THIS IS SPINAL TAP – The Official Companion(2000, Bloomsbury, London)
You have the soundtrack. You have the DVD (maybe even the Criterion edition). You have the breakfast cereal. What else do you need? The Official Companion book, that’s what!
We begin with a “Prepilogue” by Michael McKean, who plays David St. Hubbins, offering some background on how Spinal Tap came to be, in the real world. From a 1979 TV appearance, to a 1982 demo film (not a script, like most movies, but a demo film!) to the 1984 finished masterpiece, McKean sums up the history and his gratitude from the start.
Next up is one of the funniest and most essential chapters. “Tap’istory” is a fictional timeline of Spinal Tap, from Derek Smalls’ birth in 1941, to a 2000 appearance with Mick Fleetwood on drums, and a remixed and remastered version of the film. This section is fascinating as it has release years for all of Spinal Tap’s fictional albums, including Brainhammer, Nerve Damage, and Blood to Let.
I found this book in the screenplay section of the book store, but Spinal Tap didn’t have a screenplay like most movies do. Instead of a screenplay, the bulk of the book is made up of a cool transcription of the film. This is done to extreme accuracy, to the point of transcribing Nigel’s final line, “wh-wh-what are the hours?” exactly as you read it here. If you ever wanted to quote This Is Spinal Tap as a hobby, this is how you do it to perfection. At the conclusion of the film transcription are several deleted scenes, such as David St. Hubbins meeting up with his now-punk rocker son.
Then we get to the lyrics, for basically every Tap song, including obscurities like the then-unreleased “Celtic Blues”, and stuff I’ve never heard like “Just Spell My Name”. Following this is an incredibly detailed glossary of everything Tap related you can imagine, including Rob Reiner, Steve Lukather, lukewarm water, and Walter Becker (who scribed the liner notes to Break Like The Wind, also included here).
For those Spinal Tap fans unable to read, the book also includes some full colour photo pages, with behind the scenes shots and rare promotional photos.
For any seasoned fan of Spinal Tap, this is an obvious augmentation to your collection. Tap into your local bookstore today and ask for a copy.
STIR OF ECHOES – Stir of Echoes (2008 Stir Records)
When Hamilton’s near-legendary metal band Mystique broke up at the end of the 1980s, singer Ray D’Auria bounced back with the hard rocking Slam Glory. That is a story and album unto itself. D’Auria’s next major release was a full lengther with quartet Stir of Echoes. The band formed in 2006 with a self-titled CD release in 2008. According to a note from filmmaker Marco D’Auria, the album was engineered by Steve Negus of Saga fame. What musical avenues would Ray explore this time, two decades after the end of Mystique?
The answer is: if Mystique was metal, and Slam Glory was hard rock, then Stir of Echoes is good old rough n’ raw classic rock. A heavier Led Zeppelin, perhaps.
Ray’s voice has transitioned to a rougher, more raspy delivery though still with the power and range we expect. Opener “Sentimental” boasts some slippy-slidey guitar bits and bites, while a locked-in bass/drum groove keeps things moving. This bluesy rocker is world class. I like how the rhythm guitar part drops out when the solo comes in – very live sounding. That’s Marco Ciardullo on guitar.
Track two, “Alone” is an upbeat rocker with Ray shredding the vocal cords throughout. It’s actually a bit of a drum showcase on the side, with plenty of solos and fills by Darryl Brown. There’s a bit of Zeppelin in the vocal delivery when Ray sings, “I, I…” at the midway point. A brilliant track that smokes with a bass solo (by Carmine…just Carmine) and impressive musical exposition.
The groove of “Sold It All to Fame” recalls the classic British blues of bands like Humble Pie. It sounds like it was born from a jam. There’s a tasty guitar riff to bite into. Following this groove, they go heavier on “Bonefoot” which might recall a Sabbathy vibe, circa the first three or four albums, in the riff and looseness. “Lies, lies, lies!” screams Ray D’Auria like a man wronged.
