RECORD STORE TALES MkII:
Getting More Tale
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GETTING MORE TALE #562: Adventure!
I was at a funeral recently, for an old family friend. Sandor was a neighbor since I was little. I grew up playing with his three kids: Rob, Michelle and Steven. It was sad but nice to see them again. We chatted about games we used to play as kids. Atari 2600, Lego, the Game of Life. The best games we played were the ones we made up ourselves.
One game that I invented with my best buddy Bob was called “Double Bounce Volleyball”. It was just a good way to play with a volleyball on the street with no net. I wrote up some rules on WordPerfect. What I wouldn’t give to see those again! What was not in the rules, but happened frequently anyway, was me throwing down some street moves. I tried to do the spinny-spinny-jump dance that Paul Stanley used to do in the “Thrills in the Night” music video. I could do it, but it didn’t look right anyway without the tassels on the pants! Personal acrobatics aside, it was a great game because all you needed was two people, a street, and a volleyball.
Another game we invented was a live action version of the 1979 Atari classic game, Adventure. Due to its poor graphics, it was once considered one of the worst video games on the market. Since then it has somehow become a cult classic, despite the fact that your little “man” was just a square floating around. You had explore mazes and three castles, and eventually bring a chalice back to the yellow castle. The random setting for the game placed objects everywhere on the field so no two games were the same.
Atari Adventure man with sword and yellow key
The main objects in the game were three keys (one for each of three castles), a sword, a magnet (useful for grasping objects out of reach) and a bridge (pretty useless). There were also some creatures to avoid: three dragons, and a bat who would steal whatever you are carrying, and sometimes replace it with something less useful. For example, the bat can and will steal your sword and replace it with a dragon!
A group of kids would gather together in somebody’s back yard. Depending on how many kids there were that day, we might have used multiple back yards. Someone would hide the chalice (a drinking glass) and other objects. I had a neat classic U-shaped magnet that was perfect to fill that role. We’d usually use clothespins for the keys. A plastic lightsaber was our sword. Then we’d all become adventurers, dragons or the bat! We’d run around the yard finding objects and generally having a blast for the whole afternoon.
I think our live action game was better than the real Adventure!
One afternoon, another kid from another neighborhood joined us. I don’t know why Allan Runstedtler was wearing a cape, but it suited! Another time, we couldn’t remember where my magnet was hidden, and I really wanted it back! We eventually found it and decided not to hide actual valuable objects again.
Do kids even go outside and play anymore? Almost everything we did was improvised. A badminton racquet wasn’t just a badminton racquet. It was also a guitar for “air bands”. Bob turned a neck brace into a Texas Chainsaw Massacre mask. We also did a live action version of the video game Berzerk. We were all very lucky to grow up in a tightly knit and safe little neighborhood. Everybody’s parents knew everybody else’s. We played video games (everybody on the street had either an Atari 2600, or a Commodore Vic 20), but then we went outside when that got boring. It wasn’t just a neighborhood with families. It was an extended family of families that we were fortunate to experience. And a hell of a lot of fun.
This is one of the coolest and most different Deep Purple tributes you are likely to find. It’s also by far the funkiest.
Bassist T.M. Stevens (aka Shocka Zooloo) might be best known for his work with Joe Cocker, James Brown, Billy Joel and many others…but he first came to the attention of hard rockers via Steve Vai. He was a member of Vai’s Sex & Religion band, and immediately stood out on CD and on stage. Although his name doesn’t appear on the front cover for Black Night: Deep Purple Tribute According to New York, it’s clearly his project. He produced it, arranged it, and is the only musician who appears on every track. He has a pocket full of well known friends to fill out the instruments including: Will Calhoun (Living Color, drums), Cory Glover (Living Color, vocals), Joe Lynn Turner (Deep Purple/Rainbow, vocals), Richie Kotzen (guitar, vocals), Al Pitrelli (Savatage, guitars), Vinnie Moore (UFO, guitars), Stevie Salas (guitars), Bernie Worrell (Parliament/Funkadelic, keys), Cindy Blackman (Lenny Kravitz, drums), and Tony Harnell (TNT, vocals). What a team!
Black Night is not for everyone. Each and every song is drastically changed. “Black Night” itself is slowed down and turned into a metallic bluesy grind. Dual lead guitars by Pitrelli and Moore ensure its metal credentials, and Joe Lynn Turner comes down with his raspy soul. Another raspy soul singer, Richie Kotzen, handles “Strange Kind of Woman” on guitar and vocals. This one turns the funk right up! The rhythm section of Calhoun and Stevens generates a punchy funk that can’t be stopped. A standout. Living Color’s Cory Glover takes over on the even funkier “Fireball”. The creative arrangement deconstructs the song. “Fireball” was one of the few Purple songs to feature a bass solo, so Stevens takes the opportunity to slap some bass. A Purple tribute without “Smoke on the Water” wouldn’t be a real Deep Purple tribute. It’s a hard track to funk up, so it’s more of a steamroller with funky verses. Kotzen turns in a hell of a soulful vocal, proving how versatile any music can be. An original and refreshing slant on a tired classic.
