bob ezrin

RE-REVIEW: KISS – “God Gave Rock & Roll to You II” (1991 single)

The KISS RE-REVIEW SERIES Part 40:

 – “God Gave Rock & Roll to You II” (1991 Interscope single)

Kiss’ Hot in the Shade tour wasn’t a sellout, but it was well received by fans who appreciated that a bunch of older songs were back in the set.  The tour was unfortunately highlighted by the June 15, 1990 date in Toronto, igniting a feud with Whitesnake.  Kiss were third on a four-band bill, with David Coverdale, Steve Vai and company in the headlining slot.  Paul Stanley used his stage raps to complain that Whitesnake wouldn’t let them use their full setup, including a giant sphinx.  When Whitesnake hit the stage, it was to a chorus of boos.  Steve Vai later stated that it was the first time he had ever been booed.  Vai once even walked onstage to the sound of people chanting “Yngwie! Yngwie! Yngwie!”, but he had never been booed until the incident with Kiss in Toronto.

When the tour wrapped up in November, Kiss took a few months off before gearing up again in the new year.  It was to be another album, another tour, but suddenly real life interfered.

Eric Carr hadn’t been feeling well.  Flu-like symptoms turned out to be heart cancer.  Simultaneously, Kiss received an offer to record a song for the sequel to Bill & Ted’s Excellent Adventure.  Carr underwent surgery in April, with chemotherapy following.  Having little choice, Kiss recorded without him.  Eric Singer, who had performed so well on Paul Stanley’s solo tour, filled in on drums.  Eric Carr, in a wig, was able to play for the music video taping.  He gave his all, and did a full day’s shoot, with excellent (pun intended) results.

Unfortunately a rift was developing, with Eric Carr feeling shunned and excluded from Kiss.  He was afraid he was going to be replaced, permanently, and his relationship with the band was strained.  Although everybody hoped Eric would make a full recovery, he passed away from a brain haemorrhage on November 21, 1991.  Eric Carr was 41.

On the same date, Freddie Mercury of Queen succumbed to AIDS.  Carr’s death was barely mentioned in the news, including Rolling Stone magazine who missed it completely, prompting a harsh reply from Kiss:

If anything positive came from Eric Carr’s death, it was that Kiss were going to put all that anger and frustration back into the music.  The music was to be their Revenge.

It started with “God Gave Rock & Roll to You II”, a re-imagining of an old Argent song for the Bill & Ted movie.  Eric Carr may not have been well enough to play drums, but that didn’t stop him from singing.  His vocals on “God Gave Rock & Roll to You II” were his last.  The song wouldn’t be the same without Carr, as he can be heard sweetly harmonising with Paul Stanley.   Eric Singer wasn’t credited on the single, or the final soundtrack for Bill & Ted’s Bogus Journey.  It simply says “performed by Kiss”.

“God Gave Rock & Roll to You II” was important for two more reasons.  First, and very significantly, it was produced by Bob Ezrin.  Ezrin was responsible for the two albums that some consider Kiss’ best, and Kiss’ worst.  It had been 10 years.  A Kiss-Ezrin reunion was very big news for fans.  It indicated that Kiss meant business this time.  Secondly, “God Gave Rock & Roll to You II” was the first Paul Stanley/Gene Simmons (with Bob Ezrin and Russ Ballard) co-writing credit since 1985, and their first shared vocals in ages upon ages.

Although it didn’t make waves in 1991, “God Gave Rock & Roll to You II” has become enough of a favourite to make it onto 2015’s Kiss 40 compilation, and continue to be played live.  It shows off what Kiss can really do.  Yes, they can sing!  Yes, they can play!   This lineup could do it particularly well.  It’s appropriate that Eric Carr went out on a good Kiss track.  And Eric Singer was the right guy to continue.

There are three released versions of “God Gave Rock & Roll to You II”:  The single edit (3:57), the soundtrack version (5:23) and the final 1992 version that was later released on the next Kiss album (5:19).  The single edit cuts out too much of the grand, pompous arrangement, including the epic opening.

