Moving to the Moon

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Artist: Mark Clarke
Album: Moving To The Moon
Label: Its About Music/Allswell Music/Dancetone Music
Reviewer: Mark Lewis
Date: Jun 6, 2011

Every once in a while a true gem crosses my desk for review. Mark Clarke’s new album is one of these wonderful gems. Mark Clarke, for those of you who are wondering, played in Rainbow, Uriah Heep, and Billy Squier, among others. He is a truly talented musician who has definitely left his mark on the music world. His new album is just as amazing as his career has been to date.

The new album is entitled ‘Moving To The Moon’. Classified as AOR and Melodic Rock, I would like to quote John Lennon and use his term of “Straight Rock”. It is melodic in places and on certain songs, and sometimes you just need to slow down and enjoy the scenery. Other times on the album it is like a Ferrari running 200 MPH flat out. The album has that unique, special quality that we used to see more, or so it would seem, on albums. That quality is of the amazing singer and musician who is also a stellar songwriter. When you have those qualities, magic happens in the studio. It also doesn’t hurt that Ray DeTone produced the album. He has an ear for talent and knows amazing music. On certain songs, there is a very Beatles-esque/Billy Joel quality to Mark’s voice that makes the album even more fun. Together Mark and Ray have brought us a gem that is like opening presents on Christmas morning. I actually love every song on this album and cannot pick out a favorite.

This is one that everyone from Metal Heads, to Hard Rock, Melodic Rock, and Pop Rock/Pop fans can all enjoy, whether 8 or 80 and anywhere in between. This an album that everyone, and I mean everyone, should add to his/her record collection. To hear songs from the album, click here


Review by: Rok Podgrajšek
Year: 2010
Produced by: Mark Clarke, Ray DeTone
Label: It’s About Music

Mark Clarke is a very quiet figure in the world of rock music, but having played with some of the biggest names in rock, he definitely deserves all the accolades he receives. He is rightly considered one of the best bass players around by musicians and producers. His most famous work came with Colosseum after Tony Reeves left (Daughter of Time) and from the 1990s reunion onwards. He also played a part on Uriah Heep's Demons and Wizards album, where he even co-wrote one song. He also played a role in the bands Tempest and Ritchie Blackmore's Rainbow.

So why has a man of this talent never released a solo album? Some things are better left alone and some musicians are just not good composers, so it was a question if Clarke had the ability to write a great rock album all on his own. He has written music in the past, so he obviously had the ability, but I was still not sure if he could cut it on his own.

From the very start of the album, it's quite clear that Clarke is no slouch in the song-writing department and the years of experience simply shine through. Clarke pretty much takes a great deal of inspiration from the bands he played in, but also adds his own touch. Therefore we get some excellent classic rock with songs whose influences range from Uriah Heep, Colosseum, Rainbow, The Beatles, Pink Floyd. He incorporates these influences seamlessly into his own writing style and also adds some folk parts occasionally.

Every song has a different feel. You have your hard rockers, your ballads, your folk rock songs and even some country rock parts. Admittedly, Clarke doesn't bring much new to the table, but he is able to mix these ingredients in a very pleasing and sophisticated manner, becoming of a man of his stature and talent.

Besides playing the bass and singing, Clarke also plays the keyboards. His biggest help is Ray DeTone, who not only plays guitar but also lends some compositional help (not that Clarke needs it). The duo is also assisted by some session drummers who all do a reasonably good job. The playing is not very flashy, as the everything is tailored in favour of the songs themselves and not individual self-indulgence, however, we still see some blistering playing, particularly on the guitar.

Moving to the Moon is by all accounts an excellent classic rock album. By its description, it does perhaps sound all over the map and scatter-brained, but this couldn’t be further from the truth. Mark Clarke is an excellent composer who puts everything together effortlessly and creates an album that is beautiful and timeless.



The name Mark Clarke should be quite familiar with anyone into 70's hard rock, as the bassist spent time with acts such as Colosseum, Natural Gas, Rainbow, Uriah Heep (where he co-wrote the classic 'The Wizard'), Ken Hensley, Mountain, Ian Hunter and Billy Squier, among others.
After 40 years in the business, Clarke is finally getting around to his first solo album, which is finally here and called "Moving To The Moon".
This is perfect example of something being worth the wait.