The most interesting arrangement is by far “Child in Time”. The epic soft/loud dynamic of Purple’s beloved classic has been replaced by reggae, and why not? Bernie Worrell does his best with Jon Lord’s original outline to create his own organ parts. T.M. and Tony Harnell share lead vocals: Tony singing the clean and high parts (with absolutely no difficulty!), while T.M. does his Rasta take on the rest. Sacrilege? Keep an open mind.
Keeping an open mind is the key for this entire album. If you cannot do that, you will probably hate Deep Purple According to New York. That title says it all. This is Purple according to Stevens and friends, and they do their own thing. The rest of the material — “Woman From Tokyo”, “Stormbringer”, “Speed King”, “Burn”, and “Space Truckin'” — are as different as the first five tunes. “Woman From Tokyo” is funky soul vocal nirvana, featuring four lead singers (Kotzen, Stevens, Harnell and Turner)!
In case you’re wondering what the closing track “Deep Purple NY” is, it’s just a funky shout-out to all the players on the CD. “New York is in the house, New Jersey, Bernie Worrell!” That kind of thing.
I’ve heard a number of Deep Purple tribute albums over the years. Yngwie did four Purple songs on his mediocre Inspiration album. Thin Lizzy did a Purple tribute under the name Funky Junction. There was the star-studded Re-Machined CD. There was even a 1994 tribute album called Smoke on the Water that featured three of the same guys on this album! (Joe Lynn Turner, Tony Harnell, Richie Kotzen, as well as another ex-Purple member, Glenn Hughes). None of those albums, even with all that star power, are nearly as interesting as Black Night. I chose that word “interesting” on purpose. It’s a very neutral word. Your reaction to this album could be wildly positive, violently negative, or simply passively unmoved. The listening experience will be anything but dull. Whether you like it or not, if you pick up this CD you’re going to hear some of the greatest rock and funk players on the planet, so get your dancing shoes on.
The KISS RE-REVIEW SERIES Part 17:
“The Return of Kiss”. It sounds quaint today, that after a two year absence they called it “The Return of Kiss”. Two years today means nothing. But for Kiss, who were doing two releases a year, it did actually mean something. Their last project was their series of four solo albums, one for each member, and unified by cover art. This project only reinforced the idea that the whole is greater than the sum of its parts.
The truth is, the original Kiss were already over. Peter Criss returned from his solo album and a car accident as a changed man, and not in a good way. Upon walking in the door he insisted upon seeing sheet music for the new tunes. That was a first. It was quickly apparent that Peter was not in a condition to perform. The band had even hired his solo album producer, Vini Poncia, to helm the new Kiss. Poncia deemed Criss’ current abilities inadequate and he was replaced for the album by Anton Fig. Anton was Ace’s solo drummer, and more than capable of filling in. Previously, when Bob Kulick was hired to replace Ace on side four of Alive II, he was instructed to “play like Ace”. Anton Fig was given no such instruction and was free to drum as he pleased. Some Kiss fans were able to pick up on that. Ultimately Peter Criss played drums on only one song, his own called “Dirty Livin’”. And that would be Peter’s final appearance on a Kiss studio album until 1998’s Psycho-Circus, on which he also played drums on only one track. Kiss was indeed broken, but few on the outside knew it. Peter would never play on a whole Kiss album again.
A lot had changed. Kiss’ massive marketing campaigns paid off, but was that a good thing? Little kids were now coming to Kiss concerts. Paul Stanley was actively seeking hits. Together with new songwriting friend Desmond Child, Paul wanted to write a dance single. Inspired by the clubs of New York, the pair produced “I Was Made For Lovin’ You”, the song that gave Kiss the “disco” tag. The single sold a million copies. Needless to say, it was not the last Kiss single written with Desmond Child.
The album went platinum and became the hit it was designed to be. Inside the sleeve, the music was streamlined and more commercial than before. “I Was Made For Lovin’ You” led the way, demolishing the walls between dance and rock. Frehley had a hot solo in the mix, and the bouncy bass was performed by Paul Stanley. The song had all the right ingredients and though thin sounding by today’s standards, it’s still a great little dance rock number.
The real revelation about Dynasty wasn’t the turn towards slicker, highly compressed recordings. It was Ace Frehley coming out of his shell. Newly confident after his hit solo experience, Frehley had three songs to sing on Dynasty. Ace covered the Stones on “2000 Man”, a version that may be more beloved than the original. It certainly sounds at home. Ace rocks it up significantly. Ace also had lead vocals on “Hard Times”, a track about growing up as an aimless youth in New York. “We’d go to school, then we’d cut out, go to the park, and space our heads out.” “Hard Times” is not an exceptional song, but it’s interesting since it’s so autobiographical. Ace’s last song was the more aggressive “Save Your Love”. This track closes Dynasty with the kind of rock that people often forget is on the album. Ace’s tracks are the only ones that can be classified purely as “rock”. He has more guitar riffage on “Save Your Love” than the other songs combined. Without the Space Ace, Dynasty would have been a much weaker album.
