster ride.

Remember, we hadn't done a gig for 12 years and our contract with Firefest stated we couldn't do a warm-up, so our first gig back together was in front of 1,500 FM fanatics, and of course, you doubt yourself. When we got out there onstage I can honestly say it was one of the most emotional nights of my life. You could just feel the audience willing us to do good; it sounds corny, but you could feel the love. I’ll admit to sitting there at the back behind the kit tears welling up in my eyes on more than one occasion. I felt so proud of us and the dedication of the fans. When we came off we were dumbstruck. We never expected a retain like that. It was pretty much immediate there and then in the dressing room at Rock City that we decided to give it another go and record an album. We felt we owed it to the fans. It’s now 2015 we’re releasing our 9th studio album and everything is cool.

Since getting back together, you’ve played with Toto, Foreigner, Thin Lizzy and other contemporaries of FM. How has touring changed for FM? Do you still enjoy it? How is your material received today as opposed to back in the ‘80s?
SO: I enjoy the writing and recording process, but playing live is off the scale. You can’t beat the buzz, feeding off the energy of a live audience. I don’t think it’s changed that much from the '80s, but I think the venues are much better now, especially the clubs. The facilities are way ahead now. One huge change is now you do a show, and it’s up there on Youtube for the world to see before you’ve had time to change out of your stage gear.

Can a melodic hard-rock band like FM break through again, or is the deck stacked against bands like yours?
SO: We’re under no illusions that we’re going to suddenly become “the next big thing,” but we’re holding our own. We’re making credible, critically acclaimed albums, selling concert tickets. The very fact that Radio 2, the biggest radio station in Europe. is play listing our music must say we’re doing something right and count for something.

CD Review: Magnum - On the 13th Day


CD Review: Magnum - On the 13th Day
Steamhammer/SPV
All Access Review: B+
Magnum - On the 13th Day 2012
If Jon Bon Jovi was belting out “So Let It Rain” in that raspy, dog-eared voice of his to a swarm of horny middle-aged housewives some New York City morning on the “Today” show, the Twitter universe would be abuzz with news of the blow-dried superstar’s newest surefire hit single. As it is, the sweeping, big-hearted anthem – one of many here – from Magnum’s latest opus, On the 13th Day, out via Steamhammer/SPV, will go largely unheard, and that’s too bad. That track and others on the exhilarating new record deserve a better fate.
The less cynical among us might actually weep openly when Magnum singer Bob Catley, doing his best Roger Daltrey impersonation, wrings out a range of emotions in delivering the line, “You know that I don’t give a damn/I’m only me, that’s who I am,” while a deluge of keyboards and guitar pours down on his proud face. It’s a song of empowerment and gritting one’s teeth as reality prepares to do its worst to a true underdog story, not so different really from John Parr’s emotional – some might say, “Cheesy” – reading of “St. Elmo’s Fire (Man in Motion).” And like that ‘80s touchstone, it doesn’t seem to fit in with what’s trendy and happening right now in music. That’s okay with Magnum; the old British progressive-metal warhorse never concerned itself with such things anyway. Even in their salad days, when Magnum’s pop-infused hard rock once had Europe all agog for the melodic fare of records such as On a Storyteller’s Night and the Roger Taylor-produced Vigilante, the band’s art-rock sensibility was a hard sell in America, the promise land for any metal-related acts of that time.
These days, it is the alliance of Catley and songwriter/guitarist Tony Clarkin that holds Magnum together, and although some might find the big emotional swings and melodic bombast of On the 13th Day a little heavy-handed – “Putting Things in Place” being a prime example of Magnum at their most overwrought – only the most hard-hearted corporate raider could fail to be moved by the working-class sentiments of “Shadow Town” and its giant chorus. An uplifting epic carried on broad-shouldered synthesizers, luxurious piano and magnificent guitar ascents – interrupted for a stretch by some elegant and agile soloing – “Shadow Town” talks of the closing of factories, greed and the misery of the poor with all the poetic righteousness and fervor of a Springsteen. And yet, Magnum will never in a million years see that kind of critical acclaim. 
Undeterred, Magnum carries on, perhaps wondering if their propensity for crafting irresistible, if occasionally trite, melodies and generating overwhelming sonic force would find sympathetic ears in Europe’s burgeoning power-metal movement. What could be more attractive to that crowd than the tumescent string movements marching through “Didn’t like You Anyway” like a symphonic army? How, indeed, could they possibly ignore the majestic phalanx of clean-burning guitars and silvery synthesizers that provide the rocket-booster thrust to the 7:20 opener “All the Dreamers” needed to drive it skyward or the street-tough, switchblade hooks of “Blood Red Laughter,” a rousing song that absolutely has Survivor’s “Eye of the Tiger?”
So what if On the 13th Day seems like a throwback to the unabashedly earnest songwriting of the ‘80s. There are enough wonderfully complex piano parts, rising synth swells and clever little guitar puzzles here to appease hardcore prog enthusiasts looking for classically inspired passages and envelope-pushing musicianship, and when the spirit moves them, as it does on the relentless “Dance of the Black Tattoo” and the bitter “Broken Promises,” Magnum can swing a hammer with the best of them, slamming down heavy riffage and crunching rhythms. Indifference from the world at large may disappoint Magnum, but it’s gratifying to see them still plugging away. Maybe these underdogs will, again, have their day.
-            Peter Lindblad