Gillan -

Gillan was an English hard-rock/metal band that released a self-titled album in Japan and Australasia on Eastworld/Interfusion in 1978, followed by the more widely released Mr. Universe, which appeared in the U.K. on Acrobat Records in 1979.

Between 1980 and 1982, Gillan released three albums and a half-studio/half-live double-LP on Virgin. The band was formed by once-and-future Deep Purple vocalist Ian Gillan as a follow-through to his namesake prior band.

Members: Ian Gillan (vocals), Colin Towns (keyboards), John McCoy (bass), Liam Glenocky (drums, 1978), Steve Byrd (guitar, 1978-79), Bernie Tormé (guitar, 1979-80), Mick Underwood (drums, 1979-82), Janick Gers (guitar, 1981-82)

Background

In July 1978, Ian Gillan dissolved the Ian Gillan Band, his vehicle for the prior two years on three albums: Child in Time (1976, Polydor), Clear Air Turbulence and Scarabus (both 1977, Island). From that band, he retained keyboardist Colin Townes, who played on the latter two albums.

For the new band, simply called Gillan, he added guitarist Steve Byrd, bassist John McCoy, and Irish drummer Liam Genockey. All three hailed from jazz-rockers Zzebra, which issued two albums on Polydor in 1974/75. McCoy and Genockey also played on the self-titled second album by folksters Maldoon, released in 1973 on Purple Records, established by Deep Purple. Genockey also held the seat in Amalgam, a revolving-door free-jazz ensemble. As Gillan got underway, Genockey received mass exposure as the drummer on “Baker Street,” a global hit by Scottish singer/songwriter Gerry Rafferty.

Despite the jazz-rock bona fides of the three players, Gillan conceived this band as a straight hard-rock vehicle, in contrast to the more jazz-rock oriented Ian Gillan Band (comprised, ironically, of straight rock players).

Just as Gillan got underway, Townes debuted as a solo artist with the 1978 Virgin release Full Circle, a largely self-performed instrumental set with percussion by IGB alumnus Mark Nauseef.

Gillan

Gillan released their self-titled debut album in September 1978 on Eastworld (Japan, New Zealand) and Interfusion (Australia).

The album marked Ian Gillan’s return to hard rock after the jazz-fusion direction of the Ian Gillan Band. Its sound bridges the complex textures of Scarabus with the heavier, guitar-driven approach he pursued on Mr. Universe, emphasizing direct rhythm work, strong vocal projection, and concise song forms.

Gillan was backed by guitarist Steve Byrd, keyboardist–flutist Colin Towns, bassist John McCoy, and drummer Liam Genockey.

Gillan and Towns wrote most of the material, with Towns contributing two instrumentals. Their writing fuses compact hard rock structures with dramatic dynamic builds, ranging from brisk riff-driven cuts to extended, piano-led pieces.

The album divides between driving rockers and atmospheric interludes. “Secret of the Dance” opens with rapid percussion and alternating guitar–keyboard solos in the Deep Purple tradition. “I’m Your Man” mixes clipped rhythmic accents with declarative vocal phrasing. “Dead of Night” proceeds at a slower, heavier pace with sustained Hammond chords, while “Fighting Man” closes side one with a seven-minute sequence that builds from piano balladry to a climactic, high-register vocal finale.

Side two opens with “Message in a Bottle,” an urgent reflection on Gillan’s near-death experience from alcohol poisoning during his U.S. touring years. “Not Weird Enough” and “Bringing Joanna Back” follow with wry, offbeat rhythmic figures, while “Abbey of Thelema” alternates quiet keyboard passages with sudden surges of heavy riffing. The album ends with “Back in the Game,” a fast, riff-driven closer that showcases Byrd and Towns in extended instrumental dialogue.

A1. “Second Sight” (2:36) — instrumental by Colin Towns that segues into the next track
A2. “Secret of the Dance” (2:50)
A3. “I’m Your Man” (4:25)
A4. “Dead of Night” (4:10)
A5. “Fighting Man” (7:35) — extended composition by Towns with piano-led introduction and dynamic, escalating vocal climax

B1. “Message in a Bottle” (3:08)
B2. “Not Weird Enough” (4:05)
B3. “Bringing Joanna Back” (3:39)
B4. “Abbey of Thelema” (4:56)
B5. “Back in the Game” (5:25)

Sessions occurred at Kingsway Recorders in London between July and August 1978 with Ian Gillan, Colin Towns, and engineer Paul “Chas” Watkins co-producing.