The increase in Ace’s participation was balanced by a decrease in that of Gene Simmons. Gene only had two songs on the album, neither of which were singles. “X-Ray Eyes” and “Charisma” inhabit the same kind of compressed audio landscape as the rest. “Charisma” is the best, due to its unusual echoey vocals, fitting for the demon persona. Gene’s prime interest was still the opposite sex, and both songs have the demon’s stamp. The main hooks on both are delivered by the backing vocals during the choruses.
The dominant force on Dynasty — and as it turns out, for the coming decade – was Paul Stanley. Not only was “I Was Made for Loving You” a massive hit, but the second single “Sure Know Something” was also one of his. Paul wrote this dancey ballad with producer Vini Poncia. It’s not all simply dance floor moves though, as the chorus has the power chords and lung power that Kiss fans expected. Stanley also wrote “Magic Touch”, a lesser known album classic. “Magic Touch” burns slow, but hot. Paul’s falsetto was a sign of the times, but the power chords explode on the chorus.
And that leaves poor Peter. “Dirty Livin’” was written with Stan Penridge and Vini Poncia, and it was written as something more R&B in direction. It was Kiss-afied and included on the album as Peter’s only appearance. You can hear that it’s not the same drummer and that it’s a very different vibe.
For all outside appearances, Kiss maintained an image of solidarity. There was no mention of a session drummer, and Peter was there on tour for all 82 shows. However there were some cracks visible. Several shows had to be cancelled for poor ticket sales, in areas such as New York City and Pontiac Michigan. With the toys, comics and merchandise, Kiss were beginning to be seen as a kids’ band. Dynasty was the hit it needed to be, but the situation was not sustainable.
Uncle Meat’s rating:
Meat’s slice: The first of the two supposed “Disco Era” Kiss records LeBrain referred to in the introduction of this series, Dynasty really just is a pretty solid rock and roll record other than the mega-hit, “I Was Made For Lovin’ You”. There really is not another song on the record that could be classified as Disco. But more on that when I talk about Unmasked.
This album sees the beginning of a couple new eras in Kisstory. The first being the band’s writing collaboration with Desmond Child. “I Was Made For Lovin’ You” was the first hit of many for Desmond Child. He has “songwriter” credits (and yes I am using that term loosely) on such deplorable pap as “Livin’ La Vida Loca”, “She Bangs”, and upcoming Kiss dung like “Let’s Put the X in Sex” and “Uh! All Night”. Basically when a band gets shittier, they go to Desmond Child. When Ratt got shittier, in came Desmond. When the Scorpions got shittier, he pops up again. When Aerosmith started becoming a glossy joke, here comes Desmond Child and “Dude (Looks Like a Lady)”. Yes, as good as this album is, Kiss was starting to get shittier.
As George Costanza would say, worlds collide for me on this album. For years I had no idea Peter Criss only played drums on his own song on Dynasty. His phantom replacement turned out to be Mr. Anton Fig, who played drums in one of my favorite bands ever, Paul Shaffer and the World’s Most Dangerous Band. Even Anton’s dry humor on the show was a high point in Late Night with David Letterman for me. I am a true Letterman head and always will be. Anton Fig went on to be Ace’s drummer in Frehley’s Comet, so maybe Fig’s presence somehow inspired the Space man, since he is a high point of Dynasty. The Rolling Stones cover “2000 Man” is a fucking great tune. “Hard Times” is just as good and a personal favorite of many Kiss fans.
There are a few weaker-ish songs on the album but nothing egregious here. Very good rock album with ONE disco song. Thank you Desmond Child for injecting Kiss with your “Bad Medicine”. (Yes, he wrote that too. As well as writing songs for such wonderful artists like Hanson, The Jonas Brothers, Lindsay Lohan and Clay Aiken.) Hey Desmond…in the words of Ricky…you are truly a FuckGoof.
Favorite Tracks: “Sure Know Something”, “Hard Times”, “2000 Man”, “Save Your Love”, “Magic Touch”
Forgettable Tracks: “Dirty Livin'”
To be continued…
Original mikeladano.com review: 2012/07/24
GETTING MORE TALE #561: (What’s the Story) Morning Glory?
In November 1995 I was going through another breakup. A big one — my first really serious girlfriend. After some soul-searching, I thought this would be a good time to expand my horizons a bit, including musically. By 1995, heavy metal music was not doing well. It was on life support. I wanted to check out other forms of rock and roll.
Working at the Record Store was the perfect environment for exploration. Christmas 1995 featured a lot of store play for Oasis, who my co-working buddy T-Rev was a huge fan of. Their new album (What’s the Story) Morning Glory? was beginning to take off. It also appealed to a metal head like me. It had a bit of everything: rockers, ballads, and hooks. It was a breath of fresh air, and loud as fuck. Grunge bands had dominated and carried with them cloudy skies for the early 90s. Oasis brought back fun aspects of rock and roll, and were right in synch with the Beatles resurgence happening at the same time with the Anthology series. Oasis were almost a poor man’s Beatles.
I mean, they really wanted to be The Beatles, didn’t they?
