Albums [Hard Rock] » [DEAD LINK] Gillan/Dean (UK) - Rocks On! (1984)
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    http://s29.postimg.cc/yiwjdq9yf/Gillan_Dean_Rocks_On_Folder.jpg

    Artist: Gillan/Dean
    Release: Rocks On! (1984)
    Genre: Hard Rock
    Country: UK
    Bitrate: 320 kbps
    ►Dead Link
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    http://s22.postimg.cc/wlo3orv9t/Gillan_Dean_Rocks_On_Front.jpg

    Pauline Gillan - Vocals (PAULINE GILLAN BAND, PAULINE GILLAN'S NORTHERN DANCER)
    Paul Dean - Vocals & Bass (JERUSALEM, PUSSY)
    Ian Hall - Guitar (KARRIER)
    Colin Towns - Keyboards (GILLAN, MCCOY, SPLIT KNEE LOONS)
    Paul Hale - Keyboards
    John "Gus" Gustafson - Bass & Vocals (ABLUTION, IAN GILLAN, QUATERMASS, IAN GILLAN BAND, HARD STUFF, DAEMON, THE BIG THREE)
    Tony White - Bass
    Kim Brodie - Drums
    Clive Deamer - Drums

    http://s23.postimg.cc/dtrecm2fv/Gillan_Dean_Rocks_On_Back.jpg

    Pauline Gillan, the younger sister of DEEP PURPLE & GILLAN frontman Ian Gillan, formed the GILLAN/DEAN project with former JERUSALEM and PUSSY singer/bassist Paul Dean in 1983.
    Signing to Thunderbolt Records, the duo recorded the "Rocks On!" album in a variety of studios including Ian Gillan's own Kingsway Studios, Bath and London, with additional sessions taking place in Mallorca.
    Recording musicians included KARRIER guitarist Ian 'Wes' Hall, bassist Tony White, keyboard player Paul Hale, drummers Clive Deamer and Kim Brodie plus GILLAN musicians John "Gus" Gustafson and Colin Towns.
    A live band intended to support the album with gigging featured Dean, Gillan, bassist Robbie Vincent and ex-AVENUE drummer Keeth Naylor.
    An odd album, "Rocks On!" whilst well played and sung, seems to suffer from a bit of an identity crisis, with many of the more straight forward Hard Rock songs buried beneath an '80's production sheen more suited to New Wave.
    The variety of musicians employed also doesn't help the fledgling act, as they struggle to nail down their sound.
    There are also an over abundance of cover versions, which sometimes work well, ("Sunshine Of Your Love", has a clever arrangement featuring some very very nifty slide guitar), and other times fall flat, ("Light My Fire" is a gloomy synth-heavy dirge).
    There's also a cheeky romp through Purple's "Black Night", which whilst fun, hardly helped Pauline's chances of stepping out from beneath her older brother's long shadow.
    The reviewers of the time seemed similarly mystified by the LP, and this combined with Thunderbolt Records poor distribution and promotion to scupper the fledgling act who folded soon after the record's release.
    So whilst an interesting listen, this is probably only for Deep Purple & Gillan completists who absolutely have to hear everything connected to those bands, however tenuous the associations.
    Paul Dean gave up being a jobbing musician after GILLAN/DEAN, but kept himself involved in music in a production capacity.
    In addition to his production duties, he went on to become a professional golfer for a time, and then a golf coach.
    The albums he recorded in the early '70's with Jerusalem & Pussy, (both produced by Ian Gillan), have recently been remastered and re-released by Rockadrome Records.
    Now living in Asia, Dean is not a part of the newly reconvened version of Jerusalem who recorded 2009's "Escalator" album.
    After the Gillan/Dean project bit the dust, Pauline Gillan subsequently created PAULINE GILLAN'S NORTHERN DANCER, with ex-AVENUE guitarist Dave Bell, ex AXIS guitarist Dave Little, ex-GLACIER bassist Chris Wing and former AVENUE drummer Keeth Naylor.
    The band debuted with the "One More Time" EP on the Stoke based indie label Bullet Record before the years end.
    This group eventually became the PAULINE GILLAN BAND, signing to the Powerstation label for the release of a full blown album, "Hearts Of Fire", in 1985.
    After long months spent touring the record in the UK & Europe where they built up a reputation as a fine live act, the band finally took time off to write the follow up album.
    The new material was much darker than the debut and far harder hitting.
    The record company, who had been pushing for a softer pop-rock sound, (and less clothing for Pauline), were anything but pleased.
    Following a set of even heavier, far darker demos recorded at Fairview Studios with producer John Spence, Powerstation finally dropped the band.
    By 1990 Pauline Gillan decided that she'd had enough and exited the group.
    The remaining band members persevered as a unit, working with MEAT LOAF vocalist Lorraine Crosby as their new vocalist.
    Crosby then departed to join her boyfriend's band EMERSON and was replaced by Jackie Fox.
    This line-up recorded an album, but were forced to scrap it because Fox was unwilling to commit to long term touring, and was thus shown the door.
    The vocal tracks were then re-recorded by new member Gail Hunter, but the LP still didn't see release as the group eventually fell apart.
    Dave Little returned to his native North East but did not pursue music again for many years.
    He finally returned to the scene recently with LIES OF SMILES, an excellent new project also featuring his former Pauline Gillan Band band-mate, Keeth Naylor on drums.

