A German outfit fronted by way of a British isles singer, Lucifer’s Friend initial gained minimal notoriety, and later on major cult position, as both early practitioners of rock and progressive rock and roll. Produced in 1970 Hamburg, by previous German Bonds associates Peter Hesslein (electric guitar), Peter Hecht (keyboards), Dieter Horns (bass), and Joachim Rietenbach (drums), the group was dubbed Asterix and documented a whole album’s worthy of of materials before hooking up with vocalist John Lawton, whose after that music group, Stonewall, was playing a residency on the city’s famed TOP Membership. Lawton’s vocals would sophistication Asterix’s just, eponymous record later exactly the same calendar year, and all included were excited more than enough by the outcomes that they instantly started collaborating on even more materials with which to relaunch the music group beneath the provocative brand-new moniker of Lucifer’s Friend. Released in early 1971, the Lucifer’s Friend record included organ-intensive hard rock and roll across the same lines as modern proto-metal rings like Deep Crimson, Atomic Rooster, and, specifically, Uriah Heep, for whom, coincidentally, Lawton would find yourself singing many years down the road. But, for the present time, Lucifer’s Friend’s biggest task was a difficult aversion to touring, and a compositional restlessness that noticed their sophomore work, 1972’s curiously called Where in fact the Groupies Killed the Blues, morphing significantly to acquire intensifying rock tendencies similar to Ruler Crimson and, to a smaller level, the quickly rising Krautrock serves of the time. These compositional tests would just intensify on 1973’s I’m Only a Rock and roll ‘n’ Roll Vocalist, which added whole brass sections within the vein of Chicago Transit Specialist, and 1974’s Banquet (offering fresh drummer Herbert Bornhold), which soared upon actually jazzier components and symphonic plans shipped with help from your Wayne Last Orchestra. Lucifer’s Friend would finally reign in such extravagance on 1976’s Brain Exploding LP (where Bornhold was demoted to percussionist behind fresh drummer Curt Cress), plus they actually considered raising their touring engagements, but their just problem right now was that Lawton experienced quit — taking the offer to become listed on Uriah Heep which was pointed out previously. Scotsman Mike Starrs (previously vocalist for Colosseum II) was earned to displace him and Lucifer’s Friend proceeded to abruptly abandon their intensifying past once and for all, embracing melodic mainstream rock and roll on a set of albums: 1978’s Great Period Warrior and 1980’s Sneak Me In (adding second keyboardist Adrian Askew). After that, John Lawton came back for your final, harder-rocking Lucifer’s Friend recording, 1981’s Mean Machine, and the group officially split until 1994’s one-off reunion LP, Sumo Hold. Interestingly, through many of these years and stylistic adjustments, it’s ironically that initial Lucifer’s Friend recording — way more than their even more abundant prog rock and roll releases — which includes enjoyed probably the most regular reissues, being regarded as a classic record of early rock.