Clarke is a unique songwriter mixing hard rock, '80s rock&pop and classic rock.
Opening cuts "One of These Days" and "A Cowboy's Song" rocks, and rock hard, with Clarke's vocals somewhere in between Magnum's Bob Catley and John Wetton. Mark plays bass and keyboards, and he's assisted here by Ray DeTone (guitars, keyboards) and an assortment of drummers.
He shows his penchant for Eric Carmen styled ballads on "Without You" and the AORish "Modeleine", two catchy rock&pop tracks that in a perfect world could easily see radio play.
"You Saved the Day" sounds like something that should be on a Pink Floyd album with Roger Waters singing it. It’s a big song that seems to get only bigger as it goes along. Mark’s vocals are both haunting and comforting in sound.

"The Falling" has a majestic, almost prog rock feel to it, until the anthemic hard rock guitars kick in, while the soaring "Heaven and Hell" could have easily been a leftover from an 80's Queen album. Clarke's vocals are truly inspiring on this one. Both tracks are amongst the best of the album.
A return to blistering hard rock can be heard on the title track "Moving To The Moon", complete with some nasty riffs from Ray De Tone, and "Then Tomorrow Comes" has a rootsy, almost southern rock feel to it, with Clarke's muscular bass grooves playing off DeTone's layers of electric & acoustic guitars.
Last song on this album runs only 49 seconds long. It’s called "A Little Something" and it is just Mark and a guitar. It is so pure classic rock that drug dealers should be trying to sell it as the new 'Feel Good' medicine.

"Moving To The Moon" is a straight rock album that mixes-in 40 years of Mark’s musical wisdom to create layer upon layer of goodness.
Clarke set out to release a true classic rock album and he has succeeded.
This is a breath of fresh air as the songwriting is crisp, the lyrics thoughtful and the vocals and musicianship sublime yet stirring, a very tough combination to achieve. Mark has released some great music with bands in the past this album shows that he has saved the best for himself.
"Moving To The Moon" is throwback album to a time when the artist cared what an entire album sounded like.
It is a return to a time when pride was taken at an entire work and not just a pop single to make money or score chicks.
Originally available as digi-download, now has a proper CD release.
Good Stuff.


Musician Mark Clarke ; bass player, singer, and songwriter has been associated with such legendary rock acts as Colosseum [whom he still tours with], Mountain, Uriah Heep [briefly], Rainbow and Billy Squier, among others. Although, never the lead man, Clarke has always been a contributor and a well respected player and writer [check out his albums with Tempest & Nartural Gas as well].

Last year Mark finally stepped out on his own with his first solo album, after 40 years in the music business, titled "Moving To The Moon". The album features a wide range of pop-rocker, ballads, as well as more progressive moments. The title track is the album's main rocker, but it also boasts such great tracks as "Heaven and Hell", ....

Recently I sent Mark some questions to discuss his new album, and he was sporting enough to answer them while on the road with Colosseum in Europe. Check out Mark's album "Moving To The Moon" including such memorable tracks as the epics Heaven and Hell and The Falling; as well as the upbeat One of These Days and the rocky title track at: and at his website:


Having been in so many great bands, and being a singer in your own right, bass player, songwriter.... when did you decide to finally put together a solo album and why at this point in your career? [frankly, why did it take you so long ? :-) ]

MARK CLARKE: Quite a few years ago I decided to do it and when I did it made me go into writing mode and it just all came out..

You've done all the songwriting, bass, vocals, as well as played keyboards, and have used only a few drummers and Ray DeTone -- who played guitar, banjo, keyboards, and co-produced the album. First what can you tell me about Ray and how you ended up working with him?

MC: First Ray is a local player who had been in some local bands, and just hadn't had "that break" I guess we were introduced by a mutual friend and I just went into his studio to try out a few idea's but it was apparent from the beginning we would work together as he and I have a great relationship in the studio...and what a guitarist !!!

Why did you choose to do this album largely on your own [w/ Ray] - as opposed to option of calling in friends [big name players] that you've worked with over the years to guest [such as Billy, Ken Hensley, Clem, etc...] ??

MC: Well actually I was going to ask all these friends but it gets a little complicated and the fact that there wasn't much of a budget, but my next CD I will get a whole bunch of mates to appear on that one

Were the songs on Moving To The Moon written specifically for this album or have some of them been around for a while waiting to be put to disc?

MC: Only one song "Without you" had been around for a while, in fact it was written for my late mother, but all of the others were penned for this CD.

Having been associated with 'heavy' rock names such as Uriah Heep, Rainbow, Mountain.... Do you think people are surprised to find out this is Not a 'heavy' rock album, but a very solid pop-rock album? MC-

MC: Frankly I don't care. this is what I have written and I can only hope that any fans will come with me on this ride and enjoy it as much as I do... this is my life on record for all to hear............

