was soon followed by that of John Sinclair, who along with Pete had
enjoyed a big say in Heep’s writing for the previous three albums,
electing to join Ozzy Osbourne. "Old Ozzy’s done alright out of
me!" quips Box.
"John supplied his
fair share of laughs for the band, though. I remember a time in
Victoria, Canada, when after we’d been out drinking we returned to our
room and he stuck his contact lenses inglass of water next to hois bed.
He wakes up in the
morning with a mouth like Ghandi's flip-flop, drinks the glass of water
and swallows the lenses! I was woken u pby the cry of 'Oh, fuck!' An
he’s as blind as a bat without them, I tell you." The man, as
affable as ever, has come to terms with the constant air of change in
terms or working personnel.
getting the right people andit’s very draining too, but if you believe
in something you work at it." he says. And work at it Box did,
first tracking down keyboard player Phil Lanzon, whose past included
Grand Prix and Sad Cafe and whom Mick had seen playing with The Sweet.
Indeed the was in
Tasmania with the latter when approached. "He fitted in
immediately. We had the same mentality and he wrote as well." And
then came LA vocalist Stef Fontaine. "He was desperately bad,"
says Mick. "I couldn't believe anyone could be so unprofessional.
He had a great voice but his discipline was something else.
He'd go for a walk
during rehearsals and then get lost. He even missed a gig in San
Francisco once!" After that American tour it was the boot for
Fontaine but that sorry chapter was to be the last real hiccup in Heep's