In an ironic twist, the version of “God Gave Rock & Roll to You II” that is in the movie has a guitar intro solo by Steve Vai.  The same guy whose band got booed in Toronto thanks to Kiss.

The CD single is rounded out by two more songs from the Bill & Ted soundtrack, by Slaughter and King’s X.  The King’s X track, “Junior’s Gone Wild” (previously reviewed in our mega King’s X series) has never been one of their better tunes, but as a non-album rarity, a nice one to have.  Just don’t judge King’s X by this one track.  Slaughter turned in something better, a fun party tune called “Shout It Out”, also a non-album recording.  Slaughter, of course, were one of Kiss’ well-received opening acts on the Hot in the Shade tour.  And what was their Kiss connection?  Mark Slaughter and Dana Strum were in a band with Kiss’ old guitar player, called the Vinnie Vincent Invasion!

As work proceeded on the next LP, the world suddenly changed.  Hard rock was out, and grunge took over MTV.  This single bought Kiss a little bit of time, but it was going to be the longest gap between Kiss albums yet — three years.  Revenge had to wait a little longer.

Today’s rating:

3.5/5 stars

 

Original mikeladano.com review:  2012/08/08

 

 

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REVIEW: Alice Cooper – “Paranoiac Personality” (2017 single)

ALICE COOPER – “Paranoiac Personality” (2017 Edel 7″ single, white vinyl)

In 1969, the original Alice Cooper group released their debut album for Frank Zappa’s Straight records.  The band consisted of Vincent Furnier on lead vocals using the stage name of “Alice Cooper”, Michael Bruce & Glen Buxton (guitars), Dennis Dunaway (bass), and Neal Smith (drums).  This legendary lineup laid waste to rock and roll until 1974 when they split for Alice to go solo.  Though Glen died in 1997, the surviving member eventually reunited on vinyl in 2011 for three tracks on Welcome 2 My Nightmare.  Since then the original band has worked together with surprising regularity, including on Cooper’s latest album Paranormal.

To go with the Paranormal brew-ha-ha, Alice put out a 7″ white vinyl single for “Personoiac Paranality” “Paranoiac Personality”.  It’s an easy track to like with a vibe reminiscent of his classic single “Go to Hell”.  This is likely to be a concert classic for as long as Alice tours.  The chorus is meant for a crowd to sing along.  “Paranoid!  Paranoid!”

A great B-side is what makes a single memorable.  In 2017 you see all kinds of gimmicky singles, from coloured vinyl to ridiculously low production numbers.  That stuff won’t make me buy a single; but an exclusive B-side will.  “I’m Eighteen” is performed by the aforementioned original Cooper band!  They are augmented by current Cooper guitarist Ryan Roxie, filling in for Glen Buxton.  What a great version this is, and how much more authentic can it get?  Alice has a nice intro for Glen, and it’s stuff like this that makes a single worth spending the money (and shipping) on.  My copy came from Seismic Records in the UK, but it was worth it to me.  The pristine white vinyl is just the icing on top.

5/5 stars

 

REVIEW: Deep Purple – “Johnny’s Band” (2017 single)

DEEP PURPLE – “Johnny’s Band” (2017 Edel single)

2017 is the year of Purple. Witness: We have not just their awesome new album InFinite, but also a new live album included with the deluxe box set version.  There is a Classic Rock magazine CD called Limitless including an exclusive version of “Black Night”.  There have been two CD singles (“Time for Bedlam” and “All I Got is You“) each with their own exclusives.  Now, Deep Purple have released their third single from InFinite, called “Johnny’s Band”.  More exclusives abound, making this quite a fun year for Deep Purple fans and collectors.  Have you been keeping up?

If you bought InFinite (and you should, what are you waiting for?), then you know “Johnny’s Band” is one of the most instantly catchy songs on it.  Upbeat and danceable, “Johnny’s Band” is a hoot.  Gillan’s lyrics are witty and honest, and did you notice the musical segue into “Louie Louie”?  “Johnny’s Band” is a much more obvious single than the first two they released, so let’s be glad that somebody thought Deep Purple needed three singles for InFinite.  The lyrics tell the story of a band who hit it big, fell down hard, but keep slogging away in the bars anyway.  In the end, Gillan gives it a positive conclusion.  It is, after all, all about the music.

