Reviews

REVIEW: Deep Purple – =1 (2024) [Part One – The Album]

Part One of a Three Part Series

Part 1:  =1 (the album)
Part 2:  =1 (the live album)
Part 3: =1 Access All Areas (DVD)

 

DEEP PURPLE – =1 (2024 Edel)

“It all adds up to one…”  Would that have made a better title?  Deep Purple don’t always come out with the greatest album titles or covers, but they have produced consistently good music during the Morse era, and now beyond.  In their first lineup change since Don Airey joined the band in 2003, Steve Morse has stepped down for important personal reasons, and new kid Simon McBride has picked up the plectrum.

When Mr. McBride was born in Belfast in 1979, Deep Purple weren’t even a band anymore.  They were in the middle of an eight-year hiatus.  The last Deep Purple compilation released was 1979’s Mk II Purple Singles when he was an infant.  Deepest Purple wasn’t even out yet.  Rainbow was about to release Down to Earth with Graham Bonnet.  Gillan were working on the second album as a band, Mr. Universe.  Into that world sprang Simon McBride.  He would grow to become a solo artist who would work with Purple members Don Airey and Ian Gillan, before being asked to join temporarily and then permanently.

Retaining Bob Ezrin the producer’s chair, Deep Purple wound up with something familiar, yet slightly different.  There is less double tracking on Ian’s voice, which gives it a fresher sound.  The songs are slightly harder edged, and there are more of them.  =1 is the first first Deep Purple without bonus tracks since InFinite, and like Whoosh, feels conceptual on some tracks.  According to the band, the world is “growing ever more complex, everything eventually simplifies down to a single, unified essence. Everything equals one.”  I don’t know about that, but that’s what =1 means to them.

At 13 songs, the album could be trimmed down to a tidy ten.  Let’s break them down.

Simon gets to show off some new sounds at the start of “Show me”, a relentless groove, unlike anything from the Morse era.  Ian’s speak-sing storytelling vocal is familiar and fun, a perfect way to adapt to singing in your 70s. The groove is different from past works.  Wonderful solo work from Don and Simon here, with Don on synth.  The back and forth is very tasteful.  It’s more playing for the song, and less trying to outplay each other like Jon Lord and Ritchie Blackmore in the 1970s.

Track two continues that hard grooves.  “A Bit on the Side” boasts a great chugging guitar part, very different for Deep Purple of any era.  The chugging is almost Slash-like, circa “Locomotive”.   The chug-riff is the main feature, but once again Simon’s solo is stratospheric with loads of technique.  Don’s is equally cool, with a spacey vibe.

“Sharp Shooter” is one song on which Ian doesn’t sing the name in the chorus. Instead there is a memorable refrain of “Shot in the dark”.  The vocals are pushing the upper limit a bit, and the song has a vibe very much like the Morse era of Deep Purple.  Nice soulful female backing vocals here, which is rare in Deep Purple.  Once again, Don is focusing on the synth for solos.  Not a highlight, but a decent tune with a modern Purple groove.

The first video/single was “Portable Door”.  Ian Gillan weaves his traditional “English as a second language” lyrical whimsy.  Some favourite lines:

When it came to me one day in Jerksville
Man, I was right on the edge
And that jacket’s too small for a man of your size
And those socks are too big for your head

I love that.  Socks are too big for your head?  Why not.  The lyrics seem to be about tedious conversations that go in one ear and out the other.

I was trapped in a dire situation
Between reason and someone-in-law

“Between reason and someone-in-law” is just brilliance.  Only Ian Gillan could write that.  Meanwhile, Simon hits you with a cool chord that swooshes through.  “Portable Door” has a stamp like the last few albums, but the one Simon chord really sets it apart.  One chord:  huge impact.

“Old-Fangled Thing” has a nice lyrical reference back to “Living Wreck” from In Rock, but is not the most memorable of songs.  Is “old-fangled” another Gillan-ism?  This song is a little tricky, like much of the Morse era was.  In the end, it’s possible that this song could have been axed, but its speed is impressive.