Eastworld promoted Gillan through heavy import circulation in the UK, where it gained traction as a high-priced collector title. Several tracks—“Secret of the Dance,” “Dead of Night,” and “Fighting Man”—were re-recorded for the subsequent Mr. Universe LP.

In 1993, RPM Records issued Gillan – The Japanese Album, a CD edition that combined selections from the 1978 release with alternate takes and tracks from the Japanese version of Mr. Universe, preserving the transitional sound of Gillan’s shift from fusion-based rock to a renewed hard-rock intensity.

Mr. Universe

Gillan released their second album, Mr. Universe, on October 12, 1979, on Acrobat (UK), Eastworld (Japan), and Interfusion (Australia).

For this album, Ian Gillan welcomed young guitarist Bernie Tormé and recent Strapps drummer Mick Underwood, a onetime member of the Deep Purple precurssor Episode Six and its parallel outgrowth Quatermass. They join returning keyboardist Colin Towns and bassist John McCoy.

Gillan and Towns wrote most of the material, with collective input from the full band on one track. Towns contributed two solo compositions, including the instrumental “Second Sight.” The title track revives a name Gillan first used in his pre–Deep Purple band Episode Six, though the composition here is new.

The album divides between high-velocity rockers and slower, dramatic pieces. “Secret of the Dance” and “Roller” charge with accelerated pacing and sharp rhythmic accents, while “Vengeance” balances lyrical intensity with staccato instrumental trade-offs. “She Tears Me Down” and “Fighting Man” showcase Towns’ piano and Gillan’s operatic vocal range, the latter developing from quiet reflection to a climactic finale. “Mr. Universe” expands into an extended instrumental section where Tormé’s phrasing and Towns’ organ intertwine against McCoy’s solid bass foundation. “Puget Sound” provides an autobiographical reflection on Gillan’s early travels, while “Dead of Night” and “Message in a Bottle” carry over the atmospheric sensibility of his prior band in a heavier context.

A1. “Second Sight” (2:33) — instrumental by Colin Towns that introduces the album’s tone
A2. “Secret of the Dance” (2:54)
A3. “She Tears Me Down” (5:07) — piano-led ballad that expands into a full-band arrangement
A4. “Roller” (4:43)
A5. “Mr. Universe” (6:14)

B1. “Vengeance” (3:34)
B2. “Puget Sound” (4:23) — autobiographical lyric referencing Gillan’s early experiences in the United States
B3. “Dead of Night” (4:04)
B4. “Message in a Bottle” (3:09)
B5. “Fighting Man” (7:28) — originally recorded in 1978 with Steve Byrd (guitar) and Liam Genockey (drums); reworked here with new arrangement and band lineup

Sessions occurred at Kingsway Recorders in London between June and July 1979 with Ian Gillan, John McCoy, and Colin Towns producing alongside engineer Paul “Chas” Watkins.

Acrobat promoted Mr. Universe with “Vengeance” (b/w “Smoke on the Water”) issued on October 5, 1979. The single entered the UK charts, followed by strong album sales that lifted Mr. Universe to No. 11 on the UK Albums Chart.

The Japanese edition, released one month earlier on Eastworld, featured an alternate running order and several exclusive titles: “Your Sister’s on My List,” “Street Theatre,” “Move with the Times,” and “Sleeping on the Job,” later compiled on Gillan – The Japanese Album.

Virgin reissued Mr. Universe on CD in 1989 with live material from the 1980 and 1981 Reading Festivals, including performances of “Mr. Universe,” “Vengeance,” and covers of “Smoke on the Water” (Deep Purple) and “Lucille” (Little Richard).

The album established Gillan’s new band as a key bridge between classic heavy rock and the emerging New Wave of British Heavy Metal, reaffirming his stature as one of the era’s most commanding vocalists.