I got to listen to the CD a lot in store, but we had a long waiting list for used copies. Because of that it would be a few months before I was able to get my own copy of Morning Glory. T-Rev was on top of things, and had been collecting Oasis singles. Oasis had a knack for B-sides, and often saved their best tunes for singles. This was rare; in 1995 it was unheard of to save good songs for single B-sides. Oasis didn’t care and did it anyway. My first Oasis purchase was actually the CD single for “Don’t Look Back in Anger”. T-Rev made sure it was stocked, even though we rarely stocked any singles.
So “Don’t Look Back in Anger” was my first Oasis purchase ever. Buying a new copy of the single was more expensive than buying a used copy of the album, but that’s just the way it goes sometimes. I dug the piano part ripped from John Lennon, and the bright melody with a hint of shade. It really felt like an homage to the Beatles. And the B-sides weren’t half bad either. “Step Out” and “Underneath the Sky” were both top notch songs each with their own flavour.
The track that really sold the single for me was “Cum on Feel the Noize”. T-Rev asked, “Why would they cover that song?” I explained it was originally by Slade, not Quiet Riot. Oasis’ version is more authentic to the Slade original. The song was a perfect bridge between my heavy metal past and my Oasis present.
Oasis quickly became my favourite “new” band in 1996. That was the year that we opened up the branch of the Record Store that I managed. I thought Oasis would be a good band for store play, and while some customers enjoyed that, no staff members did.
Oasis did their part to keep the single alive in the 1990s. They issued box set after box set, re-releasing their old singles to those who missed them the first time. The coolest of these were the “silver” and “gold” boxes. They were plastic hard-shell box sets, one for the Definitely Maybe singles and one for Morning Glory. They included an interview disc (same one in both boxes) and made it easy to get caught up on Oasis’ CD singles.
These were good times. Though a breakup with a girl was the trigger, Oasis was the remedy. Some songs, like “Cast No Shadow” had me wallowing in my own pity, but it was hard not to feel good things with “She’s Electric” and “Roll With It”. For that reason, although there may be better Oasis albums, What’s the Story remains the most personal to me.
TOP FIVE REASONS TO LIKE OASIS:
5) Lars says it’s OK .
4) They had a member (Paul “Guigsy” McGuigan) who looked like Mr. Bean.
3) Noel frequently refers to Liam derisively as “our kid”.
1) Liam Gallagher’s unibrow.
This is Part 2 of a double-sized Deep Purple deluxe InFinite box set review! For Part 1, click here.
DEEP PURPLE – InFinite (2017 Edel deluxe box set edition)
When we last met, we took a solid look at Deep Purple’s fine new album, InFinite. Because the year is 2017, InFinite is available in multiple editions. The most logical to buy is the deluxe box set. This includes:
That’s a lot of goodies for a reasonable price, and it all comes housed in a sturdy box.
The included DVD is a very intimate look at the creation of InFinite from writing to overdubs. Narrated by Rick Wakeman (you read that correctly), it also looks at the moments that Steve Morse and Don Airey joined the band. Much attention is given to the shocking departure of Ritchie Blackmore in 1993, and the acquisition of Joe Satriani (who is interviewed for the DVD). However, Joe had commitments and couldn’t stay long. Deep Purple couldn’t wait for him, so they had to look for someone else. They had a list, and the first name on it was Steve Morse. Almost instantly they found themselves rediscovering the joy of music. The atmosphere and attitude of the band did a complete 180. When Jon Lord’s passing is discussed, there are a few teary eyes and sincere words. Moving on to InFinite, it is remarkable to watch the band pluck ideas from the air and mold them into songs. Bob Ezrin is a huge part of the process, with his own ideas and preferences. His reputation as a taskmaster is reinforced by the band, but it seems like a very easy collaboration. They have the same goals and desires, and trust each other’s musical instincts. There is also a shockingly frank discussion with Steve Morse, about the osteoarthritis in his picking hand. His technique has, over the years, worn out his wrist to the point that there is bone-on-bone contact. The pain has grown so severe that playing the guitar required him to completely change his picking technique, while wearing a wrist brace. Meanwhile Don Airey gets 20 “Cool Points” for wearing both a Rival Sons T-shirt, and a Winnipeg Jets sweater. Canucks will also be pleased to know that Ian Gillan recorded his vocals at Bob Ezrin’s studio in Toronto.
The DVD can be had in a CD/DVD set, so the real reason for fans to choose this box set is The Now What?! Live Tapes, Vol. 2. Vol. 1 was included on the “gold” reissue of their last album Now What?! Vol. 2 is, as it states on the sleeve, “100% live! 100% unreleased!” There are some obscure tracks on here, making this live album very enticing indeed. You don’t have to sit through more versions of “Smoke on the Water” or “Black Night”. Even better, or perhaps best of all to the vinyl nerds, are the lovely records that comprise The Now What?! Live Tapes, Vol. 2. Three 10″ records, each in their own coloured sleeve, and each on coloured vinyl! White, clear, and clear blue.