There are two “ballads” (or slow blues) on this album.  The dramatic one is “If I Were You”.   There is a memorable chorus and a mournful guitar melody that might recall things like “When A Blind Man Cries”.  Either way, Purple have done some impressive ballads and slow songs during the Morse era, and now the Simon era too.  His solo is a little Bonamassa at times.  Also take note:  there’s an orchestra on this track!

The second single “Pictures of You” is immensely memorable.  A fantastic song, with a focus on vocal melody.  Purple play it simpler here and the dividends pay off.  There’s a bit of multi-tracked vocals on the chorus, which is essentially what this song is about:  the chorus!  Until we get to the outro that is, which is more Marillion than Purple.

On the single for “Pictures of You”, the song went right into “Portable Door” without a break.  The effect was an exciting transition.  It’s less exciting on album, leading into “I’m Saying Nothin'”.   This has that herky-jerky feel of the Morse era, but is otherwise not particularly memorable.  Another one that could have been cut.

What’s the story with “Lazy Sod”?  Ian Gillan was asked how many songs he’d written in his life.  He estimated about 500.  He was then informed that Dolly Parton wrote over 5000…”you lazy sod”.  Can’t argue with that, so Ian turned it into a lyric. “That’s alright because I’m a lazy sod, and I’m hot.”  It’s the third single and the most “rock” of them. Very old-school Deep Purple.  Could have been on Who Do We Think We Are!

“Now You’re Talkin'” is the second song with an abbreviated “in'” title instead of “ing”.  (David Coverdale, were you in the room?)  Very similar to “Bananas” from 21 years ago.  Almost a re-write of that prior song, but with a really fun screamed part in one of the verses.  Really great riff, and always a pleasure to hear Ian do a scream, whether he sounds like a 70+ year old or not!  Wait til you get to the solos!

Back in the Rapture of the Deep era, Ian told us that “Money Talks” to him.  Now, he has “No Money to Burn”!  There is an organ-based riff, which is a nice change of pace for this album, but the song is otherwise unremarkable.  The third of three songs we could cut to get down to ten.

Deep Purple are not overkilling it on ballads.  “I’ll Catch You” (maybe a slow blues) is a lovely ballad, soft and bluesy like a smokey club.  It is placed perfectly near the end as an ear-cleanse, before we get into one of the best Deep Purple closers in years with the very English title, “Bleeding Obvious”.

If “Bleeding Obvious” isn’t the best closer since “Bludsucker” on Abandon, then let’s hear your picks!  It could also be the most progressive tune?  Could that opening figure work for Dream Theater or Marillion?  Or even Rush?  This is an absolutely brilliant tune, mostly down to that tricky riff and melody.

And so that’s it with =1; no bonus tracks this time.  There is a deluxe box set with the first official release of a concert with Simon McBride, which we’ll get into on a separate review.  Aside from the length, the only real complaint here is the minimalist artwork.  The inner sleeve art is far more engaging.

4/5 stars

Tim’s Vinyl Confessions: Ep. 551: Deep Purple (=1 review) [VIDEO]

Deep Purple albums take time to absorb, especially in the current “Ezrin era”.  The records are not lazy with simple songs (puns intended)!  Tim and I attempted to break down the new album =1, track by track.  We tended to agree on a lot of the songs.

What’s with the artwork?  Is Simon a new Blackmore?  What the heck is Ian Gillan singing about?  Find out in this excellent episode of Tim’s Vinyl Confessions, out today.

My written review of the album will follow tomorrow morning, with the deluxe edition live discs getting the written review treatment in the coming weeks.

REVIEW: Night Ranger – ATBPO (2021)

NIGHT RANGER – ATBPO (2021 Frontiers)

Here we go with the third and final (to date) Night Ranger album gifted to me by Tim Durling.  ATBPO stands for And the Band Played On.  And play on they did, now with Keri Kelli on guitar after the departure of Joel Hoekstra, currently in Whitesnake.  Tim praises this album highly, so let’s find out why.