But hey, it’s Johnny’s Band,
Playing all those wonderful songs,
Making the rounds with that old fashioned sound,
And here we are singing along.

Perhaps there’s a little slice of life in there.

Track 2 is an unreleased studio jam.  “In & Out Jam” focuses on a low key guitar riff as its base, but spreads in other musical directions from there.  The bottom line is this:  Steve Morse, Don Airey, Roger Glover and Ian Paice jamming together is always going to produce something of value.  “In & Out Jam” isn’t a song and probably wasn’t likely to ever become one, but these are ideas from the best brains in rock and enough to make the musician in you weep in sorrowful inadequacy.

Live tracks from Gaelve, Sweden finish off this single.   There are now three different live versions of “Strange Kind of Woman” released this year.  My Deep Purple folder has 27 different versions of “Strange Kind of Woman”!  How much is too much?  Who cares.  “The Mule” is played far more rarely, but there is still another version of it on the deluxe boxed InFinite set.  It’s a thunderous showcase for drummer Ian Paice, who is still one of the greats at age 69.  The years take their toll on everyone, but Paicey does not sound 69 years old here!

The last of the live songs is the newest, “Hell to Pay” from 2013’s Now What?!  This is only the third live version of the song ever released.  It’s a short blast of guitar and keyboard mania, with a chorus on top.  Its most interesting feature is the organ solo in the middle, something you don’t hear on many singles (which “Hell to Pay” was).

Purple are currently on tour with Alice Cooper.  Both artists have put out remarkably strong albums in 2017.  Will wonders never cease?

4/5 stars

REVIEW: Alice Cooper – Paranormal (2017 2 CD edition)

ALICE COOPER – Paranormal (2017 Edel 2 CD edition)

Both Alice Cooper and Bob Ezrin had a lot to live up to with their latest collaboration Paranormal.  Excluding 2015’s covers album Hollywood Vampires, their last record together was the remarkable Welcome 2 My Nightmare in 2011.  Bob Ezrin has already produced one of the more impressive rock albums of 2017, Deep Purple’s InFinite.  Considering this recent track record, one might say we expect the goods this time too.

Paranormal is a great album, loaded with fantastic Alice Cooper material of different rock and roll styles.  It is not up to the level of brilliance of Welcome 2 My Nightmare.  That album (a concept album sequel) was dense with ideas and composition.  Paranormal is a step towards something less conceptual and more like a traditional album.  The big surprise this time out is the drummer:  U2’s Larry Mullen plays on 9 of the 10 core songs, and you’d never guess that without reading the credits.

The title track is impressive on its own.  It has a haunting guitar hook and vocal, and is built a bit like Alice’s horror material from the 80s.  That’s Ezrin’s pal, Roger Glover from Deep Purple on bass.  Back to the early 70s, get down with some hard rocking “Dead Flies”, but don’t let your guard down.  Relentlessly, “Fireball” blazes down the terrain, kicking aside everything not nailed down.  Alice doesn’t have anything that sounds like “Fireball” on any of his other albums.

The lead single “Paranoiac Personality” (a single worth tracking down for an exclusive live B-side) is similar to “Go to Hell” (from 1976’s Alice Cooper Goes to Hell).  It’s the kind of magic that happens only when Alice Cooper and Bob Ezrin work together.  Memorable Alice Cooper rock, accessible enough for radio play, but within the personality of Alice.

Moving on to sleaze rock, “Fallen in Love” is a strong entry.  If it sounds a little greasy, that’s probably because Billy Gibbons is on it.  It’s followed by a speedy trip called “Dynamite Road” with a neat spoken-word style vocal.  It suits Alice’s storytelling lyrics.  After a couple of heavy bashers, it’s good to get back to a groove on “Private Public Breakdown”.  These are some impressive songs, each different from the other but fitting the whole.