Glory Road

Gillan released their third album, Glory Road, on August 8, 1980, on Virgin Records.

The album found Ian Gillan refining the high-energy hard rock sound of Mr. Universe into a heavier, more aggressive style aligned with the rising New Wave of British Heavy Metal. The material alternates between rapid, riff-centered tracks and blues-inflected pieces, unified by Gillan’s commanding vocals and the band’s sharp ensemble precision.

Gillan fronted guitarist Bernie Tormé, keyboardist–flutist Colin Towns, bassist John McCoy, and drummer Mick Underwood.

Gillan co-wrote most of the songs with Tormé and McCoy, while Towns contributed two and co-wrote three others. Their collective writing emphasizes structure and pacing, balancing the raw edge of Tormé’s guitar with Towns’ contrasting keyboard tone.

The first half opens with “Unchain Your Brain,” a fast, explosive rocker that sets the album’s tone, followed by “Are You Sure?,” driven by a rhythmic pulse and punctuated by Gillan’s assertive phrasing. “Time and Again” slows the tempo with a blues-based structure, while “No Easy Way” channels the speed and force associated with NWOBHM acts emerging at the time. “Sleeping on the Job” closes side one with sardonic humor and syncopated accents.

Side two introduces more expansive and textured writing: “On the Rocks” features shifting sections and atmospheric keys, while “If You Believe Me” unfolds as a slow, blues-inflected jam. “Running, White Face, City Boy” accelerates with sharp tempo turns, and “Nervous” concludes the album with ominous organ figures and a vocal intensity reminiscent of Gillan’s Deep Purple peak.

A1. “Unchain Your Brain” (3:11)
A2. “Are You Sure?” (4:05)
A3. “Time and Again” (5:05)
A4. “No Easy Way” (6:34)
A5. “Sleeping on the Job” (3:11)

B1. “On the Rocks” (6:39)
B2. “If You Believe Me” (7:33)
B3. “Running, White Face, City Boy” (3:11)
B4. “Nervous” (3:44)

Sessions occurred at Kingsway Recorders in London between April and May 1980 with production handled by Ian Gillan, John McCoy, and engineer Paul “Chas” Watkins.

Virgin issued Glory Road as a limited double LP that included the companion record For Gillan Fans Only, containing outtakes, B-sides, and band curiosities such as the Anton Karas cover “Harry Lime Theme” and a spoof of Samson’s “Vice Versa” retitled “Egg Timer.”

Virgin promoted the album with “Sleeping on the Job” (b/w “Higher and Higher”) in June 1980, followed by “No Easy Way” (b/w “Handles on Her Hips”) in July. Both singles charted modestly in the UK, while Glory Road itself reached No. 3 on the UK Albums Chart.

The US edition replaced “Sleeping on the Job” with “Your Mother Was Right” from For Gillan Fans Only.

Gillan later re-recorded “Unchain Your Brain” for his 2006 retrospective Gillan’s Inn. The album’s enduring combination of speed, intensity, and discipline cemented Glory Road as the definitive studio statement of Gillan’s early 1980s lineup.

Future Shock

Gillan released their fourth album, Future Shock, on April 14, 1981, on Virgin.

The album continued Gillan’s high-energy hard rock trajectory with faster tempos, sharper dynamics, and a broader stylistic range than its predecessors. It balances speed-driven heavy metal with theatrical and progressive elements, underscoring the band’s humor and flair for dramatic contrast.

Gillan fronted guitarist Bernie Tormé, keyboardist Colin Towns, bassist John McCoy, and drummer Mick Underwood.

Gillan co-wrote most of the album with Tormé and McCoy, while Towns contributed several co-writes and two of his own compositions. The band also covered Gary U.S. Bonds’ early rock’n’roll hit “New Orleans,” written by Frank Guida and Joseph Royster.

The songs range from rapid, riff-centered rockers to slow, atmospheric pieces. The title track opens with an urgent rhythm and cascading guitar-organ interplay. “Night Ride Out of Phoenix” and “(The Ballad of) The Lucitania Express” pair heavy chords with narrative lyrics, while “No Laughing in Heaven” injects sardonic humor into a blues-rock structure. “Sacre Bleu” veers into theatrical parody with Gillan’s exaggerated delivery, and “New Orleans” offers a raucous revival of the 1960 Gary U.S. Bonds hit. Side two’s “Bite the Bullet” combines fast rhythm with instrumental breaks, while “If I Sing Softly” and “For Your Dreams” display the band’s progressive, balladic side with flute, piano, and layered vocal dynamics.