Stir of Echoes slow things to a nocturnal crawl on the blues “In the Cold”. Many classic heavy rock bands boast a classic slow blues, and this sounds like Stir of Echoes’ stab at the genre. The band gets to stretch out musically while Ray focuses on the pain. “All of this time…alllll of this time…” Like a classic-era rock singer, Ray sounds out of another decade.
The burner gets turned up to 10, and things start smoking again on “Little Dog”, an absolute blitz. Then they go for a more fun vibe on “Shot Gun”, which has one riff that definitely reminds us of Zep’s “How Many More Times”. You have to question how Ray could sustain this kind is singing! It’s top level, at all times, with the rasp and high notes! At the end of the song, they ignite the afterburners and the whole thing goes stratospheric.
The first respite on the album lies within the acoustic intro of “Burning in the Rain”, the closest thing they offer to a power ballad. Emphasis on the power. Really, it’s more of a bluesy showcase for Ray to offer up some of his most passionate singing. “Shake” takes things back to boogie, and the mid-tempo groove really allows the bassline to breathe. This is a great song to dance or drink to.
The only song you might consider “soft” would be the acoustic closer “Too Late”. Very Zeppelin III in feel. The lack of volume allows Ray to lay back a bit and really just sing. It’s just him and some acoustics, so the spotlight is on, and he uses it well. Brilliant performance.
Except “Too Late” isn’t the closer! There is an unlisted bonus track called “Wild Eye” which may be the best of the bunch! It’s certainly one of the most memorable. The stuttery opening riff is just a little different from the pack.
Stir of Echoes aren’t as diverse as Mystique, and the subject matter is more grounded. Stir of Echoes is more laser-focused on a specific kind of rock, and they go all-in. They do what they do very well. The last band that attempted this kind of sound and did it this well was called Badlands. If you know, you know. Get it.
JOHN WILLIAMS – BOSTON POPS ORCHESTRA – Pops In Space(1980 Phillips)
January, 1980. John Williams succeeds Arthur Fiedler as the conductor of the Boston Pops Orchestra. Fiedler passed in July of 1979. Williams had received 14 Academy Awards nominations, 8 Grammies, and had conducted over 50 movie scores. Later that year, Phillips released Williams’ first recording with the Pops: a selection of his science fiction “greatest hits” so to speak. The audible differences between these and the original cinematic recordings are minor, but there for the diehard fan to enjoy. If not, the casual fan will be able to hear some of the best bits from Williams’ beloved scores to date. The Empire Strikes Back was a new release, and three cuts were recorded for this release.
1978’s Superman: The Movie truly made us believe that a man could fly, kids and adults alike. The Superman main theme is one of Williams’ greatest refrains in his long storied career. Triumphant, strong, and bright, it glows with the power of our yellow sun. You can envision Christopher Reeve (the greatest Superman) smiling and waving as he casually swooped across the silver screen. Williams’ music embodied Superman, and the optimistic spirit that the film represented. It bears similarities to other familiar themes, such as Indiana Jones, which was in production. It is a Williams “trademark” theme if you will; instantly identifiable and unmistakable. It has highs, lows and an incredible outro. This is followed by Lois Lane’s love theme, which we liked even as impatient kids who hated romance in our superhero movies. Some of Superman’s theme has a soft reprise here, but the piece is its own.
The brand new Empire Strikes Back is represented by three classic pieces: the action packed “Asteroid Field”, Yoda’s jaunty theme, and of course, “The Imperial March”, already on its way to becoming a thumbprint anthem for scum and villainy. There is not much to add here, because words are not sufficient to describe the sheer momentum of “The Asteroid Field”! Or the joyful playfulness of “Yoda’s Theme”. Or the symphonic metal majesty of “The Imperial March”, as we watch those monolithic, grey Star Destroyers cruising menacingly through space.