Some of the heaviest, slamming guitar I’ve heard from Night Ranger opens up the menacingly fun “Coming For You”.  For some reason I’m thinking of “Lost In America” by Alice Cooper.  This one is a grower.  It jumps out more listen after listen.  There are poker metaphors and a killer multi-part guitar solo!  Sounds absolutely wicked, modern and technical, like Steve Stevens on adrenaline.  It is quite possible that Brad Gillis is from outer space.

Second is “Bring It All Home To Me”, slowing the pace to a hard rock summer groove.  I mentioned to Tim, I was hearing some twang in Night Ranger on the High Road album.  I hear a teensy bit of that on the “baby, baby, baby” part of “Bring It All Home To Me”.  Tim will argue that I am hearing that because nu-country appropriated a lot of 80s hard rock, and there’s an association there.  Another bonkers solo here, making it two in a row for songs that fans of original guitar shred will want to hear.

More Gillis madness on the progressive sounding “Breakout”, bringing back the speed, but with a technical edge that few bands can really match.  Kelly Keagy’s nuts on the drums, and fretboards are burning on the solo.  This has to be one of the hardest Night Ranger songs to date.  Then, a boogie piano and a surprising cocaine reference opens “Hard to Make it Easy”, and I’m resisting saying the word ” country” again…but there it is.  This has line-dancing qualities.  Now I’m not meaning this in a bad way.  Night Ranger are allowed to stretch out and play stuff like this, and I won’t complain.  The chorus sounds like Shania…just sayin’…but the dual guitar solo is more Lizzy.

We go somewhere down the crazy river with the snaky opening guitars of “Can’t Afford a Hero”, which soon transitions to a standard acoustic ballad.  It would make a good Shaw-Blades track.  Good tune with, again, great solo work.  One of the more adventurous tunes.

“Cold As December” is a standout, with a powerful quality you can just pound your fist to.  It’s just all riff and all beef!  The guitar and vocals melodies are its strength.  Despite its edge, the melodies and hooks shine through.

An unfortunate “We Will Rock You” drum beat soon gives way to another good song, “Dance”, a power ballad with more power than ballad.  Really nice song.  “The Hardest Road” is also ballady, but Kelly Keagy’s lead vocal adds a ragged raspy edge that enhances it beyond.  Then the surprising “Monkey” kicks in with a serious beat.  This is the song that would sound best in the car when you’re on the highway.  Just non-stop stomp.

“A Lucky Man” is an album highlight, upbeat and bright, with a hint of that twang I keep hearing.  This would definitely sound great at camp or cottage in the summertime.  The keyboard and guitar solos are from the moon, which offsets the twang.  Another personal favourite, easy peasy.  Some tasty sweet guitar harmonies open up “Tomorrow”, another nice upbeat rocker with classy keyboard accents.

The closer is a “bonus track” (I ask why?) called “Savior”.  It’s a little…goofy?  I don’t know.  Everybody’s looking for a good time?  Sure.  I’ll agree with that.  Not sure about the song though.

Solid album, if a bit long:  3.5/5 stars.

 

REVIEW: Mr. Big – Ten (2024 Canadian CD version)

MR. BIG – Ten (2024 Frontiers)

Pat Torpey was such an important part of Mr. Big.  Drumming, singing, writing: Pat did it all, and that’s why Mr. Big have found him so difficult to replace.  His death from Parkinson’s disease was shattering to the band.  They carried on with Matt Starr for a while, but they needed someone who could sing.  Enter:  Nick D’Virgilio from Spock’s Beard.  Not just a legendary progressive rock drummer, but also a singer in his own right, Nick was an unexpected but appropriate choice for Mr. Big to record their final (?) album Ten.