“Après Vous” (from London) commences the proceedings. This newby from Now What?! has a lot of life on stage, and the long instrumental section sounds kinda like the old days. Then an oldie: “Into the Fire” (Milan) from 1970’s Deep Purple In Rock. Ian really strains his voice on this one, but somehow pulls it off with style. Back to London for “The Mule”, a song featuring Ian Paice’s busiest drum work. No problems from Paicey. Indeed, on the DVD Paicey says he hasn’t experienced much physical difficulty in continuing to play the way he wants to.
The second record starts with Purple’s recent “Green Onions”/”Hush” medley (Gaevle, Sweden), a cool way to inject new life into one of Purple’s earliest singles. The interplay between the four musicians during the jam section is remarkable. Even though most of the originals are long gone, it sounds sorta like Purple circa 1969. Another medley showcasing Steve Morse (“The captain of the skies, the Aviator”, says Gillan) occupies side two. “Contact Lost” (London) is Morse’s short instrumental tribute to the crew of STS-107, known to most as the Space Shuttle Columbia disaster. This merges into Purple’s majestic song for Jon Lord, “Uncommon Man” and finally Steve’s instrumental “The Well-Dressed Guitar”.
One more record to go. The excellent single “All the Time in the World” from Now What?! comes from Aalborg, Denmark. It’s a slick and laid back jazzy rock groove. Purple always seem to find a great groove, and “All the Time in the World” is unlike previous ones. “Highway Star” (London) is like a polar opposite. Though you know they will hold it all together, “Highway Star” still sounds so fast that it could come off the tracks at any time. 1971’s “Strange Kind of Woman” (Aalborg) is a long-time favourite with fun vocal-guitar interplay. Back to London for the last track, “Space Truckin'”. What can you say about “Space Truckin'”? Not much except that Ian Paice still kicks it, and hard!
Purple fanatics who still love what the band is doing today will need this box set. It will be indispensable to them. Wear your T-shirts with pride! For the casual Purple fan who just wants to check out the CD and DVD, that edition will suffice.
To InFinite and beyond!
Further reading on more Deep Purple InFinite related releases:
DEEP PURPLE – Time For Bedlam (2017 Edel EP)
DEEP PURPLE – All I Got is You (2017 Edel EP)
DEEP PURPLE – Limitless (2017 exclusive CD included with Classic Rock #234, April 2017)
DEEP PURPLE – InFinite (2017 Edel)
This is Part 1 of a double-sized Deep Purple deluxe InFinite box set review!
49 years and still kicking it. The Deep Purple of today is a very different band from the Deep Purple of 1968. There is only one original member; drummer Ian Paice. This matters not. Ian Gillan and Roger Glover are the singer and bassist you remember from “Smoke on the Water” (1972). Guitarist Steve Morse is a certified genius, and longstanding member for 22 years running. Don Airey is still the “new guy”, but the former Rainbow/Ozzy/everybody keyboardist was the only man on Earth who could have replaced the late Jon Lord. He’s done it for four albums straight, sometimes sounding exactly like Jon, and others like nobody else.
So if you didn’t know already, now you do: There is no question that 49 years later, Deep Purple are still THE legitimate Deep Purple. This isn’t like, God forbid, Quiet Riot. Or Bobby Blotzer’s Ratt.
Deep Purple seem to work with producers in spurts. They did two albums (Bananas and Rapture of the Deep) with producer Mike Bradford. Now they have done two with the legendary Bob Ezrin! As soon as Ezrin’s name enters the conversation, the bar is raised. Ezrin is a full-on collaborator, with co-write credits on each song. He is an educated musician with an impeccable ear. His credits (The Wall!) speak for themselves. Deep Purple is a very different band from Pink Floyd, but Ezrin gels with them in exciting ways.
We have already reviewed the first two singles (“Time For Bedlam” and “All I Got is You“), so for deeper impressions you can check those out. “Time For Bedlam” opens the new album InFinite, quite successfully. It’s reminiscent of “Pictures of Home” from Machine Head, which should catch listeners and keep them hooked. “All I Got is You” (track 3) is the superior of the singles, smooth but smouldering hot.
The balance of InFinite, like much of the Steve Morse era of Deep Purple, takes a few solid listens to absorb. The songs are challenging but rewarding. Songs that are rock and roll can suddenly have highbrow instrumental sections. Gillan and Glover’s lyrics are more biting than ever, enticing the listener to check them out over again.
“Hip Boots” has a vibe like “Lick It Up” from The Battle Rages On… but better. Don Airey really does sound perfect within Deep Purple, as this monster is largely powered by the good old Hammond organ. Airey’s also the star of “One Night in Vegas” (working title: “Something Else Or What”), with both organ and piano sounding oh-so-Purple. (Bob Ezrin is also credited for additional keyboards on the album, but this sounds more likely to be Airey on both parts.) Gillan’s lyrics as a storyteller are as amusing as always, going back to tracks like “Anyone’s Daughter”. The first non-descript song is “Get Me Outta Here”, but perhaps more listens will increase the appeal.