More Star Wars on side two, with the film Star Wars (not yet known as A New Hope – that happened in April 1981). The two themes included are the main title theme, and Leia’s theme. I noticed the most difference on the main title – the third note of the opening “bah bah bah…” part is held just a little longer. As for Leia’s theme, it is softer of course, but the violin strain is so memorable. So plaintive, yet beautiful. It grows in power towards the lush end, which is magnificent. Perfect for our princess in distress, though her reputation for kicking butt was starting to form!
The final piece included is a “Close Encounters of the Third Kind” suite, including the extended ending, added to the special edition. This 10 minute suite is a rollercoaster, as we recall scenes of awe and wonder. A bit of “When You Wish Upon A Star” plays, some piano tinkles, and we are swept away with Roy Neary on that starship, whether we wanted to see the inside or not.
As a “greatest hits” of Williams early science fiction music, Pops In Space is a treat to play. A concise treat, representing a small slice of Williams’ work, yet that little slice has some of his most indelible music.
If anything, fans of physical media need to get this album on any format, just for the cool cover art. The orchestra can be seen playing on a floating platform…in the vacuum of space! Far out.
JEFF BECK, TIM BOGERT, CARMINE APPICE – Beck, Bogert & Appice(1973)
Supergroups often flicker in and out and existence. Beck, Bogert and Appice recorded one self-titled studio album in 1973. That album continues to be cited as an influence on bands, and you can hear it instantly. One listen to Beck, Bogert & Appice and you can immediately hear the echoes of the bands that followed. Beck, Bogert and Appice were touring before the even recorded the album, so they were already well prepared. Jeff Beck came in with a song that Stevie Wonder worked up with him on Talking Book. All three musicians write and sing lead vocals on the album.
“Black Cat Moan” is a Don Nix blues (who also co-produced the album). It sure seems that Rose Tattoo must have ripped it off for “Rock and Roll Outlaw”! It’s marked by a a sting of slide guitar, a wicked blues grind, and Jeff Beck’s understated lead vocals. Carmine Appice plays it pretty straight, but this track just thuds! Bass heavy and weighty like lead, “Black Cat Moan” was some of the heaviest blues on offer this side of Black Sabbath. Stay tuned for some of the slidy-est slide guitar Beck ever recorded.
Appice sings lead on the the gut-busting groove of “Lady”, written with members of Atomic Rooster. Bogert’s melodically thunderous bass takes center stage. The production is so crisp, you can hear every finger pick, even flying at the speed they are. Listen carefully for a quick part in the song that Rush lifted for “2112”. The layered lead vocals sounds like they were taking inspiration from Cream. This track simply smashes everything in its way, letting the bass level the countryside before Beck plants some bluegrass with some twangy guitar licks. Meanwhille, Appice keeps the engine running with a tasty cymbal pattern and earthquake drum fills.
The ballad “Oh To Love You” is also sung by Appice and features piano and Mellotron accompaniment. It sounds like stuff David Coverdale was doing in his early pre-Whitesnake career a few years down the road. Carmine has a really nice swing on the beat, but that Mellotron really takes it home when it comes in.
“Superstition” ends side one with Tim Bogert’s first lead vocal. This version, worked up by Wonder with Jeff Beck, was supposed to come out first, but due to delays, “Superstition” was first heard in its Stevie Wonder incarnation. Once again, a rolling groove dominates the soundscape, with Jeff Beck stabbing guitar licks here and there, drawing blood every time. This arrangement is guitar heavy compared, with none of Stevie’s clavinet or keys of any kind. Beck goes caveman midway, like a prototypical Ace Frehley, who must have been studying every note at home. Then, Jeff Beck takes it high again, laying waste to the land as a guitar innovator like a rarified few before him. Carmine’s drum outro was later ripped off by Kingdom Come on “Get It On”.
The Rolling Stones recorded “Wild Horses” in 1971, and here is Beck , Bogert and Appice opening “Sweet Sweet Surrender” with similar sound. This, however is more a slow soul-rock lament. Carmine sings lead on this side-opener, and Beck colours the blanks with distant guitar. Tim Bogert takes things more upbeat the pop rocker “Why Should I Care”. This is the kind of song that Kiss would strive to write over and over again in the early 1970s.