Though some fans seem unwilling to allow bands to age and change, Mr. Big has done so without missing a beat.  Sure, Eric Martin doesn’t sound 28 years old anymore (because he’s 63), but there is nothing wrong with his voice here.  Just a little rasp, and a little less range.  He has aged better than most 63 year olds you can name in the rock biz.  He is still top notch, first class, and also a key songwriter here, along with Paul Gilbert and Andre Pessis.  Absent from the credits is Billy Sheehan.  That might explain why this album is less bass-y.  Even so, in 2024 Mr. Big have come up with one of their best albums, up there with Hey Man.

The Gilbert-penned first track “Good Luck Trying” has a definite “Manic Depression” vibe.  It’s a blues-rock classic, authentically rocking as if it came from another decade.  It’s like a time machine, and the Hendrix inspiration is undeniable.  A solid start.

Much like Hey Man and “Take Cover”, the best track is the second one.  “I Am You” will be in your head for days.  There’s a subtle acoustic guitar part, which is something of a recurring feature on this album.  “I Am You” boasts a powerful chorus, but with an anthemic meloncholy vibe.  Too bad a lyric sheet is not included, as this one has cool soul-baring words.  Everything about this song is perfect, from impassioned vocals to mighty chorus.  Sometimes it’s worth buying an album for one song.  This is one of those songs, no hyperbole.  It’s just a little different for this band, but it’s also a total pop rock anthem, and one of best Big songs in years.

We get a Zeppelin vibe on “Right Outta Here”, with bluesy verses and exotic choruses.  Anytime you hear chords that we might refer to as “exotic”, Zeppelin comes to mind.  Expect those Middle Eastern melodies on the guitar, and more acoustic backing.  Nick doesn’t necessarily play like John Bonham, but there are the odd big hits that recall him.

In a fun twist, “Sunday Morning Kinda Girl” contains the lyric “big finish”, the name of their current tour.  This song has a hard rock vibe mixed with 60s melodic sensibility.  Definite Beatles vibes in the melodies, though the song is far harder than the Fab Four.  Their green-tinted sixties minds must have been in tune for this song.  Again, acoustic guitars can be heard in the background, but check out Paul’s very Queen-like guitar solo.

There are a few ballads on Ten.  Ballads have been a thing with Mr. Big since the first album, but obviously “To Be With You” made them far more important.  “Who We Are” is an electric ballad, with a bluesy style.  Not as memorable as some past Big ballads, but a good song regardless.  Great chorus here, and superb drum fills.

“As Good As It Gets” is uptempo acoustic/electric fun.  Like “I Am You”, very different for this band and an easy album highlight.  Once again, the drum work and fills here are stunning.  It’s almost Rush-like.  Paul brings in a very sweet guitar melody, with layers of guitar tracks thickening up the soup.  This song also has one of the few Billy Sheehan bass solos on the album.

The boogie of “What Were You Thinking” has some wicked slide guitar by Paul Gilbert, housed within an uptempo rocker.  Maybe the fastest tune on the album, but it’s not to be compared to old Big like “Addicted to that Rush”.  This is just rock and roll.  The lyrics reference Star Trek with “phasers on stun”, and you just have to love that.  Another possible album highlight.

If there is a weak link, it’s “Courageous”.  It’s a mid-tempo song, but not a ballad.  It has some wonderful guitar, but doesn’t move the Earth.  What does shake the Earth is the opening drum beat on “Up On You”.  A hard rock party rocker, this features the return of the slide!  Just because it’s a hard rock song with slide guitar, there is a slight Motley vibe (circa Dr. Feelgood), but only slight.  Some boogie piano also helps keep things moving, but this is the most 80s rocker on the album.

Closing an album (sort of) with another ballad is daring.  Yet “The Frame” is the softest of them, and a totally appropriate closer.  It’s not “To Be With You”; there is no campfire rock on this album.  There is plenty of music with an emotional weight, and “The Frame” has that and more.  It takes a few listens to sink in, but it’s not really goodbye.  There is a bonus track on all versions of the album.

