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Phil Lanzon Solo Release "If You Think I'm Crazy" Phil Lanzon Solo Release "48 Seconds"
Phil Lanzon is not exactly any one. Since 1986 he has been official keyboard player for the Uriah Heep, and over the years he has played with Sweet, Grand Prix, Mick Ronson and John Lawton, just to name a few random names. One who has taken away his satisfactions, in short. And, like Cesare Ragazzi of the good old days, he put in his head a wonderful idea, that of the solo record - however, exquisitely self-produced.

He is surrounded by highly experienced rock musicians, who have gone by names that shake their wrists (Alan Parson Project, Pendragon, Arena, It Bites, Van Morrison), and with the support of Richard Cottle who has been involved with him of the arrangements, he created this 'If You Think I'm Crazy'. A record that already from the surreal - and well-kept - cover, suggests the golden times of the British prog. But not only because the sources of inspiration that appear in the course of the album are different, even if the rock / progressive matrix remains constant, with some obvious hard splashes.

Listening to “Mind Over Matter” opener it is impossible not to think about the Magnums, or the more melodic Ten, for the elegance and effectiveness of the melodic lines. Elegance in particular that reveals the true theme of the record, that we are talking about the airy rock of “Kelly Gang” the pop / rock melodies of “I Knew I Was Dreaming” or the acoustic feeling of “I Saw Two Englands “- that is closer to Billy Joel than most of the things you usually find on these pages.

There is so much substance on this record, which is all but a parade of stars - Phil Lanzon himself always puts his keys to the service of the songs, as do their fellow adventurers, each at its highest level. Or, the prog evolution of “Lover's Highway” the 'AOL' commercial of “Carolin” the majestic chorus of “Forest” and the hard energy of “The Bells” perhaps the only piece to have a distant array Uriah Heep . If you notice, in the end we have quoted almost all the songs, and it is basically unavoidable, since everyone shows a different aspect of a disk that has much in common with a mosaic of cards, different but stuck to perfection. Speaking of surprise is perhaps exaggerated, given the musicians involved, but 'If You Think I'm Crazy' is a small masterpiece out of time, a real gem that deserves to be discovered and admired.

Loud and proud magazine

Phil Lanzon, keyboard player with Uriah Heep, steps out from the band’s wing and delivers a consummate set of keyboard driven progressive rock here. Produced by Simon Hanhart and orchestrated by Richard Cottle gives this a rich, multi-layered sound in a way you don’t hear so often in these days of Pro-Tools.

This is what a solo album should be, it goes places his other band doesn’t and you sense him having a go at whatever tickles his fancy, no more so than the almost nine-minute prog track “ The Forest” that closes the album.

PowerPlay magazine.

This is a collection of mixed genre tunes with a few surprises thrown in. I just needed an opportunity to get them recorded, and the opportunity came about in the first half of this year, 2017.

I’ll say a huge thanks again to Simon and Rich for smashing it all into shape, and all the musicians and singers who helped me on this journey. In the early stages I never imagined the project to grow to such a stature - but it did, and you were all brilliant!


Available from all streaming outlets
Amazon, iTunes, Spotify etc.

For physical product go to Musicglue.com , phillanzon.com , and Cargorecords.co.uk for distribution.
Like its predecessor, 48 Seconds mixes up musical styles within it’s 10-song framework. “Azura’s Theme” offers an enchanting orchestral intro to the midtempo rocker “In the Rain.” “Forty Line” serves up a swaggering big-band feel, and “You Can Make a Living” is a timeless anthem. With its rhythmic propulsion and luxurious vocal harmonies, “Look at the Time” is the closest to Lanzon's work with Uriah Heep, while the epic title track, about the San Francisco earthquake of 1906, is a cinematic tale that transforms from a ballad into an energetic rocker, topped by a choir-driven climax over the span of nine-and-a-half minutes.

Billboard magazine.

48 Seconds is really a great job in every way. You can find everything on it. The art rock label is too loose. It is an example of an exceptional genre of fusion where Phil's classical music skills are perfectly matched, the theater-inspired arrangement of music for the film (which is why he integrated with Richard Cottle), and of course rock, classical hard rock, AOR and, of course, progressive rock.

Rockline Magazine

The most courageous tracks - the kaleidoscopic "Forty Line" or the epic title track - embellish an album capable of demonstrating the full artistic depth of the Phil Lanzon "author" and not "supporting actor".

Metal magazine

Long known as the keyboardist for Uriah Heep (since 1986), Phil Lanzon possesses a range of artistic endeavors that includes music, painting and novel writing, and he enjoys a solo career as well as his work with the band. Lanzon released his second solo album, 48 seconds on July 15th 2019.

The title track is based on the famously destructive earthquake that shook San Francisco in 1906. While natural disasters are not the typical subject matter found in rock songs, “48 Seconds” is an orchestral opus that displays Lanzon’s deftness as a composer. Lanzon explains how the song came about:

“I started to get into books at the age of about 10. While sifting through my local library I came across a book called The San Francisco Earthquake. The title caught my attention as I had no idea about natural disasters at the time. The book left a huge impression on me and later I realized it was empathy for the people who suffered and the wonder of the power of nature that somehow gripped my sub-conscious.”

It wasn’t until many years later that the memory of the story rose in his mind, creating the motivation to write a song. After several attempts at demoing the song, Lanzon said he wasn’t happy with the results and shelved it. For years, the song, which had originally began to take form in the late 70s, remained incomplete.

In 2017, he decided to take his creation out of draft mode and finish it.

“It was a bit of a mountain to climb. I knew it was going to work at some point because it had the right feel and the right intention. I found it fascinating. I never intended to go down this road originally but it sort of grew into this thing. I think also it enlightens people to realize that nature is going to have the last word in the end. Regardless of what we think and what we try to do, it’ll have us in the end. I think we ought to just be aware of it in our daily life, and if we are it would help us see things clearer and not be so blind to what’s going on underneath our feet.”

After doing extensive research on the earthquake, Lanzon had the lyrical makeup of “48 Seconds” to put to music. The story, he says, has a lot of ups and downs. “It starts optimistically. Then it becomes very sad. But it ends optimistically, with a message.” The elaborate composition, which is just under 10 minutes in length, was recorded with a 23-piece orchestra along with guitar, bass, keyboards, and drums, as well as a choir of more than 60 people.

Currently, Uriah Heep is on tour with Judas Priest until the end of June before heading off to festivals in Europe. In addition to playing keyboards with the band at night, he’s also handling the duties that come along with the release of his solo album.

“I’m pretty busy, he says. “I can’t really stop. I don’t know how to stop. (Laughs) That’s the truth.”

Available from all streaming outlets
Amazon, iTunes, Spotify etc.

For physical product go to Musicglue.com , phillanzon.com , and Cargorecords.co.uk for distribution.

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