    art & txt included
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    01. Riders In The Night
    02. Sunshine Of Your Love
    03. Love Sting
    04. Black Night
    05. On The Road Again
    06. Light My Fire
    07. Rocks On!
    08. The Hole
    09. Running Wild
    10. If You Gotta Make A Fool Of Somebody
    11. Rush Of Love
    12. Angel Lover
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    Bringer of Steel
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    Hi Guys, this is Paul Dean of Gillan/Dean, Jerusalem and Pussy. Rockadrome Records who remastered and reissued the Jerusalem album (CD & Vinyl) and for the first time ever the complete Pussy album (CD and maybe vinyl soon) have the masters of the Gillan/Dean album 'Rocks On' and it is there intention to reissue and remaster it at some point in the future. Please contact Rockadrome for an update. It was actually Ian's idea for Pauline and I to work together. Unfortunately he became heavily involved in DP again so left it up to me to carry on with the project. Pauline had never performed before, so it was very much a learning curve for her. We used over 30 different musicians on the recordings including some first timers as well as a variety of seasoned musicians. The final lineup was a good unit with much more direction, but due to some outside pressure the band never got to play live and there was also outside pressure on Thunderbolt Records, which in all fairness to them, restricted how much they put into promoting the album. Anyway, it was good fun and in a way gave some musicians a stepping stone into the business. Many thanks for the review.

    Just to clear up one other point regarding 'the newly reconvened version of Jerusalem'. This is my official press release on that matter:

    I would just like to bring your attention to the fact that this album musically (Black Horses) has absolutely nothing to do whatsoever with the legendary Jerusalem band managed and produced by Ian Gillan. Like the previous release Escalator on Mausoleum, Lynden has just used the name under false pretenses to try and get sales. Even Bob Cooke who appeared on Escalator was against Lynden using the name, which I have in writing. Ray Sparrow and myself were the founding members, we then pulled in Bill Hinde and later on Bob Cooke. Lynden was brought in at a much later date after auditions in London. Lynden's musical contributions to the Jerusalem album were only the lyrics on 3 songs, the music of which I wrote. He was also tutored how to sing the songs. Bob Cooke recently warned me that Lynden was once again going to use the Jerusalem name even though the music bears no relevance to Jerusalem and Bob didn't even perform on it musically. I'm also surprised that a highly professional company like Angel Air Records would have allowed Lynden to use the name and support such a release under that name. If Lynden is not capable and confident enough of releasing music under his own name, but would rather use and abuse the name of a well respected band from 43 years ago that he was fortunate to be part of for a short time, then he shouldn't be releasing music. I am also surprised that he has done it again after Escalator considering the number of fans and followers of the real Jerusalem who found it insulting. Very disappointed.

    Cheers
    Paul Dean

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