Some countries got an instrumental track (to be reviewed later), but the bonus track in Canada is different from the one in the US and Japan.  Here we get a blues cover, “8 Days on the Road”.  Easily another album highlight, with someone else (Paul Gilbert?) singing lead on a bluesy drawl.  Brilliant track and playing.  Talk about going out with a bang!  If this really is the end, then “8 Days on the Road” is a brilliant capstone.  It showcases the kind of playing that Mr. Big built their reputation on.

Though Mr. Big albums have been spotty through their career, Ten is among the better records.  It may go down with albums such as Hey Man as a cult classic.

4.5/5 stars

 

Tim’s Vinyl Confessions: Ep. 548: Mr. Big (Ten review) [VIDEO]

Today on Tim’s Vinyl Confessions, we deep dive into the new (final?) Mr. Big album called Ten.  Shockingly, it’s their tenth studio album.  I know, right?  It’s also a few firsts:  the first album with no songwriting from bassist Billy Sheehan, and debut Mr. Big album for new drummer Nick D’Virgilio.  It has been eight long years since their last album, Defying Gravity, which wasn’t bad at all.  Did they top it?  Did they go out on a good note?

My written review will go up tomorrow.

REVIEW: KK’s Priest – Sermons of the Sinner (2021)

KK’S PRIEST – Sermons of the Sinner (2021 EX1 Records)

You can hear from the sound of this album, KK Downing is pissed off.  He wants to prove himself.  He wants to out-Priest Judas Priest.  To that end, he’s recruited former Priest singer Tim “Ripper” Owens for this metal feast, with the emphasis on “metal”.  Everything about this album is about competing with Judas Priest, from getting their younger singer, to initially recruiting Les Binks on drums (replaced by Sean Elg), to song titles, and musical throwbacks.  The end result verges on the territory of “heavy metal bullshit”:  music contrived to sound a certain way, evoking a certain image from a certain time, resulting in generic songs.

Right from the opening “Incarnation”, KK is doing those noisy guitar roars from Priest’s “Sinner”, his trademark solo.  Then we get Elg doing similar double bass work as Scott Travis, and Ripper Owens with a big Priestly scream.  Enter:  “Hellfire Thunderbolt”!  To his credit, Ripper is singing more to the Priest vibe here than he did on either of his actual Judas Priest albums.  “Hellfire Thunderbolt” is equivalent to much of Priest’s current catalogue, and it sure is nice hearing KK wail.  We did miss KK’s sound, no matter how good his replacement is.  It’s not just a single guitar band, with AJ Mills joining KK in a dual solo.  “Hellfire Thunderbolt” is a pretty good, very Priest-like song (right now to the thunder-cracks, very similar to Ram It Down) though not as memorable.

The title track “Sermons of the Sinner” has a title that recalls KK’s signature song, and opens with an impressive drum flurry and a really good riff.  Ripper takes the screaming to the nth degree, and the guitars absolutely shred.  Unfortunately the song is a little faceless, with the focus on speed and not much else.  There’s a great middle section where things slow down, allowing the guitar melody to breathe, but it’s over quickly and then we’re back into a chaotic metal hailstorm, shards of steel hitting your ears in unpleasant ways.

“Sacerdote y Diablo” keeps the pedal to the metal, but does not satisfy the craving for memorable riffing or hooks.  KK’s soloing is starting to sound like razorblades, as he just keeps going for it, and going for it, proving he’s more “metal” than Priest, or something.  “Raise Your Fists” is more like it.  Mid-tempo with melodies you can sing along to, bringing some needed variety to the album.  It’s not a classic, but it could be given time and reception.  Some of the guitar melodies are almost Maiden-y.  The lyrics are just an ode to the experience of a heavy metal concert, a tired concept.  “Brothers of the Road” is another good tune, this time with more groove and chug.  This album is better when KK allows variety to creep into the songwriting.  “Brothers of the Road” isn’t packed to the gills with hooks, but it’s definitely an album highlight.  As great as Ripper is at screaming, this allows him to sing more melodically.