An early favourite is “The Surprising”, a dramatic and quiet flight of progressive fancy. The subtle but awesome drum work of Ian Paice unobtrusively creates a perfect backdrop for Don and Steve’s interplay. Challenging “The Surprising” for dominance is the next track, “Johnny’s Band” (working title: “Jig”). It’s easily the most fun of the new songs, and the one with the instantly memorable chorus. Then “On Top of the World” (working title: “Slow Heavy”) is probably the most different of the tracks, containing a poetry section over a progressive backdrop. Otherwise it’s just a smoking jam, with an oddly premature fade-out. Steve Morse dominates “Birds of Prey” with his smooth stylings. The track is a slow but excellent journey through the sand dunes of progressive rock.
The only questionable choice on InFinite is covering The Doors’ “Roadhouse Blues”. It’s wonderful to hear Ian Gillan on the harmonica again. (What was the last time? “Hush” in 1988?) But covering a beloved classic is dangerous 99.785% of the time (there are studies that have been done.*) Fortunately Deep Purple are an exceptional jam band, so it’s not a total disaster. Covering “Roadhouse Blues” is like another band covering “Smoke on the Water”. It’s a “who cares?” moment. I like to think of “Roadhouse Blues” as a bonus track on an otherwise excellent album. The InFinite box set has the album on CD, and a 2 LP gatefold version, so you can listen any way you please.
Check back soon for Part 2 of this review — the extras from the deluxe box set! They include a DVD and three 10″ records that make up The Now What?! Live Tapes Vol. 2. (Vol. 1 was a bonus CD on the Now What?! reissue.)
* No there weren’t.
Further reading on more Deep Purple InFinite related releases (each with exclusives):
DEEP PURPLE – Time For Bedlam (2017 Edel EP)
DEEP PURPLE – All I Got is You (2017 Edel EP)
DEEP PURPLE – Limitless (2017 exclusive CD included with Classic Rock #234, April 2017)
Hi! I’m Mike!
As readers generally know by now, my radio friend Craig over at 107.5 DaveRocks has nicknames for most of his listeners. He also likes to claim that he has “only 3.5 regular listeners” according to the last surveys. I’m one, and there’s another one named “Ass Kisser Mike”. Sometimes people mix the two of us up. I’ve met Ass Kisser Mike. He’s a really nice guy. We actually met recently at a protest. (You can read all about that here.) At the time, I jokingly said that we should take a picture together to prove we’re not the same person. However there was a lot going on and we never took the picture.
Fast forward to the April 12 2017 instalment of the Craig Fee Show. Another Mike called in, a new Mike. Craig feigned disbelief, he couldn’t have three callers named Mike out of 3.5 listeners, could he? This led Craig to start the rumour that I and Ass Kisser Mike are the same person. Fake news! He also speculated that Ass Kisser Mike’s righteous beard may be fake. And of course, I could not produce a photo of the two of us together.
I assure you, my faithful readers. LeBrain and Ass Kisser Mike are two different people. One day I’ll get a photo to prove it!
Not an actual photo of LeBrain and Ass Kisser Mike
Directed by Matthew Ornstein
I’ve done it, and you have probably done it too: Getting in an argument online with a total stranger over racially charged politics. We live in new times. It’s the era of Trump, Trayvon, and Mike Brown. We live in the years of racial profiling and travel bans. Just when we think we’ve made amazing strides including the first black US president, we seem to be heading backwards just as fast.
Daryl Davis is a musician. Most notably, he was the keyboardist in Chuck Berry’s band. He’s played with B.B. King, Muddy Waters, Jerry Lee Lewis, the Platters, and knows all the greats. He’s a very talented but also intelligent and compassionate man. Upon watching Accidental Courtesy, I wondered if music really is his first calling. It seems that Davis’ true talents may just be sitting down and talking. “When two enemies are talking, they’re not fighting,” says Daryl.
Although this movie is about a musician, it’s not about the music. Music does play a small role. The first time Davis experienced race-related hate, he was the only black child in an otherwise white marching band, and didn’t understand why things were thrown at him. He thought, maybe they were playing the music poorly. His parents had to explain to him, “They don’t like you because of the colour of your skin.” Life was never the same after that.
Accidental Courtesy isn’t about his music career, but about what Daryl Davis has done with the Ku Klux Klan and other white supremacists. Since 1990, Davis has sat with various members of the KKK, both high ranking and rank-and-file. Very few people can rival Davis for his knowledge of the Klan’s history and practices, so much so that Klan members have even approached him to learn. Over long periods of time, after truly and sincerely befriending Davis regardless of his race, 26 Klansmen eventually turned in their robes to him and gave up the Klan.
It’s bizarre to see men who don’t believe in the mixing of races show up at Davis’ wedding to a white woman, to celebrate with him. His friendship with them trumped their belief system. It’s strange to see a black man invited into a KKK home, and vice versa. It’s certainly unusual to see a fully robed KKK wizard sitting and shaking hands with a black man, simply enjoying conversation and company.
In the film, Davis also sits with the Southern Poverty Law Center, who seem less moved by his “person to person” method of combating hate. They prefer to use a bigger stick. What was surprising is how much flak he took from representatives from Black Lives Matter in Baltimore. Here, he was mocked by two dropout activists for “only” converting 26 KKK members since 1990. What was especially shocking was that the Black Lives Matter reps refused to continue to the conversation. To them, he was worse than a white racist; to them he betrayed the cause. All these white supremacists were willing to sit down and shake hands with Davis, but Black Lives Matter gave him the most difficult time. They actually got up from the table and berated and belittled him before cutting the conversation off completely. He was even treated with more respect by the KKK leader who refused to acknowledge the holocaust and said that blacks should be grateful to whites for freeing them. It’s troublesome to think on what that means.