A kickin’ horn section joins Alice on “Holy Water”, a fun and unorthodox rock and roll sermon.  Then there’s a good old fashioned punk rocker called “Rats”.  It might remind you of Michael Monroe’s classic “Dead, Jail or Rock ‘N’ Roll”.  It’s the only song on disc one that Larry Mullen doesn’t play on.  “Rats” has the surviving original Alice Cooper band: Michael Bruce, Neal Smith, and Dennis Dunaway.

Going for a haunting close, there is an understated song called “The Sound of A” to end the album proper.  This truly recalls Welcome to (and 2) My Nightmare.  Original bassist Dennis Dunaway co-wrote and plays bass on the track.  Although he was not in the band during the Nightmare era, that is what immediately comes to mind.  This is the kind of song that has the potential to become an Alice classic a few years down the road.

Cooper has been generous with bonus tracks on his last few albums, and Paranormal has a fully loaded second CD.  There are two more brand new songs featuring the surviving members of the original Alice Cooper band.  Steve Hunter is also on board with some slippery slide goodness.  “Genuine American Girl” is a transgender celebration, the kind of thing that would have been cutting edge in 1972, but today is just timely.  Smith co-write this with Alice and Ezrin, and it’s a remarkably catchy little tune.  “This is no-man’s land and I live here every day” sings a gleeful Alice.  It does sound like something the original band could have played back then.  “You and All Your Friends” (Cooper/Dunaway/Ezrin) is more of an anthem.  A crowd could definitely sing along.  These two tracks serve as reminders to what great players the original band members are.  Neal Smith is absolutely a drumming maniac and Dennis Dunaway is still one of kind.

There are six more bonus tracks, all live cuts from 2016 featuring Alice’s stellar live band.  It’s good to have these, because really the only thing missing from the new songs is guitarist Nita Strauss.  She’s a monster player.  For those hoping to hear Nita on Alice’s new album, at least she’s on the bonus tracks.  The live cuts are a fairly standard selection of 70s hits (all but “Feed My Frankenstein”).  You know what you’re getting:  expertly performed Cooper classics by his gang of professional rock and roll misfits.

Paranormal is yet another late-career triumph by Alice Cooper.  It’s just a hair shy of mind blowing.

4.5/5 stars

REVIEW: Alice Cooper – The Life and Crimes of (1999 box set)

ALICE COOPER – The Life and Crimes of Alice Cooper (1999 Rhino 4 CD set)

With the benefit of hindsight, 1999 was way too early for Alice Cooper to be looking back with a comprehensive box set.  His new album Paranormal will be out this month.  He’s been consistently touring and recording.  The picture was different in 1999 though, since Alice had been quietly under the radar for much of the decade and there was no sign of new music coming.

This Rhino box set is pretty comprehensive.  Though there are plenty more rarities out there to get on singles and elsewhere, Rhino served up a very generous selection of them.  Starting in 1966 with singles by The Spiders and The Nazz, Alice’s sound begins to evolve.  Those early bands were 4/5 of the original Alice Cooper group:  only drummer Neal Smith had yet to join.  The early singles are unfocused compared to what Alice was going to do in a couple years.  “Don’t Blow Your Mind” and “Lay Down and Die, Goodbye” (sometimes known as “I’ve Written Home to Mother”) are sloppy psychedelia.  “Hitch Hike” is like rockabilly.  “Why Don’t You Love Me” is late 60s style rock and roll with a nice harmonica part.  It sounds influenced by the Beatles.

A demo version of “Nobody Likes Me” is the first “official” Alice Cooper Group track and it sees the sound veer closer to where they were headed.  It has a sing-song melody that recalls “School’s Out” later on.  A few tracks from Alice’s first two albums (Pretties For You and Easy Action) demonstrate a work in progress.  “Reflected” is an early version of something that would be re-written as “Elected”.  The band was still very psychedelic and not as tight as they would become.

There is a sudden shift, and Alice Cooper emerges as the classic artist we know and love when he hooked up with producer extraordinaire Bob Ezrin.  “Caught in a Dream” (a single edit) and a number of essential tracks from Love It to Death kick the box set right in the ass and it suddenly becomes a very engaging listen, when before it was just…interesting.  A quintet of songs from the next album Killer are just as special, though including “Halo of Flies” would have been appropriate too.