Though the music that opens “Metal Through and Through” is delicate and cool, the title is tiresome.  Perhaps Rob Halford wrote too many epics about metal over the years, and this is just a redundant theme now.  Lyrically, it’s KK paying tribute to the fans, and frankly, to himself.  “And our legacy will prevail”.  Unfortunately the song sounds like a bunch is disjointed bits mashed together, including one that sounds like Accept.  It’s an attempt at an epic, short of the mark by a fair margin.  Considering that all songs are solely credited to KK, this is where we start to really miss the songwriting input of Glenn and Rob.  An unnecessary eight minutes, with an out-of-place fade-out.

“Wild and Free” is back to breakneck.  “We’re rule breakers! We’re hell raisers!” announces Ripper.  Great for headbanging or driving real fast, with some rhythmic recollections back to “Freewheel Burning” right before the chorus.  Intentional?  Probably.  “Freewheel” is a far better song, and there are times when Ripper’s vocals get to be a bit much.

“Hail For the Priest” (this is getting tiresome) opens with a melody aped from “Sign of the Cross” by Iron Maiden.  Though almost certainly a coincidence, the similarity is unmistakable.  Some of  Halfords lyrics are cribbed (“terrifying scream” from “Painkiller”), but once the riff kicks in, we’re off the races.  Nice bass work here from Tony Newton.  The drum pattern is a little less busy, and leaves a little bit of space on the verses.  These factors help make it one of the better songs on the album.

The final track is nine minutes of metal “Return of the Sentinel”.  How do you out-do Priest?  Write the sequel to one of their best tunes, I suppose.  There are references to “Tyrants” and appropriate musical recollections directly lifted from the original “Sentinel”.  Some cool dual guitar work ensues, and an acoustic guitar break brings texture.  Unfortunately there is no proper ending, just a fade out that leaves it feeling unfinished.  Still a pretty good song, though like many sequels, it is more more indulgent, yet still a shadow of the original…and unnecessary.

On his debut, KK stakes out his territory, claiming his slice of the pie.   It is a strong and bold statement, but without the songwriting that we have grown to expect from this heavy metal pioneer.

3/5 stars

REVIEW: Dream Theater – “Hollow Years” (1997 CD single)

DREAM THEATER – “Hollow Years” (1997 Warner Music Germany)

I always found something about 1997’s Falling Into Infinity to be underwhelming.  Yes, we had the stunning Doug Pinnick cameo in “Lines in the Sand” and a wickedly heavy “Burning My Soul”, but the album didn’t have the same impact or longevity as Awake or Scenes From a Memory.  It wasn’t for lack of effort.  They recruited Desmond Child and Kevin Shirley, and released singles.  The album never broke the top 50 in Canada and received mixed reviews.  A later-released demo version of the album revealed what the band would done if not influenced by Shirley and Child.  One of those demos was first released on the 1997 “Hollow Years” single.

First track on this single is a 4:15 edit of “Hollow Years”, with more than a minute and a half edited out.  The shame is that it didn’t become an instant hit.  With the Spanish guitar melody and subtle keyboard accents, it could have and should have done better for the band.  There is a very pretty piano melody after the chorus by Derek Sherinian, in his last of two outings with Dream Theater.  Yet it’s still Dream Theater, not some ballad band.  John Myung’s fretless bass sets it apart, and Mike Portnoy is always Mike Portnoy no matter the style of music.  The premature fade on the edit version, however, is extremely annoying.  Even if you don’t already know the song, it sounds like a premature fade.  The ending is so good; a song highlight!  The full length version, uncut and as intended, is really the only version to listen to.

“You Or Me” is a version of “You Not Me” from the album, before Desmond Child helped them tweak it.  It opens with the sound of a radio changing stations, and then a cool synth rhythm.  John Petrucci’s riff soon kicks in, and it’s clear Dream Theater were trying new things that might be perceived as more appealing.  Ultimately, the version that ended up on the album is probably the better of the two.  It’s definitely catchier.