Certainly not everyone approves of the methods of Daryl Davis. But in this day and age of social media, it’s more important than ever to talk. Not online, not on Facebook, Daryl advises. In person, where people can get to know each other, see each others faces and expressions, actually get to know one another. Talk to each other, instead of talking at each other. In this film, Davis asks questions, but rarely lectures. Davis’ technique is simply to ask what makes people tick. “How can you hate me when you don’t know me?” is a good opener. He finds out what makes them think the way they do. There is always more to the story than appears on the surface. There is always a root cause.
Some felt Daryl did more harm that good with his methods. Some feel he has betrayed his own people. But, as Daryl says in the film, whites and blacks and people of all races must share America together. That’s why we have to talk and figure out how to co-exist. If he could convince an Imperial Wizard to hang up his robes, that is one small step to making the world a better place. Black Lives Matter and the Southern Poverty Law Center have their own methods. That does not negate the inroads that Davis made, just by talking.
There doesn’t seem to be much accidental about Daryl Davis’ courtesy. It’s all very much on purpose. Davis has a rich tapestry of friends behind him, some of whom have given up on hate. If they can, why can’t everybody?
GETTING MORE TALE #560: Seize the Day
It started in early 2008. It probably really began much earlier than that, but January 2008 was when I knew something was very wrong.
Jen and I were looking forward to getting married in August. She was still living in Brampton, and coming to visit me in Kitchener on weekends. Things seemed fine, until they weren’t. She seemed tired a lot. She slept a lot of the days and was up until late in the night. She seemed depressed. Then one day I noticed something really, really odd.
We used to enjoy playing Nintendo Wii all the time. Her favourite game was called Find Mii. It was a simple “Where’s Waldo” style of game. You had to find certain people in crowds. Jen was the master of Find Mii. I saw her finish the game a few times. She was unbeatable and had several winning strategies. There was one level where you had to choose a particular Wii character, and then a few levels later, you would have to identify that person in a crowd scene. It made sense to pick a character who stands out in a crowd, like one with a colourful hat. When Jen hit that level she picked the most generic character to find later. I thought that was odd.
“Why did you pick that one?” I asked. “That will be hard to find in a crowd.”
She didn’t answer. She didn’t even notice I was speaking. I just sat and watched her. She continued playing.
When she got to the level where she had to pick out the character she had chosen earlier, she was very confused.
“What?” she said. “I didn’t pick anybody yet.”
“Yes you did,” I answered. “Don’t you remember? I thought it was strange that you picked such an ordinary looking character.”
“No I didn’t…” she answered but there was worry in her voice.
I had my suspicions. I got with her parents and we eventually talked her into going to see the doctor. She was very resistant. I can understand this. Nobody likes finding out there is something wrong with them. It’s frightening. But so is watching someone you love suffering.
Nobody was particularly surprised when she was diagnosed with epilepsy. It fit what we were seeing. What I had witnessed was what the doctor called an “absence seizure”. I call it “zoning out” because that’s how it looks to an outsider. It looks like someone has completely spaced out, staring at nothing.
I thought, optimistically, that a neurologist would put Jen on some medication and she would be OK. Most people are. I had a friend who also had “zone out” seizures, but when he took his medication he was fine. When it comes to Jen’s health I always try to be optimistic. It could, after all, have been a whole lot worse. Unfortunately my optimism was misplaced. This was not going to be an easy fix.
There have been so many ups and downs since that day in 2008. From the happiness at finding a neurologist, to the despair of side effects and pills just flat-out not working. From people who don’t understand and mock epilepsy, to accidents and injury. There have been so many. These incidents have taken their toll not only on Jen, but on me. People forget that the role of the supporter is no easy task.
As 2008 went on, the wedding loomed closer. Jen prepared to move to Kitchener and start her new life with me. One of her former co-workers at Brampton Transit thought epilepsy was terribly amusing. “Wouldn’t it be funny if she had a seizure at her wedding!” one said, not knowing she was overheard. As if getting married and moving wasn’t stressful enough!
But we made it. We had an awesome wedding, and no seizures. We were very fortunate to be surrounded by the best of family and friends.
Jen moved to Kitchener and three months later had full time employment with Research in Motion, aka Blackberry (before they went tits up). She worked really hard and was very proud to get that job, and rightfully so. One of the perks to working there (of many including a custom R.I.M. Monopoly board that we treasure) were their company concerts. They had thrown private parties featuring Aerosmith one year, and the Tragically Hip another.
Their next employee concert wasn’t a private one, but still free: U2. U2 had signed a big endorsement deal and were on TV every night advertising Blackberry phones. Jen was very much looking forward to seeing U2, but with their light show, could she even go at all? Imagine her heartbreak when her doctor told her it was very unwise to go and see U2 in concert.