Before heading into the School’s Out material there is a rare demo entitled “Call it Evil”.  A small portion of the music would make it into the the classic West Side Story tribute “Gutter Cat vs. the Jets” (also included), but this is its own song and otherwise unreleased.  The single version of “School’s Out”  is an obvious inclusion, but these two are the only tracks from School’s Out, a baffling set of omissions.  Granted, “School’s Out” plays like a concept album and is tricky to split up for a box set, but it is under-represented here, period.

Billion Dollar Babies is considered a peak of this period, and gets five tracks of its own, all brilliant.  “Elected” is the single version.  “No More Mr. Nice Guy” is a highlight of Alice’s entire career and it still sounds fresh.  Another rarity ensues which is “Slick Black Limousine”, a UK exclusive flexi-disc release.  It sounds more like early Alice Cooper group material, with Alice doing his best Elvis.  The end of the original group was nigh, unfortunately, and Alice’s next album Muscle of Love was noticeably lacking something.  Maybe it’s because Bob Ezrin didn’t produce it, but the band was also on the verge of splitting.  Addictions were hurting them.  They were still making great rock and roll, just not…as great.  “Respect for the Sleepers” is a demo version of “Muscle of Love”, an unreleased track with lyrics inspired by Alice’s “dead drunk friends” (Jimi, Janis, Jim).  There are more songs from Muscle of Love included than there were for School’s Out, which is odd but alright.

At this point, Alice split from the original band.  Then there are a pair of rarities featuring Alice from an obscure rock opera called Flash Fearless Vs. the Zorg Women, Pts. 5 & 6.  Before Queen, there was this Flash Gordon album and Alice’s tracks feature players like John Entwistle, Kenney Jones, Nicky Hopkins, Bill Bruford and Keith Moon as “Long John Silver”.  “I’m Flash” and “Space Pirates” are mere curiosities, but it’s stuff like this that makes buying a box set so much more worth it.  Where else would you hear these tracks?  Both feature Alice’s delicious trademark sneer.

Alice’s solo career really began with 1975’s Welcome to My Nightmare.  He and Bob Ezrin went all-in with an elaborate horror rock concept album featuring a number of classics.  “Welcome to My Nightmare” and “Only Women Bleed” are single versions, and it’s fantastic that the blazing “Escape” was included.  Another concept album, Alice Cooper Goes to Hell, was not as strong.  Only two tracks are included, but both were singles.  “Go to Hell” is a must-have.

The third CD in this box set commences a murky period.  Alice was making albums frequently, but they weren’t as well received and many dwell in obscurity.  Lace and Whiskey was pretty good, and “It’s Hot Tonight” is a great track to start the disc.  Meanwhile, original band members Michael Bruce, Neal Smith and Dennis Dunaway formed the Billion Dollar Babies.  They made one album called Battle Axe, and their cool rock track “I Miss You” is included.  That’s a nice touch, because for the first seven albums those guys were as important as Vincent Furnier (aka Alice Cooper).  Michael Bruce sings, but lead guitarist Glen Buxton was more or less incapacitated by addiction and wasn’t invited.  “Battle Axe” sounds like a natural continuation of the Muscle of Love sound.  A bunch more rarities are incoming:  a torch ballad called “No Time for Tears” (unreleased) and “Because”, the Beatles cover featuring the Bee Gees.  This was from that pretty mediocre Sgt. Peppers tribute album from 1978, so it’s great to be able to get it in a box set.  Alice’s interpretation is creepy, and the Bee Gees are immaculate.

Moving on to his next solo album, Alice changed direction on From the Inside.  He had just gotten out of rehab (an actual mental hospital) and made a concept album with David Foster and Bernie Taupin about the experience.  The title track is included as a single version, and you also get the beautifully campy ballad “How You Gonna See Me Now”.  It was a single too, and its B-side “No Tricks” is also included.  It is a duet with soul singer Betty Wright.  Disc three is generous in rarities.  Another one called “Road Rats” (produced by Todd Rundgren) is a decent rocker from a movie called Roadies.