The final track is “The Way It Used To Be”, a long non-album song with a Marillion-like guitar melody.  It could have been lifted directly from Seasons End.  Petrucci is the star on this one, as he also employs cool harmonics.  Definitely a cool and valuable bonus track.  If it wasn’t almost eight minutes long with plenty of musical prowess, it might have been a worthy hard rock hit on its own.

Great little CD single, but those edit versions are never as cool as they are collectible.

3.5/5 stars

VIDEO: Deep Purple =1 Super Deluxe Box Set Unboxed by Mike and the Mad Metal Man

Here it is: One of the biggest rock album events of the summer! We have the Deep Purple =1 Super Deluxe Box Set in hand, and we go through all its contents. Have a watch.

REVIEW: Ratt – Rarities (2024)

RATT – Rarities (2024 Deadline)

Now that Ratt has ceased to exist as a band, we seem to be getting better and better reissues.  There was that Atlantic Albums CD set that came out recently with cool bonus tracks, and a forthcoming LP reissue with that set with an additional recently-discovered unreleased track.  Too bad Stephen Pearcy didn’t dig that one up in time to issue on 2024’s Rarities album, a nine track compilation of unreleased versions spanning 1982 to 1989.  These include the classic lineup of Peacy, Robbin Crosby, Warren DeMartini, Bobby Blotzer and Juan Crocier.  There is also one previously unheard song written by Pearcy and Crosby to add some extra value.

We open with a 1983 version of “Tell the World” from the 1984 Ratt EP.  It is a less polished version of the same, complete with shouted backing vocals and echo effects.  The most notable differences are the prominent busy Blotzer drum fills.  This is followed by a 1982 rehearsal tape of the hit-to-be, “Round and Round”.  Of course the sound quality is what should expect for a 1982 rehearsal tape.  It’s garage quality and probably recorded by a boom box in a really loud room.  That said, it’s still a fun listen since the band is so tight and the song was years away from the charts.  It’s actually unfinished; about 90% there.

Do you know how many songs Ratt have about wanting something?  We already have “I Want A Woman” and “I Want To Love You Tonight”, which might be why “I Want It All” didn’t make an album.  “I Want It All” is an undated demo from the 80s that was later finished up with new bassist Robbie Crane on 1997’s Collage.  This older version is rougher but otherwise the same arrangement.  It’s a little different for Ratt, opening with acoustic guitars.  It’s a good sassy mid-tempo Ratt track that would have fit on any number of albums post-Out of the Cellar.

The next batch of tunes are live.  “In Your Direction” from Cellar is from 1987, as is “Round and Round”, “Body Talk” and “Drive Me Crazy”, though “Body Talk” is also noted as being live in Germany.  “In Your Direction” is bootleggy, most likely an audience recording.  “Round and Round” is clearer but a little by rote.  You can hear Juan’s backing vocals clearly, and Stephen even drops an F-bomb that would have been edited out had it been released in the 80s.

“Body Talk” and “Drive Me Crazy are a pair from Dancing Undercover.  The intensity of “Body Talk” is impressive, though some of it gets washed out in the thrashy tempo.  The greatest sin, however, is the premature fadeout during the guitar solo.  There is no such fade on “Drive Me Crazy” which fares well live.  The backing vocals are a bit ragged, but it all holds together in a stampeding Ratt romp.

Back to a 1985, “Wanted Man” from Cellar is the last of the live songs.  The bass drum is a bit thuddy, and nothing’s particularly clear (especially Robbin), but the performance is spot on.  Listen, we all like buying bootlegs, don’t we?  You should have no issue with the sound quality so long as you understand in advance, none of these recordings were intended for release.

The final song is the previously unheard “Love on the Rocks” from 1989, which did not make the Detonator record.  Written by Stephen and Robbin, it’s a pretty damn solid Ratt song and one of the best sounding tracks on the album.  The chorus is decent and a properly produced version would have been polished-up album worthy.  As it is, it’s a good B-side or bonus track.