Can you tell me a bit about each [or some of] of the tracks? Be it where they came from musically or lyrically? One Of These Days - a good upbeat tune, that makes a great opener.
MC: I can't wait to play this live it's a nasty little song. A Cowboy's Song - I love the melody and the alternating vocals w/ harmonies reminds me of McCartney. This is really a follow up to "Theme form an imaginary western.....I love this song,,

Without You - a great light pop rocker, almost a ballad. a beautiful song.

MC: Thank you, as I said its about my late mother....

Modeleine - different song, like the changes in pace and the orchestrations [synths?]

MC: This was based on a dream I had.....

You Saved The Day - a very different ballad; mainly just vocal.

MC: This is about and dedicated to my three daughters.

The Falling - the beginning reminds of that Who song [The Song Is Over]....builds in to a nice little epic piece.
MC: Kind of a life story really, I can't wait to play this live..

Heaven & Hell - great piano based epic. your vocals at times remind me a bit of either McCartney or Freddie Mercury.
MC: My favorite song, again about my life in New York.

Moving To The Moon - the rockiest track here. love it.

MC: Back to the Tempest days right !? I was thinking of getting Alan Holdsworth to play a solo on it but again - THE BUDGET .......

Then Tomorrow Comes - a catchy chorus and great harmony. like the different guitar sounds well.

MC: It's true though, whatever happens, tomorrow just comes anyway...........and life goes on....

A Little Something - short & sweet

MC: Just that...short and sweet...I was going to make a real song of it but thought about it and then said, "fuck it, this is the song"..........

Love the variation amongst the songs, you've got so many great different melodies, different instrumentation song to song... - Do you have any favorites or any that hold a special place or meaning for you?

MC: As I said "Heaven and Hell" MEANS SO MUCH to me. this is I think the best lyric I have ever done. Also " One of these days" has a place here too.

How has reaction to the album been so far? I hope you're getting more recognition aside from those that recognize your name from above mentioned bands[!?] I think this would appeal to a wide range of listeners.

MC: Well so far so good ..the reveiws havd been nothing short of fantastic to date..

Was there tracks written and/or recorded and left off? And have you any plans for a follow up project?

MC: You bet! I have a few songs for my next CD already but first I MUST tour with this CD and play it to people........

What else are you currently up to these days? Any more plans with Billy Squier? [recording or live dates possible in the future?]

MC: Well I'm still touring with Colosseum in other parts of the world and as far as Billy Squier goes I really don't know, but I would love to go out on tour in the not too distant future with him........

Incidentally, have you listened to new releases from some of your ex bandmates? [Ken Hensley's new one?]

MC: NO, is it any good ?


Friday, February 18, 2011

Making Some Noise Tonight:

An Exclusive Interview With

By Stephen SPAZ Schnee

For over four decades, Mark Clarke has been involved with some of the most respected bands in Rock history including Colosseum, Uriah Heep, Tempest, Billy Squier, Mountain, Ian Hunter and Natural Gas to name but a few. He’s even toured with The Monkees, jammed with The Rolling Stones and performed with The Who’s Roger Daltrey! But while he’s known for his exceptional bass playing and harmony vocals, Mark’s talents as a songwriter and lead vocalist have seldom received the attention they deserve.
So, after over 40 years as a professional musician, Mark is finally stepping into the spotlight and has released his debut solo album, Moving To The Moon (It’s About Music). Blending modern production with his Classic Rock background, the album is a timeless mix of heart, soul and Rock ‘n’ Roll. Some may classify the album as AOR or Melodic Rock, which is certainly a fair of assessment, but the album’s influences take in everything from The Who (“One Of These Days”) and Paul McCartney (dig the vocal hook in “A Cowboy’s Song”) to Progressive Rock so it’s a hard one to pigeon-hole. Whatever you prefer to label it as, Moving To The Moon is nothing less than wonderful.
Stephen SPAZ Schnee was able to catch up with Mark to discuss his amazing career and his brand new solo album…

