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Virginia Wolf

Despite their obvious insufficient commercial success, British AOR export Virginia Wolf certainly appeared to be living the high life if they produced their lunge for the brass band, armed with a major-label deal, pristine sounds and appears, and, ok last one, only probably the most desired heir apparent to rock and roll & roll’s drum throne in Jason Bonham. Nonetheless it certainly didn’t begin this way, when vocalist/guitarist Nick Daring teamed up with bassist Clive Part and vocalist/drummer Paul Johnson to release Virginia Wolf in Manchester, 1976. Not merely do they gamely attempt to cut against the grain of punk rock and roll like a Cream-inspired power trio, but with the introduction of lead vocalist Chris Ousey in 1980, they morphed right into a even more mainstream rock and roll proposition, just with time to climate the fast-rising New Wave of English ROCK. Well, there is no accounting for flavor, as the saying goes, and so as the remaining U.K. was headbanging in denim and natural leather, Virginia Wolf desired only to check out in the footsteps of AOR kings Foreigner — an option that price the music group several even more many years of anonymous songwriting and rehearsal, shaping the audio of the dreams in obscurity. However the music group was ultimately recompensed extremely handsomely because of its commitment to the eyesight, when it inserted into a administration contract using the company behind such superstars as Genesis and Ian Gillan, and eventually netted an unbelievable $1.2 million documenting cope with Atlantic Information! But wait around, it improved: Ousey and Daring were then matched with none apart from Roger Taylor of Queen to create Virginia Wolf’s eponymous debut record (over separate periods in Germany, London, and Ibiza!), and after employing an experienced program bassist in Jo Burt, emerged the obvious coup de sophistication of getting drummer Jason “Kid of John” Bonham…nothing at all like having close friends in high areas. The album found its way to stores in Feb of 1986 and was quickly accompanied by a U.S. tour starting for Jimmy Page’s newest supergroup, the Company, but, unfortunately, this is where Virginia Wolf’s lately charmed existence begun to strike some snags, when needing to combat for the eye of the high-profile administration company while endeavoring to justify disappointingly smooth album sales started to meet up with the sizable expense created by Atlantic Information. For some time, there was severe doubt the label (concurrently mining the glam metallic surge with rings like Ratt and Twisted Sister, rather than peddling shiny AOR) even would grab Virginia Wolf’s choice, however the green light was ultimately provided for the saving of sophomore recording Push. This time around the music group spent 90 days within the SAN FRANCISCO BAY AREA Bay area dealing with reputed manufacturer Kevin Elson (whose past credits ranged from Trip to Lynyrd Skynyrd to latest chart-toppers European countries), wanting to craft a far more industrial and amazing confection for discharge in the summertime of 1987, nonetheless it too was inactive on entrance, and, with it, Virginia Wolf’s profession, which proceeded to unravel at an alarming price once Atlantic fell them, Bonham up and give up, and their administration company really dropped interest.

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