While not essential, this Ratt compilation is a solid addition to any collection.  It’s for the fan that has everything but wants a little (back for) more.  But that cover artwork?  Surely they could have done better than that.

3/5 stars

REVIEW: Polaris Cover Sessions No. 2 feat. Arkells, Joel Plaskett & Zaki Ibrahim (2016 10″ EP)

POLARIS COVER SESSIONS No. 2 (2016 coloured 10″ EP, CBC Music)

Collecting Arkells odds & ends on physical formats is an expensive prospect.  This cool 10″ EP features the Hamilton band, along with Nova Scotia’s Joel Plaskett and Toronto’s Zaki Ibrahim.  The three artists cover Canadian songs on this EP, from artists both famed and obscure.  It is a beautiful transparent blue EP, with a basic cover design.  The names of the featured artists are on the front, with the names of the artsists covered on the back.  The tracklist and credits are inside, on a coloured insert.  More on that in a minute.

Here is a breakdown of the tracks.

 

ARKELLS – “I’m Not Afraid”

Mississauga’s Owen Pallett has a career going back over two decades, previously under the name Final Fantasy.  They play violin and other instruments.  Here’ the Arkells cover of a tune called “I’m Not Afraid”, a powerful tune taking full advantage of their instrumental prowess.  Augmented by a sax section, the song opens with a synthesizer drone, and then a pulsing bassline over it.  It starts off tense and sparse, and takes a little while to launch as the arrangement slowly builds.  It explodes 90 seconds in, with singer Max Kerman breaking into a falsetto on the chorus.  The sax-soaked tune really flies at this point, propelled by drummer Tim Oxford, the engine of the Arkells.  The best word to describe this song is simple – it really cooks.

JOEL PLASKETT – “Bittersweet Memories”

Calgary’s Leslie Feist is better known on the world stage simply as Feist.  Joel Plaskett chose “Bittersweet Memories” to cover.  Plaskett plays everything but the Rhodes keys (by Erin Costelo).  Like Kerman before, he breaks into falsetto at times, but this gentle ballad has a steady beat and a vintage 70s easy listening vibe.  It’s an excellent song, with lyrics that paint a picture.  Here’s the main thing:  Feist really knows how to write a song, and Joel’s no slouch on everything he plays!

ZAKI IBRAHIM – “Show Me the Place”

The final artist to get the cover treatment is the legendary Leonard Cohen.  Zaki Ibrahim chose a song of recent vintage, “Show Me the Place” from 2012’s Old Ideas.  There’s a very low-key and soulful arrangement featuring piano, synth, drum programs and cello.  Though all of this forms a cloudy-yet-vivid atmosphere, it is Ibrahim’s vocals that really make it shine.  Her layered vocals on the chorus sound are stirring and foreboding.  It’s an incredible vocal performance in totality, featuring both restraint and expression.  This is easily an EP highlight.

Here’s the amusing thing about this EP.  There is obvious care put into both the music and the detailed sleeve notes, but they got the track listing wrong.  They switched the Arkells and Plaskett tracks.  In reality, Arkells are on side A, and Plaskett and Ibrahim are on side B.  The sleeve notes are repeated on both sides of the insert, French and English, and both are wrong.  It makes sense for the Arkells track to occupy an entire side by itself, since it is the longest at 5:19.  Funny how these mistakes get made.  The actual label on the record is correct.

A very enjoyable EP, with tracks that should be cherished by fans of all three artists.

4/5 stars

 

 

ARKELLS

  1. Jackson Square (2008)
  2. Michigan Left (2011)
  3. High Noon (2014)
  4. Morning Report (2017)
  5. Rally Cry (2018)
  6. Campfire Chords (2020)
  7. Blink Once (2021)
  8. Blink Twice (2022)
  9. Laundry Pile (2023)
  10. Disco Loadout Volume One (2024)

…and more to come