A1. “Future Shock” (3:06)
A2. “Night Ride Out of Phoenix” (5:06)
A3. “(The Ballad of) The Lucitania Express” (3:10)
A4. “No Laughing in Heaven” (4:58)
A5. “Sacre Bleu” (3:03)
A6. “New Orleans” (2:37) — originated as a 1960 single by Gary U.S. Bonds, written by Frank Guida and Joseph Royster; later covered by Paul Revere & the Raiders and Joan Jett

B1. “Bite the Bullet” (4:50)
B2. “If I Sing Softly” (6:10)
B3. “Don’t Want the Truth” (5:40)
B4. “For Your Dreams” (5:04)

Sessions occurred at Kingsway Recorders in London in January 1981 with production credited to the band and engineering by Paul “Chas” Watkins.

The album’s gatefold artwork, painted by Alan Daniels for Young Artists, depicts a comic-styled futuristic tableau inspired by the title’s reference to Alvin Toffler’s book Future Shock. The original LP included a sixteen-page booklet with lyrics and illustrations.

Virgin issued “New Orleans” as the first single (b/w “Take a Hold of Yourself”) in March 1981; it reached No. 17 on the UK Singles Chart. “No Laughing in Heaven” followed on June 12, 1981 (b/w “One for the Road”), reaching No. 31.

Future Shock reached No. 2 on the UK Albums Chart—the band’s highest placement—and earned a silver certification from the BPI for 60,000 units sold.

The 1989 Virgin CD reissue added ten non-album tracks, including “Mutually Assured Destruction,” “Trouble” (by Leiber and Stoller, popularized by Elvis Presley), and “Lucille” (by Little Richard and Albert Collins). A 2007 Edsel edition restored the original artwork and added retrospective notes by Ian Gillan.

The album remains the most stylistically varied of Gillan’s releases, juxtaposing humor, power, and experimentation within a consistent hard rock framework.

Double Trouble (2LP, half-live)

In October 1981, Gillan released Double Trouble, a two-record set with one album of new studio material and a live disc drawn from recent sets at the Reading Festival and Rainbow Theatre.

The album appeared as a two-record set containing one disc of new studio recordings and another recorded live at the Reading Festival and London’s Rainbow Theatre. It marked the debut of guitarist Janick Gers, who replaced Bernie Tormé midway through the 1981 European tour. The studio material advances the driving, heavy rock style of Future Shock with a stronger emphasis on concise arrangements and keyboard texture, while the live disc captures the band in peak touring form.

Gillan fronted guitarist Janick Gers, keyboardist Colin Towns, bassist John McCoy, and drummer Mick Underwood. Bernie Tormé appears on three of the live recordings.

Gillan and McCoy wrote most of the studio material with additional input from Towns and Underwood. Towns composed the single “Nightmare,” while Gillan and Towns co-wrote the extended closer “Born to Kill.” The live album features a cover of Elvis Presley’s “Trouble,” written by Leiber and Stoller, and a rendition of Gary U.S. Bonds’ “New Orleans,” first issued in 1960 by Legrand Records.

The studio album alternates between forceful, riff-based tracks and longer, expansive pieces. “I’ll Rip Your Spine Out” opens with double-tracked guitars and a shouted vocal refrain. “Restless” presents a mid-tempo structure and harmonized vocal lines, while “Men of War” mixes martial rhythm with lyrical introspection. “Sunbeam” shifts between quiet, suspended passages and surging instrumental sections. On side two, “Nightmare” stands out for its syncopated pulse and moody synth backdrop, contrasted by the short, playful “Hadely Bop Bop.” The nine-minute “Born to Kill” concludes the studio disc with gradual buildup, multiple tempo shifts, and theatrical dynamics.