Things get funky in a heavy on the brilliant “Lose Myself With You”, the vocal melody of which sure sounds a lot like Judas Priest ripped it off for”Saints In Hell”. This is funk of the heaviest order, a rare isotope of plutonium that you can only get with the fusion of these kinds of musicians.
Carmine sings lead for the remainder of the album. “Livin’ Alone” has a vibe not unlike early ZZ Top. Fast, blues based rock with melodic lead vocals. The shuffle sure recalls a few famous bands that would be known for such things later on. This is a potent, energized blast of rock.
Unusually, the album closes on a Curtis Mayfield soul classic: “I’m So Proud”. A slow dancer like this actually works well at this point of the album, because the listening is exhausted, quite frankly!
While ZZ Top were on a break between Tejas and Degüello, it made sense to issue the band’s first Best Of. This album was released in 1977 and though it did not chart high, it did eventually go double platinum, selling over 2,000,000 copies in the United States alone.
The cassette and vinyl releases had the sides flipped. This cassette copy in hand begins with “La Grange”, which is still a pretty solid opening even if the vinyl says otherwise! “La Grange” is an ode to a house of ill repute somewhere in Texas, and it became the prototype blues/rock shuffle for a generation. This song still burns up the radio today.
One of ZZ Top’s greatest blues had to be “Blue Jean Blues” from Fandango! So slow, so fully soaked in whiskey and gasoline that you can smell it from here. Billy Gibbons is fully in the driver’s seat here, but it is Frank Beard and Dusty Hill’s unobtrusive rhythm section that allows him to emote so well.
From the first album comes the dirty upbeat blues of “Backdoor Love Affair”. It’s a combination of elements: Billy’s distorted take on the blues guitar, mixed with Dusty’s melodic bass and Beard’s perfect punctuation. By the end of the song, it’s a jam around a tasty riff.
The familiar “Beer Drinkers and Hell Raisers” from Tres Hombres is an incendiary duet between between Billy and Dusty. Pedal to the metal, ZZ are off on one of the best rockers from the entire catalogue. This is the kind of song that endeared them to the headbangers. Similarly, “Heard it on the X” hones in on the speedy aspect of ZZ Top’s abilities. This is another duet with Dusty and Billy, and an ode to the Mexican radio stations that informed much of ZZ Top’s upbringing.
Flipping the tape, we are now hearing what is side one of vinyl. “Tush” ain’t a bad way to start. It’s the stuff of legend today. It boasts one of Billy’s best guitar riffs, yet it’s still little more than a basic blues. It’s just a winning combination: the blues progressions played by a rocking band. Billy’s leads are as much of legend as the song itself, stinging little zips of flavour in a bluesy soup of chords and drums.
“Waitin’ For the Bus” is a steady blues. The speed has been shed for this heavy sludgy one, with Billy laying down not just a guitar solo but a harmonica solo too, one after the other like one greasy blues rock statement. Then, just like on the Tres Hombres album, “Jesus Just Left Chicago” follows immediately after. Still blues, but of a different flavour. ZZ Top were always talented at showing us different sides of the genre, while mixing it with the sensibilities of rock guitar distortion.
“Francine” is a belter, a perfect pop rock tune, with more rock than pop. Billy’s little riff is tasty as candy, and the song has the necessary melodic mettle. Even so, it is overshadowed by the slide-drenched closer “Just Got Paid”. One of ZZ’s heaviest tracks, it’s made completely digestible by Billy’s incredible guitar work.
The set that got me “back” into Lego was 2022’s 10302 Optimus Prime. The fact they made a fully transformable Prime out of Lego bricks was unbelievable, and it was incredibly fun to built. It took two years, but a second toy in the line has now emerged: everyone’s favourite yellow Volkswagon, Bumblebee!
