Welcome to another edition of From My Collection. Today, we pay tribute to one of the greatest voices in hard and heavy music, John Lawton, who passed away unexpectedly on June 29, 2021. Whether it be as a member of Uriah Heep, Rebel, Zar, or as a solo artist, Lawton is responsible for so many classic albums that fill space on my shelves. But of all the bands and projects Lawton fronted in his 50+ year career, none were more prominent than Lucifer’s Friend. In this week’s entry, we look back on the impact and legacy of the band’s groundbreaking 1970 self titled debut. Get ready to “Ride the Sky”.
Before the metal explosion of 1970, the genre’s forefathers spent the late 60s floating around under various names and incarnations. Black Sabbath was once Polka Tulk, who then became Earth. Uriah Heep was once Spice. And Lucifer’s Friend was once Asterix. The band formed when singer John Lawton moved from England to Germany. Upon his arrival, he befriended future bandmates Peter Hesslein (guitars), Dieter Horns (bass), Joachim Rietenbach (drums), and Peter Hecht (organs), who were members of a pop rock band named German Bonds.
Unlike Polka Tulk/Earth and Spice, Asterix actually managed to release a full length album before their eventual name change. 1970’s Asterix isn’t too shabby. It’s a solid progressive hard rock album that at times even gets heavy. In the same breath, it isn’t anything that stands out from what many others hard/prog/psych bands were doing at the time. Asterix knew this as well. For album #2, they needed a facelift, both musically and identity wise. Exit Asterix. Enter Lucifer’s Friend.
Lots of people go on about just how metal the name “Black Sabbath” is. I’d argue “Lucifer’s Friend” is even more metal. Matter of fact, I’d argue “Lucifer’s Friend” might be the most metal band name of all time, and to think it was taken the very year metal was invented. Lawton and company spent the latter half of 1970 molding what would become Lucifer Friend’s debut opus. The album hit the shelves in November, just in time for the holiday season. It didn’t take off like their peers’ releases from that same year (Black Sabbath, Deep Purple in Rock, …Very ‘Eavy …Very ‘Umble), but that doesn’t make it any less influntial.
Lucifer’s Friend opens with the band’s signature song, “Ride the Sky”. From the moment Lawton unleashed those introductory screams, Teutonic metal was born. His war cry is soon accompanied by aggressive riffing, thundering rhythms, and a French horn playing a lick similar to Led Zeppelin’s “Immigrant Song”, released only a month earlier. I can’t stress enough how ahead of its time this song alone is. As much as I love Sabbath and Purple and Heep, the music they released in 1970 sounds like music that would indeed be released in 1970. “Ride the Sky” sounds like Uli Jon Roth era Scorpions a good half decade before Uli Jon Roth era Scorpions. Ruldolf Schenker must’ve been listening to this album.
Side A continues with the musically adventurous “Everybody’s Clown”. Although just as heavy as “Ride the Sky”, “Everybody’s Clown” is where each member showcases their individual abilities. Lawton screams at the top of his vocal range. Hesslein plays thick metallic riffs and proto-NWOBHM leads. Rietenbach and Horns lock in on a jazz inspired groove. Hecht’s melodic organ simultaneously backs and accompanies Hesslein. Put all these elements together and you’ve got a clinic in musical genius. “Keep Goin'” is a doomy ballad with jam band tendencies, while “Toxic Shadows” comes off as The Allman Brothers Band gone metal: An electrified bastardization of jazz, soul, and rock n’ roll.
As we flip over to Side B, we’re greeted by the psychedelic grooves of “Free Baby”. Between its constant reliance on the lyric “Hey baby”, and the dreamy “oohs” and “ahhs”, it’s the one song that does give off 1970 vibes, but that’s not necessarily a bad thing. Any thoughts of musical datedness is forgotten with the brutal blues metal of “Baby You’re a Liar”. I can’t help but think this is the type of song Free wanted to do, but held back from doing so out of fear of being dropped from A&M. The riffs scream Paul Kossoff, albeit with a razor sharp edge.
Lyrically, “In the Time of Job When Mammon was a Yippie” could’ve only come from the era of “Incense and Peppermints” and “In-A-Gadda-Da-Vida”. Musically, it’s a no nonsense proto-thrasher. There’s nothing hard rock, prog, or psychedelic about this song. This is pure, full fledged, unadulterated heavy metal. Who cares if the lyrics are pseudo-biblical nonsense. The music dares you NOT to headbang! Truth be told, I remember once listening to this song while utterly stoned and being floored by its sheer heaviness. It becomes even more mind blowing when you remind yourself it was recorded over half a century ago.
Speaking of mind blowing, devastatingly heavy compositions, Lucifer’s Friend saves the best for last with their namesake track, “Lucifer’s Friend”. This song is so sinister, eerie, and downright dark. The way Lawton delivers the line, “Come take my hand, I’m Lucifer’s friend.” sends chills down my backbone. The lyrics, riffs, and atmosphere of “Lucifer’s Friend” comes off like a Mercyful Fate song, albeit a decade before Mercyful Fate. Lucifer’s Friend were nothing short of trailblazers and I can only hope this essay helps advance this narrative.
After the release of their self titled debut, Lucifer’s Friend became more or less a musical chameleon, exploring facets of hard rock, jazz rock, prog, and AOR from album to album. Lawton departed the band in 1977 to replace David Byron in Uriah Heep. He’d return in 1981 for Mean Machine, an album that capitalized on the NWOBHM boom. With both Lawton and Horns passing in a span of six months, I’m not sure how Hesslein would continue Lucifer’s Friend, but I wish him and everyone in their camp my sincerest condolences. I also send my condolences to Uriah Heep’s Mick Box, who must be devastated after losing three Heep bandmates in less than a year (Lee Kerslake, Ken Hensley, John Lawton). It hurts to see these elder statesmen of metal leaving us for the afterworld, but I’ll forever be grateful for their contribution to this music. Rest in power John Lawton.