A1. “I’ll Rip Your Spine Out” (4:30)
A2. “Restless” (3:19)
A3. “Men of War” (4:31)
A4. “Sunbeam” (5:11)
B1. “Nightmare” (3:15) — written by Colin Towns; later covered by Lionheart on their 1984 album Hot Tonight
B2. “Hadely Bop Bop” (2:50)
B3. “Life Goes On” (4:12)
B4. “Born to Kill” (9:28)

C1. “No Laughing in Heaven” (6:26)
C2. “No Easy Way” (10:32)
C3. “Trouble” (3:04) — originated as a 1958 single by Elvis Presley, written by Jerry Leiber and Mike Stoller
D1. “Mutually Assured Destruction” (5:13)
D2. “If You Believe Me” (8:26)
D3. “New Orleans” (6:03) — originated as a 1960 single by Gary U.S. Bonds, written by Frank Guida and Joseph Royster; covered since by Paul Revere & the Raiders and Joan Jett

Sessions occurred at Kingsway Recorders in London during August 1981 with producer Steve Smith for K.R. Productions Ltd. Paul “Chas” Watkins engineered the studio recordings and mixed the album at Abbey Road Studios. Live tracks were engineered by Mike McKenna and Steve Smith on the Rolling Stones Mobile Studio, with Chris Blake handling the Rainbow Theatre session for the Manor Mobile unit.

Virgin promoted Double Trouble with “Nightmare” (b/w “Take a Hold of Yourself”) in October 1981, which reached No. 36 on the UK Singles Chart. “Restless” followed in January 1982 (b/w “On the Rocks”) and reached No. 25.

Double Trouble reached No. 12 on the UK Albums Chart and reappeared in 2007 at No. 30 on the UK Independent Albums Chart.

Virgin issued the album on CD in 1989 with the same track order. Edsel reissued it in 2007 with four live bonus tracks—“Bite the Bullet,” “On the Rocks,” “Mr. Universe,” and “Vengeance”—recorded at the Reading Festival, plus a 1980 performance of Deep Purple’s “Smoke on the Water.”

The album documents the transition between Gillan’s established touring lineup and the incoming Gers-led formation, combining new studio focus with a comprehensive survey of the band’s live power.

Magic

Gillan released their sixth album, Magic, in September 1982 on Virgin.

The album maintains the band’s hard rock and heavy metal focus with a slicker, more keyboard-dominant sound that reflects early 1980s production trends. Keyboardist Colin Towns’ vivid synth lines share the foreground with guitarist Janick Gers (later of Iron Maiden), supported by bassist John McCoy and drummer Mick Underwood.

Ian Gillan co-wrote eight songs with Towns, with three additional co-writes involving McCoy and Gers. The set concludes with a cover of Stevie Wonder’s 1973 hit “Living for the City.”

The album alternates between brisk rockers (“What’s the Matter,” “Long Gone”) and slower, atmosphere-driven pieces (“Bluesy Blue Sea,” “Living a Lie”). The seven-minute “Demon Driver” builds from solemn verses to a multi-tempo finale, while “You’re So Right” compresses the band’s energy into under three minutes. “Driving Me Wild” channels the direct, riff-driven style of Future Shock.

A1. “What’s the Matter” (3:33)
A2. “Bluesy Blue Sea” (4:48)
A3. “Caught in a Trap” (3:34)
A4. “Long Gone” (3:59)
A5. “Driving Me Wild” (3:05)

B1. “Demon Driver” (7:15)
B2. “Living a Lie” (4:27)
B3. “You’re So Right” (2:55)
B4. “Living for the City” (4:27) — originated as a 1973 single by Stevie Wonder, whose version reached No. 8 on the Billboard Hot 100; its lyrics depict urban injustice through the struggles of a young Black man moving north for work.
B5. “Demon Driver (reprise)” (0:42)

Sessions occurred at Kingsway Studios in London during July–August 1982 with producer and engineer Mick Glossop, assisted by Bob Broglia.

Virgin promoted Magic with “Living for the City” (b/w “Demon Driver”) in August 1982, followed by “Long Gone” (b/w “Driving Me Wild”) that October. The former reached No. 50 on the UK Singles Chart; the album itself peaked at No. 17 on the UK Albums Chart.

Discography: