Lightning
GIL 547
1978

Paul Samson (G,V)
Chris Aylmer (B)
Clive Burr (D)

1. Telephone
2. Leavin' You

Lightning
GIL 553
1978

Laser
LAS 6
1979
No picture sleeve

Paul Samson (G)
John McCoy (B)

1. Mr. Rock And Roll
2. Drivin' Music

1. Mr. Rock And Roll
2. Primrose Shuffle

Laser
LAP 1
1979

Paul Samson (G, V)
Chris Aylmer (B)
Thunderstick (D)

1. It's Not As Easy As It Seems
2. I Wish I Was The Saddle Of A Schoolgirls Bike
3. Big Brother
4. Tomorrow Or Yesterday
5. Koz
6. Six Foot Under
7. Inside Out
8. Wrong Side Of Time

Gem
GEMS 34
1980

EMI
EMI 5061
1980
Promo only

Paul Samson (G)
Bruce Bruce (Dickinson) (V)
Chris Aylmer (B)
Thunderstick (D)

1. Vice versa
2. Hammerhead

Samson have added the following dates to their British tour;
London Music Machine August 7
Sheffield Top Rank 8
Dunstable Queensway Hall 10
Reading Festival 23
London Marquee 26.
(Sounds, 09/08/80)

Samson issue a single to coincide with the Castle Donnington festival titled 'Hard Times', which is a special remix of the album track done by Tony Platt, who engineered the new AC/DC album 'Back In Black'.
(Sounds, 09/08/80)

The likes of Simmons and Stanley do interviews minus make-up, out of stage regalia and in normal street clothes ... so why not Thunderstick?

After all, it's hot and airless in this Henrietta Street office and to wear the mask, the jumpsuit, the full gig garb here and now must be sheer suffocating torture, demanding intense dedication to the image, the masked rapist/axe-wielding executioner pose. That is, unless it's neither an 'image' nor a 'pose'. Unless it's for real.

Mr Stick is watching television at the moment. Feet up, slumped in a chair, ostensibly relaxing, an aura of brooding menace nonetheless emanates from the hooded figure. Barely acknowledging my presence, he seems to be concentrating on the direct-from-Moscow Olympic activities. Oversized athletes lumber across the screen and Thunderstick's eyes — incongruous white specks in the midst of all the balaclava'd blackness — watch intently but unemotionally as hefty great cannonballs are heaved into the middle distance.

"Are you going to join us, Thunderstick?" I ask, my voice quavering with the — uh — impertinence of the question, almost like interrupting an Alsatian with his teeth into a hunk of juicy rump steak and trying to persuade the animal to go 'walkies'.

No reply. Bruce Bruce, Samson singer and the other member of the band present today, attempts to explain: "He's watching the telly. He's waiting for that big 1500 metres race. He's into Sebastian Coe I think. I'm not sure, I've never found out whether he's more into Sebastian Coe or Steve Ovett..."

I mention that, what with the weather being so sticky 'n' humid, it seems ridiculous seeing Thunderstick in his complete cowled capacity. "It's what he feels like really," says Bruce. "He's quite an impenetrable character. Occasionally he talks, occasionally he doesn't. He just goes his own little way. We just have to try and tolerate him ..."

And keep him under control?

"Well, not really. I don't think he's ever actually damaged anybody recently. He damages things on stage, pours beer over his head, all over the fans' heads, but that's what they seem to want. He does get nasty with women sometimes. They don't seem to be able to understand what he's trying to do."

What does he try to do?

"He's very much into mental intercourse — with his flying suit on it's very difficult for him to be into anything else — and I don't think the ladies he meets can really handle that, handle any sort of relationship on a brain-wave level.

"Consequently he does get a bit lonely, especially on the road. Wearing that mask, not many people feel like coming up to him, patting him on the back and saying hello. When he does talk he says he feels lonely."

Strange. Very strange. As regular readers of this rag will readily recall, during the course of the last interview I conducted with Samson (in December last year I do believe) Thunderstick turned out to be quite talkative and perfectly affable. Once of course you became accustomed to holding a sensible, friendly conversation with someone who looked so threatening.

So what's happened to change him?

"It's like this you see," confides Bruce. "He's had a few problems ..."

Coincidentally at this precise moment, the Coe/Ovett clash over. Thunderstick decides to leave the TV and comes over and sits down with us. But instead of giving the writer an explanation, a much- needed insight into his, er, problems, he just flops on to the sofa next to Bruce and extracts from his pocket and starts to read an 'Emmerdale Farm' paperback book!

By now I'm totally bemused, completely mystified. I decide that if this is the way Thunderstick wants to play it — if indeed he is 'playing it' — I'll let him. Call me chicken if you like, but fighting shy of a face-to-face confrontation I start firing questions at Bruce Bruce, hoping that somewhere along the line the drummer will feel the need to chip in with a comment or two. A vain hope, as it turns out...

G.B.: Continuing on the Thunderstick tack for the moment, the promotional campaign for your new LP 'Head On' is based almost exclusively on the image of your sinister skinsbeater. Howcum?

B.B.: "Well, that's a record company thing. Obviously they thought, well, here's something people will latch on to easily: a mask, a hood, a visually striking character ... but having said that it's not in fact as premediated an idea as it might seem.

"I mean, if you think back to our first album 'Survivors', at that time Thunderstick was just another member of the band, one quarter of the Samson whole. And you lot at Sounds were the fuckers who started it off by putting him on your front page!

"As far as the cover 'Head On' goes, I think it's certainly very dramatic. But really, it's not as much of a total Thunderstick trip as you might think — it's 50 per cent him and 50 per cent just a sort of general medieval executioner image.

"And our live reviews are generally pretty fair, the writer never really concentrates on one specific person onstage. Unless it's whatever's the reviewer's preference — he may be into guitarists, drummers, singers or something — each individual member gets an equal mention, which is as it should be. Everybody in Samson has his own personality onstage. I'm as valid as Paul, Paul's as valid as Chris ... we all complement each other perfectly. And despte the, um, Thunderstick overkill if you like, people aren't slow off the mark to recognise this."

G.B.: 'Head On' is a vast improvement on 'Survivors', don't you agree?

B.B.: "Yeah. but that first one's still got a lot to recommend it. You gave it four stars after all, don't forget that. 'Survivors' is still extremely worthwhile, it's representative of a four to six month period in the band's existence, it's what we were about at a certain stage in our career, in our life. Which is how it should work, I can't understand it when people say they want to disown certain records that they've made — the way I see it, an album is a piece of your life on vinyl.

"But of course, 'Head On' is the first LP with all my vocals on it, the first when all four of us have had a hand in the songwriting. It's also the first that has all of us playing on it all of the time, because obviously 'Survivors' contained contributions from John (McCoy) and Colin (Towns) in various sections.

"I'm very pleased with 'Head On', with the songwriting in particular. Which is amazing really, because we write in rehearsal studios, numbers usually just come together as a result of us mucking about. No song on 'Head On" took more than a day to write ..."

G.B.: That's very prolific.

B.B.: "The history of it went, I joined the band last July, we went into rehearsals to learn some old material, bits and bobs, things like that ... and while we were in there we thought, let's have a go at writing. So we sat down at two o'clock one afternoon and by six we'd written 'Take it Like A Man'. So we thought, this is good, this is working well. And the next day we wrote something else. Eventually, in just four days we'd written 'Take it Like A Man'. 'Too Close To Rock'. 'Walking Out On You' and 'Hammerhead'.

"That's how we work. If someone put us in a studio for two months and said, go on, write a really good album; and if somebody put us in a studio for two weeks and said the same thing, there'd be no difference. In fact, I think the two week period would suit us better.

"We've already got a lot of material for the next album and we're showing no signs drying up."

G.B.: What was your reaction to the comment I made in my 'Head On' album review, when I said that despite being there more or less since the beginning Samson aren't the trendiest of the (ahem) NWOBHM bands? Are you aware of the fact that you're lagging a long way behind the likes of Iron Maiden and Saxon in the popularity stakes?

B.B.: "That's difficult, because now you're getting into the areas of ticket sales, concert attendances, percentages, grosses and nets ... we go along and it doesn't matter if there are five or 5,000 people at a gig, we're just there to enjoy ourselves. We haven't done a gig since the Gillan tour where we haven't gone down really well.

"If, in comparison with other heavy metal bands' gigs, our attendances haven't quite been up to scratch then I don't think it's our fault, not the fault of our music. It's somebody else's fault and more than that at this stage I do not wish to say. It's a problem, but it won't be in the very near future. We're having energetic discussions at the moment. I can't say any more."

G.B.: But surely you can't lay the whole of the blame at the feet of the mysterious Mr Somebody Else; surely you must find yourselves to be at fault to some degree as well ...

B.B.: "The whole situation basically boils down to being in the right place at the right time. Up until last Christmas we were doing very well, we were being carried on the wave of 'Survivors'. But then things started to go wrong. We were booted off the Rainbow tour, there was a single that was supposed to be coming out in February, but that didn't take place ... all kinds of things were apparently going to happen but none of them ever seemed to get off the ground.

"In the end there was a gap of several months after we recorded 'Head On' when we'd ground to a complete standstill, we were out of the press, out of everywhere. So we missed whatever sort of boat that happened to be sailing around at the time.

"But in retrospect I don't know if that was such a bad thing, I don't think we're unduly bothered about it. it would have been nice to have had the success that's starting to happen now little earlier in the year, but no-one's tearing his hair out at this stage."

G.B.: But now's different to three months ago, there's more competition than ever before in the HM field. Don't you think that Samson are in danger of being swamped by a glut of metal bands — good and bad; bandwagon jumpers and genuine articles — at the moment? if the group had happened at the beginning of '80 there'd have been no such problem . . .

B.B.: "It's the punk thing all over again, isn't it? Record companies are just applying their 'punk blueprint' to heavy metal and everything's going ever so slightly silly. I know what you're saying, new metal bands seem to be popping up every five minutes. They may mean it, they may be committed to the music, they may not, it's up to the public, not me, to say, to judge them, assess their worth. All I know is that you mustn't let it get on top of you. Once all the craziness has died down, then we'll see what happens.

"I don't know if I'm naive in saying this or what, but I just reckon that as long as you've got something really good to offer and you've got people behind you who believe in you and are willing to give you support, then you can't fail to win through in the end.

"And Samson will win through, you mark my words."

Postscipt: Watch out for the support feature to the film Breaking Glass. It's a 10 to 15 minute long cinematic extravaganza starring Samson. With 'Hard Times' and 'Vice-Versa' as the soundtrack, the Biblical story of the original Samson is brought bang up to date and placed in a rock 'n' roll scenario. "It makes Ben Hur look like Little Women," says Bruce Bruce. Certainly sounds a whole heap better than the potentially appalling main attraction.

Post-postscript: 'Leading me on/You've been a bad, bad boy . . .'(Barry'll know what I mean.)
(Geoff Barton, Sounds, 16/08/80)

Gem
GEMS 38
1980

Paul Samson (G)
Bruce Bruce (Dickinson) (V)
Chris Aylmer (B)
Thunderstick (D)

1. Hard  Times
2. Angel With A Machine Gun

Samson: 'Hard Times' (Gem)
I played the Samson 45 once but couldn't remember anything about it. A common complaint with this sort of music, did I hear someone say?
(Sandy Robertson, Sounds, 16/08/80)

Gem
GEMLP 108
1980

Paul Samson (G)
Bruce Bruce (Dickinson) (V)
Chris Aylmer (B)
Thunderstick (D)

1. Hard Times
2. Take It Like A Man
3. Vice Versa
4. Manwatcher
5. Too Close To Rock
6. Thunderburst
7. Hammerhead
8. Hunted
9. Take Me To Your Leader
10. Walking Out On You

+ Insert

Gem/RCA
RCA 67
1981

Paul Samson (G)
Bruce Bruce (Dickinson) (V)
Chris Aylmer (B)
Thunderstick (D)

1. Riding With The Angels
2. Little Big Man

RCA
RCALP 5031
1981

1. Riding With The Angels
2. Earth Mother
3. Nice Girl
4. Blood Lust
5. Go To Hell
6. Bright Lights
7. Once Bitten
8. Grime Crime
9. Communion

Samson, who've just released their third album called 'Shock Tactics' on RCA, have lined up a two part British tour for the summer.

The first part begins this week at;
Leeds Fforde Grene Hotel June 11
Newcastle Mayfair 12
Manchester Polytechnic 13
Bradford (TBC) 14
Cleethorpes Peppers 15
Crayford Town Hall 16
Huddersfield Eros 17
Colwyn Bay Pier Pavillion 18
Liverpool Warehouse 19
Rawtenstall Rossendale College 20
Gillingham King Charles Hotel 21
Lincoln Drill Hall 23
Edinburgh Nite Club 25

The second stage of their tour will be announced shortly.

The band have a new single released to coincide with the tour. It's called 'Riding With The Angels' and is written by noted heavy metal hit writer Russ Ballard.
(Sounds, 13/06/81)

SAMSON; DON'T MENTION THE WOOAARHHGG!!
Back in 1979 when the NWOBHM was still a half-formed glimmer in Geoff Barton's eye, when Neal Kaye was a figure of fascination rather than fun and when record companies were still searching out bands with tonic hair and short trousers to pour their favours upon, a band called Samson were recording an album called 'Survivors' and putting it out on the independant Laser label.

One of the dictionary definitions of 'survivor' is "one who remains alive after experiencing some calamity";you could be forgiven for thinking that Samson were well in possession of their crystal balls in the early days. After all, if the music business has had its minor ripples since then, Samson have waded through bloody great tidal waves. With record company problems, management problems, publicity problems etc, they've been submerged beneath the kind of crippling hassles that render vocalist Bruce Bruce's explanation that "the horror stories are too numerous to mention" as a trifle dismissive.

But, rather than slinking away into minor rock history with their tails between their legs, Samson have burst back into reality with a thundering shout, an album called 'Shock Tactics' that rides roughshod over the recent works of many of their former contemporaries.

Everyone I've spoken to says it should be a hit. Perhaps it will be a hit.

One thing's for certain though; Samson have heavy mettle. This is the fine art of re-surfacing.

On the day that we meet up for this interview, Samson are skint. Not that this is anything unusual. Samson have been "even more skint than a pub band" for a good few months now, ever since all finances were withdrawn, leaving them to go it alone. Considering the situation, I'd expected them to be just a little bitter but no! And they haven't once considered throwing in the towel ...
BR> Bruce sees everything brightly: "The amusing thing is that if you look at all the other bands ..."

Paul Samson (brighter still): "They've still got all this legal stuff to come!"

Bruce: "In the two years we've been together we've been through three separate record companies, a management company which was a dead loss, five or six agencies ..."

Paul: "We like to get to know the business!"

Bruce: "And just about everything that could happen to us has happened to us ..."

Paul: "Except success! Still, if we can stick together through all this and still come back fighting ...."

A glassy-eyed Thunderstick interjects: "It's helped to bring the band so close together. We just thought 'Fuck 'em!' and decided to do everything ourselves and it's just like starting all over again. We've had two albums out but we've suddenly found ourselves self-contained."

The tame expression spread across his mask suggests that this is not such a sorry state for Samson to be in.

Certainly, this new-found "closeness" has worked wonders with the band's third album 'Shock Tactics', described by all as "better, much better" and by Bruce as "an improvement".

Thunderstick explains: "We wrote it twice as it were. We wrote it once in its entirety and then did pre-production for two weeks, pulled the songs apart completely and re-wrote them."

And Tony Platt, hot out of the AC/DC engineering room, helped to add the essential gloss that's been somewhat lacking from Samson's previous elpees.

Bruce: "He's very much a catalyst..."

Chris Alymer: "I thought he was a Protestant? No, he was the right guy for us."

Thunderstick: "He did us a lot of good mentally. Because of all the trouble we'd been through, we were all feeling a bit pissed off but he became like a fifth member of the band, his sense of humour slotted in with ours.

"'Shock Tactics'was a really enjoyable album to do. You see, the pressure on us during 'Head On' was quite strange because we were sort of producing it ourselves whereas this time we could concentrate fully on the playing."

Obviously, their enforced holiday has led Samson to broaden their writing style too although the album does sport a few dodgy boilerisms.

Bruce: "It's developed. We've cut out a lot of the dross and become much more critical and we don't just sling a song together anymore, we leave it for a few months and then look at it ultra-critical.

But what about the women with "bad reputations"? Is this based on personal experiences?

Bruce: "Well, 'Grime Crime' for example is about one night when, recently girl friendless, I went down to the Music Machine at two in the morning, got rather drunk and spotted this apparition in the corner which, in the half light, looked quite attractive. By the time I got home though she wasn't as attractive what with the streetlights and everything but I, ahem, didn't have any option because she said that unless I did the honours, she was going to scream and call the police.

Paul: "So Bruce screamed and called the police!"

Bruce: "On the other hand, 'Nice Girl'is a song that sympathises with prostitutes, with the fact that women have to go to these lengths to earn a living and it's also about their clients. These blokes who don't get on with their wives or whatever so they settle for a ten minute wife, a ten minute hypocracy."