SPAZ: Now that Moving To The Moon has been released, how are you feeling about the album and your career in general at this point in time?
MARK CLARKE: Well, about the album: this is the first record I’ve done, been on or whatever, that I can listen to, almost daily, and enjoy. I am so very proud of this album. It’s really all of my playing and personal experiences written down and recorded for all to see…and there’s more to come. I’m not finished yet, there’s still more inside that has to come out…..maybe next year, although I am writing at the moment so I will start to record again pretty soon I guess. But as far as this record goes, dare I say it, I truly like it… love it, in fact, and a lot of that has to do with Ray Detone’s work on it. He fully heard what I was trying to do and where I was trying to get to with these songs and in some cases showed ME.
Now, my career… Well, that’s a lot different because I’m not really happy with where I am at this point in time. You see, years ago when the record biz was about music and not solely about the bottom line, I think this record would have already been on the radio getting heard, and hopefully selling. But nowadays with the internet, people have so many choices that it’s really hard for someone like me to get their attention with plain old Classic Rock, and that really is what this record is: CLASSIC ROCK! Hopefully, you agree! It’s been 40 years and I’m still on the road, I love live shows, as that’s what it’s all about for me. But the other reason I’m still on the road is that I have to be: because without it, I couldn't support my kids! That’s how much it’s changed. Everyone seems to be making money. but the musicians have, over the last 10 years or so, been getting less and less and no one seems to think this is true, but it’s VERY true, I don’t want to moan about it, but why should some of us put in 40 years of our lives and then end up with nothing to show for it? Sometimes, I think that we should stop writing music and see how the world would be. Can you imagine waking up and your alarm radio goes off and there’s just talking and no music? And then you get in your car and turn on the radio and there’s no music? And so on and so on…..sad, huh? So, something has to change. Songwriters have to get paid properly again and not get ripped off from pirating and download companies. In some ways, the internet has killed off a certain part of the music business yet it has made it so easy for people to access anything they want to hear. But the trouble is, it’s the internet companies that make all the money now, and the poor guys who spend days, weeks, months, writing creating and putting there souls out there, who are now losing a way to make a living. I mean, even live shows are taking a hit. People like Clear Channel and the rest of those guys have made ticket prices so high, and many of us are still wondering why, as the money that a start up band gets paid hasn’t gone up for about 20 years, and in a lot of cases, some don’t even get paid! So, why does a ticket for MSG sometimes cost $500 + because the bands don’t come away with that money… People seem to forget that it’s MUSIC and the enjoyment of music that got us up to this point and it should get back to that….just good music……

SPAZ: You’ve been a professional musician for over four decades. Why did it take so long to release your first solo album?
MC: Ask God! I honestly can’t explain why: just that it was only now that these songs started coming to me… and now I seem to be writing more than ever. But I wish I could have done it years ago! And, by the way, my heart has gone into this record, and we still call them records because that’s what they are…a record to be kept forever… we hope.

SPAZ: Were the songs on the album written at different times for different projects, or is this a collection of tracks that you wrote specifically for a solo release?
MC: Only one song was written a while ago, and that was “Without You”. which is about my late mother. The rest of the songs have all been written for this album and every song has a story and an influence from my past. For instance, “Cowboy Song”: when I played with Mountain, “Theme From An Imaginary Western” (written by Jack Bruce and Pete Brown) was one of the BIG songs; when I play with Colosseum, ‘The Western” (as we call it) was a hit for them, too, and I always thought about a follow up to it. Well, I came up with “Cowboy Song”. I like to think that Bruce/Brown approve. Actually, Pete Brown who wrote the lyrics to “The Western” and all of the big Cream songs does like my new song. In fact, we are working together on the new Colosseum CD. So yes, all of the tracks were written for this project. At the beginning of recording it, I was going to ask everybody that I’ve ever worked or recorded with to do one track each. I mean, couldn’t you hear Leslie West playing on “Cowboy Song” to name but one? I’m sure you see what I mean. But as it went on, I just kept on going on my own with Ray and came up with what I think is a great album. On the next one, though, I am going to get a few guests and that should be quite interesting, don’t you agree?

SPAZ: What were your chief influences during the recording of Moving To The Moon? It seems to be the perfect mixture of classic and modern sounds…..
MC: Everybody I have ever worked with: from Colosseum, Uriah Heep, Mountain, Ian Hunter. Billy Squier, The Monkees, Michael Bolton…and even Alan Holdsworth, who inspired the track “Moving To The Moon”… plus all the others not named, helped me write this album. It’s hard not to draw on your influences when you’ve worked for all these years with all these people. But in the end, it’s ME: this is a Mark Clarke CD and I wonder if I’ll influence anybody? I know I have fans out there and I hope they like what they hear when they play it. And I’m sorry they had to wait so long… Oh, I must not forget Ritchie Blackmore; he’s in there somewhere, too!