‘Bee featured heavily in the first two issues of the Marvel comics but soon faded in importance. Meanwhile, in the Sunbow cartoon, he was a main character. In both iterations, he was friend of a human boy named Witwicky: Buster in the comics, Spike in the cartoon. As a toy, Bumblebee was a “minicar”: less detailed, smaller, and affordable. He was a “penny racer” Volkswagon, small and compact, but could transform into a robot in two or three seconds, unlike bigger toys.
The Lego version of Bee has 950 pieces and costs $120. Prime had 1508 pieces at double the price. Bee is also far more complex in terms of construction and transformation. Prime has always been a simple design: fold out the legs and arms and that’s the most of it. Bee has to fold up from a tall robot to a compact car. There are a lot of steps and tricks to transforming Bee. He has a lot of hinges and flaps that have to be moved out of the way. Bee, however, has one weakness that Prime did not: partsfotming. Partsforming is a derogatory term for a transformation that involves removing segments and putting them back again in a different place. On Bumblebee, that would be his windshield/backpack. The first step of transformation is to remove the windshield segment, and fold it up. It will eventually become Bee’s jetpack.
Building was fun without a lot of repetitive steps. There are also some new parts in this set, parts that are new in particular colours, and lots of printed details including two Autobot logo tiles. We start at the feet. Once both feet are complete, we clip them together. This becomes the front of the car. From then on, we are essentially building Bumblebee in car mode. In that sense, it’s not that different from building other large Lego kits. As you build, you’re not entirely sure what is going to go where when he transforms, and that is part of the fun. When you’re done, you have a really nice Volkswagon model with the curves more or less in the right places. Leeway must be given for some gappiness in front and back, but it could pass for a Lego Volkswagon model in this mode. Lego also gives you some extra pieces: Two plain yellow tiles for those who want the Autobot logo hidden, and an alternate license plate. The license plates allow you to name your car Goldbug or Bumblebee. Goldbug was a name that Bee went by when a new toy of his was issued in 1987. Bumblebee was the first Transformers character ever reissued with a brand-new toy.
Putting this toy together was finicky, since there are so many hinges that clip into place. Getting to the head and seeing the printed face was a nice surprise. Lego could have included an alternate toy-accurate face to go with the license plates, but that of course would add to the cost. The windows are transparent blue, which looks so cool and matches up with some later toy versions of the character. There is also a tiny transparent piece with a little cartoon bee printed on it. That goes behind the windshield, as if a little bee was loose inside.
Bee also comes with a name plate, and a blue blaster gun, similar in design to his Sunbow character. The original toy and comic versions of Bee were unarmed, but later toys include weapons, some similar to this blaster. It clips onto a bar hidden on his hands. You don’t need his fingers to hold it, but all eight fingers do move – something that Lego Optimus can’t do. Lego have learned from that model, listened to fans, and the improvement is here in Bumblebee.
Bee has limited articulation in robot mode. The knees and feet cannot move. The hips can, and there is a little bit of an elbow hinge, with about 90 degrees of movement. You can rotate the arms 360 degrees at the shoulder, and get a little bit of poseability there. He can stand very sturdily in robot mode, with rubber pads on the bottoms of his feet keeping him from slipping too much.
Prime rated an easy 5/5. Bee has more value in price per parts ratio, and has a more complex transformation, while still including plenty of printed pieces. The only thing Bee has going against him is the partsforming, but that’s it.
This is Def Leppard’s first 7″ single in 30 years – since “Action” in 1994!
I’m bored of Def Leppard’s glam throwback songs. I know that seems hypocritical, given that many of their biggest hits (“Pour Some Sugar On Me”) are basically that. “Just Like 73″ is their latest single, a standalone without an album, issued on various coloured 7” singles this year. While we applaud Leppard for releasing new music on a physical format, the song is not one of their greatest to date.
The coolest aspect of “Just Like 73” is the surprising guitar solo by Tom Morello. Rage Against the Machine and Def Leppard were diametrically opposed in 1993, but I suppose back in ’73, those guys were listening to a lot of the same records. On the B-side is a version without Mr. Morello, which is valuable to the collector, but the song is lesser without him.