Hmmm, it all sounds rather sordid!

Paul: "No no! I mean, 'Communion' is about old age."

Bruce: "Ageing rock stars. There's a lot of pressure on musicians as soon as they're past thirty to quit because they're 'past it' but there's people like Muddy Waters who're still doing it at sixty. I don't see any reason why musicians should submit to that sort of ridiculous criticism."

At this point, Slattery dives in with the theory that some rock stars should know when to give up, citing the Who as an example. A lengthy argument impends so I silently agree with him, grit my teeth and ask Samson how they, as supposedly original members, now view the NWOBHM?

Paul is brief and to the point: "Sad!"

Thunderstruck prefers to clear up some history: "We were branded as part of that obviously because we started getting a bit of a reputation whilst it was all happening but, in retrospect, we didn't feel part of it as far as our music went. We were getting press because of the NWOBHM so we thought we'd ride it out but ..."

Bruce: "If somebody wants to say you're a new wave of this or that band and then write articles it's wonderful but when, six months later, they say that they don't like - your new album because it isn't NWOBHM or whatever, it's ridiculous."

Another hassle that appears to haunt Samson is that they've never ranked so high on the credibility stakes as, say, Saxon or the Maiden. (Some of this. I fear, is due to the less than stylish garb in which they clad themselves) but are Samson concerned about being fashionable?

The newly coiffed Bruce Bruce isn't: "Those bands who become famous because they're fashionable die when they become unfashionable. What's fashion anyway? If Iwanted to be involved in fashion, I could be a model!"

Ha ha ha, whoops! Sorry. Even so, hasn't the Thunderstick mask lost its edge? Isn't it time for him to unleash his mug upon the punters?

Alas, the drummer prefers to remain incognito: "I enjoy doing it. I get a kick out of seeing the reaction that it creates. I want to keep it as it is — as bizarre as it's always been — but not to let it get out of control whereby the mask is the instant thing associated with Samson. Really, it's just a bit of a bonus and we're just doing the same as any other band who plan something to fit in with their product."

Such a lively fighting spirit from a band who, many would say, might well have had all optimism wrung out of them. I admire Samson for their fortitude, I am greatly impressed by their recent work but I still wonder whether the past mistakes of those surrounding them will depress their future ambitions. How will Samson dispose of their own (ironically gained} bad reputation?

Bruce is adamant: "We are doing already."

Paul explains: "What we're finding since we started working with the new management is that people from all walks of the business — lighting companies, PA companies — are phoning up and saying that they'd like to work with us again. For the forthcoming tour.

"I think that, apart from this credibility or status thing, there's always been this idea that Samson are a good band so why haven't they done anything? Now, with all the crap behind us, people are getting excited about Samson again."

No moans, no grouses, just a sprinkling of hope. Like I said, Samson have heavy mettle.
(Robbi Millar, Sounds, 13/06/81)

FLY AND MIGHTY

Thunderstick drops his mask talk to Dante Bonutto

Unless they're perched atop a combustible riser like Eric Carr of Kiss, say, drummers can easily be overlooked.

While guitarists, singers, bassists — and now even keyboard players — can indulge in unfettered pouting and preening those in charge of the beat tend to be tied to the back of the stage, often obscured by a mass of hardware.

Not so Samson drummer Thunderstick! Clad in sequined hood and leopard skin leotard and ever ready to come to the fore to encourage awestruck acolytes, his manic persona has snared (ouch! — Ed) a good deal of interest from public and press alike.

And were it not for the various behind the scenes hassles that have denied them a support slot on three major European tours the band are confident that they'd now be on a par with more established HM heavyweights

Despite opening for prestige names like Gillan, Rainbow and Trower it seemed at one point as though the current line up - Paul Samson (guitar), Chris Aylmer (bass), Bruce Bruce (vocals) and of course Thunderstick — might be forced to disband. But today, with business matters finally under control, the band are back on the boards promoting the recently released 'Shock Tactics' LP.

Produced by AC/DC engineer Tony Platt it's their third and best to date and has not surprisingly spawned a real Top 40 contender in the shape of 'Riding With the Angels', a barrel-chested cover of a Russ Baiiard demo that's already drawn a congratulatory telegram from the writer himself.