Concerts in general were a problem. She hasn’t been able to go and see one since we saw Russell Peters early in our marriage. We tried to see the Trailer Park Boys too. As soon as cameras started flashing, she had a seizure. She was taken out in a wheelchair and we didn’t see the rest of the show. Movies were also impossible. We had to leave The Muppets before the show even started. It has been difficult getting used to what we can and cannot do with her epilepsy.
She cannot drive. But she has to get out and have a life. Staying inside all day is a sure recipe for depression. She does her best. She takes busses, taxis and Uber. Unfortunately seizures can happen anywhere. Over the last few years I have received dozens upon dozens of phone calls telling me that my wife had a seizure on a bus. Off to the hospital we go, where we’d wait several hours for a discharge. Now, if she is able, she tries to insist on not being taken to the hospital. They cannot do anything for her there. We know this from experience.
Unfortunately seizures on a bus sometimes mean falling on a bus. Jen has had so many injuries from seizure related falls over the years: concussions, twisted ankles and knees, and a fractured knee. She’s no longer able to walk without assistance. When on a bus, she has to fight for a disabled seat. If she’s not seated on a bus, it’s not safe. And too many entitled children (and adults) refuse to move for her. A couple weeks ago she was told to move from the accessible seat to make room for a bloody shopping cart. An inanimate object. It is frustrating. When she falls, it is heartbreaking.
One evening (December 11 2011) after a bus seizure, one of those entitled kids (old enough to know better) thought he needed to take pictures of my wife on the stretcher for his friends. He is lucky that I don’t believe in physical confrontation. If I did, there would have been two people on stretchers. Jen’s mom said, “What is that kid doing?” I went over to speak with him as he was walking away.
“Hey! What are you doing?” I shouted. He ignored me and continued to walk away. “Hey you! What do you think you’re doing!” I repeated as I followed. For a second time he ignored me. Once again I shouted, “You, taking the picture! What do you think you’re doing?”
“Taking a picture for my friend,” he answered.
“Why, because it’s really funny?” I asked.
“What do you care?” he retorted.
“That’s my wife!” I said.
“I didn’t take a picture of her face, why are you being rude?”
Rude? Seriously? “I don’t care!” I yelled.
“Fuck you,” the little disrespectful dink said, and walked away. I returned the sentiment, but I could not believe it. I’m the rude one?
When she’s taking public transit now, we have a routine. When she is out on her own, she texts me every 30 minutes to check in so I don’t have to worry. When she can’t get somewhere because of an emergency vehicle with flashing lights, she can text me and we can figure out what to do. Aside from the falls and injuries, we have had some scares. I once witnessed her almost wandering straight out into traffic while picking her up from work. She’s had her shopping bags ripped off at the mall. She’s had people point and laugh because they think she’s walking around dazed from drinking too much. We have had to develop thicker skins.
What about all the doctors and specialists? Her first neurologist couldn’t figure out what was wrong with her and dropped her as a patient. Finding a neurologist is hard. There are no neurologists here in Kitchener. You have to go to Mississauga, London, or Toronto. Eventually we did the only thing we had left to try: Go to an emergency room in Mississauga where they have neurologists, tell them this girl keeps having seizures, and she needs to see one. It was her family doctor who instructed us to do this. Of course emergency didn’t want to deal with that, but that was the only option we had left. They changed their tune when we told them that she had a seizure right there in their waiting room. Now we have a new neurologist, and he is in the process of putting her through a battery of tests. Surgery is the option on the table, but there is a medication we haven’t tried yet that we are going to ask for: medical cannabis. That might be the miracle cure we are still hoping for.
In the meantime, we continue to fight on. We take inspiration from figures like Prince and Neil Young, both epileptics who overcame their illness to perform for millions on stage. We try to find the humour in life. We have to. We don’t have a choice in the matter. With that in mind, I’ll leave you with some of the epilepsy moments we have been able to laugh at.
When Jen comes out of a seizure, her senses all seem enhanced. Her vision can be like looking at the world through binoculars. She can see incredible detail and very vivid colours. After a seizure the world seems vibrantly bright. And unfortunately for her, sometimes the first thing she sees after a seizure is my face. So I can’t help but laugh by some of those post-seizure observations she’s made:
I have a glow-in-the-dark Albert Einstein T-shirt that I love. One night after a seizure, it was glowing away in the dark. That’s when she observed, “Your tummy is glass…on fire!” I guess that’s what glowing Albert looked like in the dark!
We will continue to fight this disease, and we will continue to try and see the light side of things. It’s the only way. If we didn’t try to laugh at it, it would have beaten both of us by now. That’s not going to happen. We have worked and fought way too hard since 2008.
In the meantime, we will continue to raise awareness. Do you or your kids have any articles of clothing with flashing lights? Do you take flash photographs in public? These things can, and will, trigger a seizure. Try to be mindful of your surroundings and the people around you. And please, if an epileptic asks you to stop taking flash photos, just turn off your flash. Don’t tell them to “fuck off” because “that’s not my problem”, as we have been told recently. Be a good person, and do your good deed for the day. Do your part to stop a seizure before it happens.