Sometimes Def Leppard seem bent upon recreating their past, and not always hitting that mark. “Just Like 73” pushes those big “Hey!” vocals that are so commonly associated with Leppard. It has the Gary Glitter kind of beats that they are so fond of. Really, the only thing new here for Def Leppard is that Morello squonk all over the A-side. That’s a great mix and they should collaborate further.
RECORD STORE TALES #1152: Our Wedding Songs Do’s and Don’ts!
I take pride in my music, and I wanted my wedding to reflect that. I wanted nothing but music with integrity. Unfortunately, DJ services didn’t want to deal with that. I learned that with wedding music, you have to compromise. Though the day may be about you, it’s also not. It’s about your spouse, your family, their family, and close friends too. The DJs want them to fill the dance floor, not sit eating wedding cake with sad looks on their faces.
I sent out lists of songs to various DJ services, and got crickets back. Nobody wanted to play my pre-selected list of music.
Eventually we found one called Skip A Beat. The DJ we ultimately chose furnished us with a spreadsheet. It was a list of the most popular dance floor filling songs of the year 2008. I was told to mark down any songs that were good to go, and any that were not to be played. You can see my coding in the spreadsheet below. I also added some songs of my own. I didn’t get my Helix, but I got most of what I wanted.
Green = play it!
Yellow = meh.
Red = over my dead body!
Some “over my dead body” music did get played. Why?
I still remember the DJ coming up and me and saying a man was asking her for all kinds of my banned songs. I asked, what man? It was Uncle Paul!
He loved to dance. So I relunctantly cut him some slack. “Macarena” was played. Shania Twain was played. I know “Y.M.C.A.” played because ultimately, I danced to it.
Take a look at my list. What would be your no-go’s?
For years after, Uncle Paul told me it was the best wedding he’d ever been to. The lesson is, compromise! Even on crappy crappy songs, try to compromise. The happiness of your guests is just as important as yours.
BRUCE DICKINSON – “Resurrection Men” (2024 BMG CD single)
The Mandrake Project is a dense album. It takes a lot of time to absorb and understand. The concept goes way over my head, but the songs are heavy and the direction is metal. Bruce Dickinson is nothing if not ambitious, and of course that means taking the new album on the road. His live band this time out includes the always reliable Dave Moreno on drums, and Whitenake bassist Tanya O’Callaghan. Bruce has released two singles from the album with exclusive B-sides, and the second is “Resurrection Men”.
“Resurrection Men” is long for a single, at almost six and a half minutes. It is loaded with drama, and the acoustic intro really sets a mood. Then it goes into something more western, like from a Clint Eastwood film, with interesting percussion. That soon subsides and we go full electric. This song lunges all over the place, from slow grinding verses to quiet bass-driven parts, and a powerhouse chorus. Ultimately it’s not really single material, but that’s one thing that makes this release so interesting. It’s also impressive how Bruce continues to sing with such lung power.
Live from Sao Paolo comes “Afterglow of Ragnarok“, the first single from The Mandrake Project. A song about “what happens after the end of the world,” according to Bruce. It is tight, and does not deviate far from the original cut. The live setting is unforgiving, but even without multitracked vocals, Bruce nails it. The stage energy is palpable, and Moreno kills it on drums.
The most exciting track is the very first live version of “Abduction” from Tyranny of Souls. This one absolutely smokes, with breakneck pace, lightning drum fills, and melodic guitar harmonies. A lot of solo Bruce stuff could almost be considered Iron Maiden made modern, louder and more intense. “Abduction” falls into that category. This live version has some really cool guitar solo work, very different from Roy Z’s on the album.
It is truly wonderful to see artists such as Def Leppard, Deep Purple, and Bruce Dickinson releasing physical singles with actual B-sides in 2024. Keep it up.
Here we have a simple and straightforward one hour bonus DVD. No bonus features other than subtitles, so let’s dive in and watch Deep Purple hit the road! This documentary, unlike past ones, is not about the making of the =1 album. This is about Deep Purple on tour, and is more like a fly on the wall look at the band in their environment. We seem them relax, practice, drink and work.