For all significant purposes the history of Samson can be seen as stemming from July 1979 when Bruce Bruce joined and completed the current line up. In the eariy days a stage rigged for a Samson gig resembled a minefield more than anything else, but not wanting to be labelled an ersatz Kiss the pyrotechnic overkill was gradually toned down.

Bruce: "We want to get the reputation of a musical band who are visually great because of what we do onstage, not because of what the stage does to us. Besides If I had to sing with lungfuls of smoke and bangs blowing me eardrums in every night I'd be a wreck inside two weeks."

In fact the band's whole attitude to performing is a surprising departure from the excessive approach traditionally associated with heavy rock. In terms of volume they keep the onstage monitors at a "sensible" level and image wise they give a wide berth to the curled lips/clenched fists routine and try to be as normal and approachable as the looming presence of Thunderstick will allow.

The feeling now is that if the latter did one day decide to unmask (and if the States are to be cracked he may have to) the band would be sufficiently strong musically to carry on regardless. But personally I'd find his emergence from the closet rather disappointing, particularly now the image is more widely accepted and no longer exploited as an end in itself.

"What happens is the press get a picture of a band and if they see something a bit odd, in our case Thunderstick, they immediately pick up on it", explains Paul. "But then the record company started doing it and suddenly everywhere we went there he was."

"What you've got to remember", "is that the image is quite distinct from reality.

"One minute there's this quiet docile guy sat next to you in the dressing room and then all of a sudden there's this thing standing there. I Just always treat the two as separate."

Image or no image, it won't effect Samson's plan to spend July and August doing as many European festivals as possible; ending the year with tours of Britain, Japan and perhaps even the States. On the vinyl front the next two singles (both band compositions this time) are already planned and a remixed and modified version of the first album 'Survivors' should be available, possibly gratis, at some point soon.

A couple of months ago many had virtually written them off but today, with legal problems finally trounced and the stageshow slicker and sharper than ever before, they feel they can still reach the Hammersmith Odeon and beyond. And they aren't overly concerned that contemporaries like Saxon and Maiden have already made the trip.

"Before it all started off we were mates," says Paul, "and at the end of the day when the stagelights are off and they're sitting in your house having a cup of tea that still holds true."
(Dante Bonutto, Record Mirror, 18/07/81)

Polydor
POSP 471
1982

Polydor
POSPP 471
1982
Picture disc

Paul Samson (G)
Nicky Moore (V)
Chris Aylmer (B)
Pete Jupp (D)

1. Losing My Grip
2. Pyramid To The Stars

Polydor
POSPX 471
1982

Paul Samson (G)
Nicky Moore (V)
Chris Aylmer (B)
Pete Jupp (D)

1. Losing My Grip
2. Pyramid To The Stars
3. Mister Rock 'N' Roll
4. Tomorrow Or Yesterday

Polydor
POSP 519
1982

Polydor
POSPG 519/SAM 1
1982

1. Life On The Run
2. Drivin' With ZZ

1. Life On The Run
2. Drivin' With ZZ
3. Walking Out On You
4. Bright Lights

Polydor
POSPP 554
1982
Picture disc

Paul Samson (G)
Nicky Moore (V)
Chris Aylmer (B)
Mel Gaynor (D)

1. Red Skies
2. Living Loving Lying

Polydor
POSPX 554
1982

Paul Samson (G)
Nicky Moore (V)
Chris Aylmer (B)
Mel Gaynor (D)

1. Red Skies
2. Living Loving Lying
3. Running Out Of Time

Polydor
POSP 660
1984

1. The Fight Goes On
2. Riding With The Angels

Polydor
POSPX 660
1984

1. The Fight Goes On
2. Riding With The Angels
3. Vice Versa

Polydor
POSP 670
1984

Polydor
POSPP 670
1984
Picture disc

1. Are You Ready
2. Front Page News

Polydor
POSPX 670
1984

1. Are You Ready
2. Front Page News
3. La Grange

Thunderbolt
THBE 1003
1984

1. Mr. Rock And Roll
2. Primrose Shuffle
3. Telephone
4. Leavin' You

Thunderbolt
THBL 015
1984

Paul Samson (G)
John McCoy (B)

1. Mr. Rock And Roll
2. Big Brother
3. Koz
4. Leavin' You
5. It's Not As Easy As It Seems
6. Telephone
7. Wrong Side Of Time
8. Primrose Shuffle
9. I Wish I Was The Saddle Of A Schoolgirls Bike
10. Inside Out