SPAZ: The album is filled with plenty of memorable melodies and great musicianship, yet it is your voice that holds the whole project together. Do you feel that your talent has a vocalist has been overlooked in favor of your in-demand bass expertise?
MC: Thanks for the compliment about the melodies. I get new ones in my head each and every day and sometimes it can drive you mad. Yes, I do feel that I could have contributed more as a vocalist to many of the projects I’ve worked on over the years. You know, one true story about this issue, was when I got a call from The Rolling Stones (when Wyman left). I went down to S.I.R. in New York city and played with them for a few hours and when I was talking to Mick later on, I told him I was a bit of a singer. He said “Oh, great!”, but that was all and I wasn’t asked to sing the whole night. There have been many bands, though, that asked me to use my vocal talent: Ian Hunter, Colosseum, Uriah Heep… In fact, on the song “The Wizard” (co-written by me), that’s me singing the bridge, NOT David Byron: he couldn’t reach the notes. Over the years, your voice does change and mine has. I never liked to listen to me singing on anything years ago, but now, I actually quite like it! Many years ago, in the Liverpool paper, there was a review of a gig I did at the Cavern Club and the reviewer called me the “Joe Cocker of Liverpool”, which, at the time, was quite a compliment. Harmonies are where I shine, though. That’s something that comes very natural to me, and many sessions over the years that I’ve done were not for my bass playing but to do vocal tracks. There is one particular song: “Bluebirds” by Ian Hunter. I did about 30 parts of harmony, and that and three other tracks helped him get a million dollar record deal! Not me …him! But when this record gets heard I hope my vocal talents won’t go unnoticed anymore.

SPAZ: While the album would certainly fit in the popular AOR genre, at its heart, it’s simply a great Rock ‘n’ Roll album. Do you see the album as an easy one to categorize?
MC: Yes, I do. It’s a real NEW CLASSIC ROCK album, as it draws from all of my history and, let’s face it, everything I’ve done over the years has become classic rock, just because it’s old I guess? But maybe it’s time for a new genre of radio: NEW CLASSIC ROCK?

SPAZ: You’ve been involved in a lot of projects over the years, from Colosseum to Billy Squier. Are there any moments in your long career that stands out above the rest?
MC: Well, being asked to audition for The Stones… and only a handful of people on earth can say they played with Rolling Stones! Colosseum playing to 400.000 people in Turku. Finland: that was just breathtaking. Being on stage with all four of The Monkees at the Greek theatre in L.A. Colosseum and Jimi Hendrix traveled together for the last few days before his death, and that I’ll never forget! Singing “You Better You Bet” (my favorite Who song ever) with Roger Daltry at the Olympic stadium in Sydney. Australia…that whole stadium was bouncing up and down. And still. to this day, playing some of the Billy Squier hits on stage with Billy, I can still get goose bumps. Natural Gas was invited as special guests on Frampton Comes Alive and that was the biggest tour that had ever been… until Michael Jackson, I think? And one moment I’m still waiting for is hearing one of my new songs on the radio! Then I’ll know that people do like my voice…

SPAZ: Your stint with Uriah Heep was short, yet that musical liaison is mentioned in almost every feature I’ve read about you on the internet. Is it strange to have some people overlook the rest of your varied career and label you as ‘ex-Uriah Heep’?
MC: I think the people who label me just as ex-Heep do that just because they are Heep fans, that’s all. And that’s fine. I think anyone who knows about me, knows all of my history and come to think of it, it’s only history after all, and has no real meaning. does it? Except I’d like to be known for everything I’ve done, as it’s been quite an interesting career, don’t you agree? I do want people, in the end, to know me as just Mark Clarke the bass player and singer, who happened to play with everyone from Heep to Roger Daltry and everyone in between. And the funny thing is: I am still a good friend with Ken Hensley, whom, by the way. I did many solo projects with and my name is always coming up in interviews he and Mick Box do… so that’s why, maybe, I will always be known as ex- Heep, but that’s O.K.

SPAZ: Natural Gas was one of the most overlooked ‘super groups’ in music history. There was Joey Molland (Badfinger), Jerry Shirley (Humble Pie), Peter Wood and you. The album is chock full of great Rock ‘n’ Roll and Pop tunes (written by both you and Joey). Do you remember much about the recording of the album?