We begin with Steve Morse, and his sad necessity to step down from Deep Purple after 28 years in the band. Roger Glover explains that Steve came in at a time (1995) when Deep Purple needed to reinvent themselves, which is what they did. Then, we transition to Deep Purple live on stage with Simon McBride, and “No Need to Shout” from the bonus live 10″ records included in this box set. Don Airey calls it a “fresh start”, and Ian Paice contemplates on how a new member creates new energy in the Purples. Roger praises Simon’s “cool” personality. The important thing, with any new Deep Purple member, is to musically just be themselves. Don jokes that Simon “brought the average age of the band down to 74.”
Time to hit the road. Ian Gillan talks about the routine, and the tour begins (to the tune of “Hush”). Hotels, breakfasts, limousines…and security tips from Gillan! It takes about three hours to set up the stage and start checking the PA. Drums are tuned and cymbals are attached to the kit. The guitar tech talks about the adjustment from Steve Morse to Simon McBride, and a different brand of guitars. We also get a good look at Don Airey’s keyboard rig. In a cute touch, Don keeps a bobblehead of his old boss, Ozzy Osbourne, on his keys. Finally the band turns up and sound checks. Don Airey tells Ian Paice a funny story about Gary Moore messing with his keys. The band have a quiet, very English sense of humour, but they are often seen laughing and kidding around.
During soundcheck, we get to hear Purple working on a new song: “Old-Fangled Thing”, which ended up on =1. Airey says he really enjoys soundchecks because it gives them a chance to play things like bossa novas, and entertain the crew. We move on to the 02 arena with Blue Oyster Cult opening, and other gigs with Jefferson Starship, who Purple seem to get along with famously.
There is a hilarious bit in Don Airey’s keyboard solo. He takes a wooden shim, and sticks it in the keys to hold them down. As a single note plays. A waiter with a glass and bottle emerges. Don pours himself a glass of wine as he takes a brief break. It’s all so very quaint and gentlemanly funny. Don’s son is actually the band’s stage manager, and it has allowed him to see more of his dad than he ever would at home.
The documentary then jumps to another day, and the 10 minute wait before showtime. Backstage, Roger Glover takes a crack at Ritchie Blackmore’s violent aversion to cameras. Ian Paice jokes about the palpable tension in the air, as the band continue to joke around and laugh, whiling away the last minutes before stage time. Paicey picks up a pair of bananas, plays a drum roll, complains the bananas are not properly balanced, and tosses them aside. That’s the wildest party moment in the Deep Purple dressing room.
Finally the waiting is over. The whole day revolves around the 90 minutes on stage, remarks Gillan. The band take the stage while Holst’s “Mars: Bringer of War” assaults the crowd in preparation. “Highway Star” (which, incidentally, is not included on the live records in the box) rolls out the thunder, and Simon McBride brings his own style to it. The documentary runs through a few live clips to give you a taste of the set, including the beautiful ballad “Nothing At All”.
When Deep Purple hits Berlin, Ian Paice has the idea to play a bit of “Let the Good Times Roll”. A young horn section is brought in, and it sounds great to everyone. We are treated to a clip of a soundcheck of “Hush” with the horns.
Show over, it’s off to the hotel, get a tea, and into bed with a book for Ian Gillan. Paicey prefers a glass of wine after a show, “because I’m allowed”.
Though it’s never overtly stated, one can’t help but notice the contrast in this documentary to the war stories of old. We remember the tales of on-stage and backstage blowups, food trays thrown about…but not any more. Now Deep Purple is five older gents who love playing together and don’t seem to mind each other’s company too much. That’s nice to see. And it’s still entertaining enough for an hour.
As a bonus DVD in a box set, this one’s easily a 5/5.
The box also came with art prints, a lanyard, guitar picks, a nice T-shirt and more, all seen in this unboxing video below.
THIS IS SPINAL TAP – The Official Companion (2000, Bloomsbury, London)
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