Polydor
POLD 5132
1984

Raw Fruit
FRSLP 001
1990

Paul Samson (G)
Bruce Bruce (Dickinson) (V)
Chris Aylmer (B)
Mel Gaynor (D)

1. Big Brother
2. Take It Like A Man
3. Nice Girl
4. Earth Mother
5. Vice Versa
6. Bright Lights
7. Walking Out On You
8. Hammerhead
9. Riding With The Angels
10. Gravy Train

Capitol
CL 395
1986

Paul Samson (G)
Bruce Bruce (Dickinson) (V)
Chris Aylmer (B)
Thunderstick (D)

1. Vice Versa
2. Losing My Grip

Castle
CMRCD 188
2001

Paul Samson (G)
Bruce Bruce (Dickinson) (V)
Chris Aylmer (B)
Thunderstick (D)

1. It's Not As Easy As It Seems
2. I Wish I Was The Saddle Of A Schoolgirls Bike
3. Big Brother
4. Tomorrow Or Yesterday
5. Koz
6. Six Foot Under
7. Inside Out
8. Wrong Side Of Time
9. Mr Rock 'N' Roll
10. The Shuffle
11. It's Not As Easy As It Seems
12. I Wish I Was
13. Big Brither
14. Tomorrow Or Yesterday
15. Six Foot Under
16. Inside Out
17. Wrong Side Of Time

Castle
CMRCD 189
2001

Paul Samson (G)
Bruce Bruce (Dickinson) (V)
Chris Aylmer (B)
Thunderstick (D)

1. Hard Times
2. Take It Like A Man
3. Vice Versa
4. Manwatcher
5. Too Close To Rock
6. Thunderburst
7. Hammerhead
8. Hunted
9. Take Me To Your Leader
10. Walking Out OnYou
11. Angel With A Machine Gun
12. Kingsway Jam

Castle
CMRCD 190
2001

1. Riding With The Angels
2. Earth Mother
3. Nice Girl
4. Blood Lust
5. Go To Hell
6. Bright Lights
7. Once Bitten
8. Grime Crime
9. Communion
10. Little Big Man
11. Pyramid To The Stars
12. Losing My Grip

Castle
CMRCD 191
2001

Paul Samson (G)
Bruce Bruce (Dickinson) (V)
Chris Aylmer (B)
Mel Gaynor (D)

1. Big Brother
2. Take It Like A Man
3. Nice Girl
4. Earth Mother
5. Vice Versa
6. Bright Lights
7. Walking Out On You
8. Hammerhead
9. Riding With The Angels
10. Gravy Train
11. Red Skies
12. Turn Out The Lights
13. Firing Line

Zoom Club
ZCRCD 18

1. The Chosen Few
2. Russians
3. Tell Me
4. That Ain't All
5. One Day Heroes
6. I Must Be Crazy
7. Foolin
8. State Of Emergency
9. Look To The Future
10. Too Late
11. Good To See You
12. Hey You
13. Dream
14. Use It Before You Lose It
15. The Edge
16. Room 109
17. Fire Away
18. Reach For The Sky
19. Heaven's In Hell Again
20. Wings Of Tomorrow
21. Black Rain
22. Driving Music
23. Tomorrow Or Yesterday
24. Mr Rock And Roll
25. Don't Get Mad Get Even
26. Test Of Time
27. Are You Ready
28. Riding With The Angels
29. Voodoo Chile
30. Can You Imagine

Castle
CMEDD 465
2002

1. Mr Rock & Roll
2. Driving Music
3. Big Brother
4. Tomorrow Or Yesterday
5. Hard Times
6. Take It Like A Man
7. Vice Versa
8. Angel With A Machine Gun
9. Hammerhead
10. Hunted
11. Riding With The Angels
12. Earth Mother
13. Blood Lust
14. Bright Lights
15. Pyramid To The Stars
16. Communion
17. Leaving Love
18. Losing My Grip
19. Love Hungry
20. Don't Get Mad Get Even
21. Test Of Time
22. Are You Ready
23. Red Skies
24. The Chosen Few
25. Tell Me
26. I Must Be Crazy
27. Too Late
28. Good To See You
29. Can't Live Without Your Love
30. Hey You
31. Room 109
32. Brand New Day

The Official Samson Website

Thanks to Joe Geesin and Bernd Hofmann for help with this page