MC: I remember the whole thing, actually. One thing nobody knows is that Natural Gas came about because I was about to start to embark on my first solo album… and that was in 1975, so it took from then to now for me to start and get it finished.. What happened was, as I was starting to write songs, my friend, Joey Molland, was quitting Badfinger. We started to talk about what we were both going to do, and then a light bulb went off! While all this was going on, my dear friend Clem Clemson (Humble Pie) had introduced me to Jerry Shirley and we became friends. I just asked Jerry, ”So, want to make an album then?”… and that’s how Natural Gas was formed. As far as the making of the record goes, it was a bit of a strange time, really. We had moved from England to America and there’s a lot of culture shock involved when you know your not just here to tour, as we all had been doing. It’s still, to this day, easy to remember that it was quite a shock for all of us to cope with… but we did. The record was made at Crystal Sound in L.A. and we were sharing the studio time with Stevie Wonder. He was making Songs In The Key Of Life and he had the studio all day and we took over from him at 8 in the evening for about a month. We had all kind of guests down there: Pete Townshend showed up one night with Jerry and Cozy Powell, and during that night we all ended up at The Rainbow with John Bonham and got quite drunk, actually! But other than that, it was just ‘get in there and make the album’ as we had a deadline to get it done so we could join Peter Frampton and do that Frampton Comes Alive tour. For anyone who has or gets that LP, in the middle there are four guys driving at 95 mph across the desert. Well, that’s me driving!

SPAZ: How did you get Felix Pappalardi to produce the album? I’ve read that Mal Evans was scheduled to produce the album originally. Do you think that if Mal had produced the album, the band would forever be dogged by Beatles-related questions, which Joey has unfortunately had to deal with since he first joined Badfinger?
MC: We got Felix through Larry Utal (Bell Records). Felix and I had a bass battle one night in the rehearsal studios. It was real fun, and he was so much louder than me! But it was great to work with him. Unfortunately, within a few months, he was shot dead by Gail (his wife). In fact, they both came to the house we were staying at in L.A. and she was showing my ex-wife what Felix had bought her for Christmas: a Derringer pistol! IDIOT! Now Mal… this is such a sad story as Mal was such a great guy. For the people who don’t know his history. Mal was with The Beatles from start to finish as their roadie. After they broke up, Mal was living in L.A. and not quite sure what he was going to do with the rest of his life. We all kind of just slowly got the idea of getting him to produce our record. We knew then that there would have been the inevitable questions, Beatle-related, of course, just because of Joey and me both being from Liverpool. But who knows: it might have helped, not hindered? Mal was such a wonderful, gentle man. I was in such shock when I was back in New York and the phone rang . It was Joey to tell me Mal had been shot by the L.A. police and he was dead. That’s when Felix was asked to produce.

SPAZ: You were playing with Billy Squier during the height of his popularity. How did you get involved with him?
MC: Quite simple, really. Billy came over to my apartment in NYC. We sat down and talked for an hour or so. He knew what and who I’d worked with and asked me to join, and, apart from a couple of years apart, we have been together for 30 years and I’ll tour with him again whenever he goes out. Billy is now a dear friend, an old friend.

SPAZ: How did The Monkees gig come about? And do you still work with Davy Jones?
MC: David Fishoff, the same guy who now does Rock Fantasy camp, managed The Monkees from 1985 till about 2002. I went to see him. I don’t remember who it was that called me, but after meeting with him, I ended up as the bass player on one of the biggest tours that had ever been on the road! I think the smallest gig we did was Madison Square Garden: the rest of the tour was baseball parks and the like. But out of that came a friendship with Davy Jones that lasted 20 years and, in that time, I co-produced, led his band and he even recorded a couple of my songs. It’s a bit of a shame as we now don’t work together, but who knows? Hopefully, we may again in the near future. I, for one, would love to.

SPAZ: Are there any musicians out there right now, young or old, that you’d like to work with?
MC: If you can think of some, let me know as I must have worked with everyone up to this point! But one thing I would love to try would be me, Keith Emerson and Jon Hiseman as a three piece. I think it could kill! Let me know what you think and if you agree, get in touch with Keith and see what he says? And, just as I’m answering this question, I was called and told that one of the great guitarists Gary Moore had died. Gary, Jon Hiseman and myself were rehearsing as a three piece right before I left England and I always thought we would work together again…..

SPAZ: What’s next for Mark Clarke?
MC: Well, first, it’s getting a new Colosseum CD done in London and then we start touring at the end of May until August. Then, Clem Clempson, Gary Husband and I have been talking of doing something, so we will see!

SPAZ: What is currently spinning on our CD, DVD and record players?
MC: Moving To The Moon