Alice moved into the 1980s on Flush the Fashion which employed some new wave and punk influences.  Its two best songs, “Clones (We’re All)” and “Pain” are included.  1981 brought Special Forces and more rarities.  “Who Do You Think We Are” is a single version, and “Look at You Over There, Ripping the Sawdust from My Teddy Bear” is a synthy unreleased song pulled last minute from the album.  Then there is “For Britain Only”, the stripped-back rocker from the EP of the same name.  “I Am the Future” is a single version originally from 1982’s Zipper Catches Skin.  Completing this era (sometimes called Alice’s “blackout period”) are a pair of tracks from DaDa (1983).  Alice had moved as far as he would go into the high-tech synthesizer direction, and he soon cleaned up for good.  A couple odds and ends tidy up the tracks from this era.  “Identity Crisises” and “See Me in the Mirror” are previously unreleased songs from the Monster Dog movie (1984) which starred Alice.  These are very low-fi tracks, but “Identity Crisises” is actually pretty cool.

The final track on the third disc is the first one from Alice’s big comeback period.  “Hard Rock Summer” is a fun heavy metal rocker from the Jason Lives soundtrack.  It’s cheesy but also previously unavailable.  The fourth and final CD picks up there, with two more rarities from the same movie.  “He’s Back (The Man Behind the Mask)” is included in demo and movie mix versions.  Onto 1986’s Constrictor LP, you get the enjoyable “Teenage Frankenstein”.  By 1987 Alice was telling us to Raise Your Fist and Yell on “Freedom”.  The excellent “Prince of Darkness” is also from that album, but then there are two more rarities.  Alice cut a re-recording of “Under My Wheels” with Axl Rose, Slash and Izzy Stradlin for the movie The Decline of Western Civilization Part 2: The Metal Years. Unlike many re-recordings, this one is well worth it because hey, it’s Guns N’ fuckin’ Roses.

Alice’s sound got slicker moving into the late 80s. “I Got a Line on You” is a Spirit cover from the movie Iron Eagle II. There is a notable shift towards mainstream hard rock, and this spilled over onto the next album Trash (1989).  This box set has three songs from Trash, but one is the irritatingly bad title track featuring Jon Bon Jovi.  His sound got a little tougher on Hey Stoopid (1991) from which you get a single version of the title track, and “Feed My Frankenstein” (also from Wayne’s World).  The Hendrix cover “Fire” is the last song from this period, which was a B-side.  Unfortunately another B-side called “It Rained All Night” is a superior song, but not included.

Alice took another short break between albums before emerging in 1994 with another critically acclaimed concept album, The Last Temptation.  Alice shed the trappings of the 80s and the album is held in high esteem today as a diverse combination of the 70s and 90s.  Three tracks represent it, but it’s hard not to wish “Side Show” was also included.

The Last Temptation was Alice’s last studio album when this box was released in 1999.  In the meantime, Alice made friends with Rob Zombie who was obviously influenced by the Coop.  They collaborated on a song called “Hands of Death (Burn Baby Burn)” for an X-Files CD.  This box set has the unreleased “Spookshow 2000 Mix”.  The track points in the direction of Alice’s next album Brutal Planet.

This box set is quite an epic journey, with many facets and side roads.  A trip like this needs an appropriate closing, and Rhino did something interesting to do that.  They broke the chronological format they used for the majority of the set, and slid in the acoustic rocker “Is Anyone Home?”.  This was a studio track included on Alice’s 1997 live album A Fistful of Alice.  This serves as the climax, and “Stolen Prayer” from The Last Temptation is the finale.  “Stolen Prayer” is a powerful duet with the late Chris Cornell.  It was always a perfect closer, but now it’s…also sad.

It should be obvious now that The Life and Crimes of Alice Cooper is a worthwhile box set even for fans who own every album.  The wealth of rarities are just a taste, but they certainly scratch a lot of track off of collector’s lists.  Many remain exclusive to this box set.  On top of that, it is simply a good listen, bumpy start aside.

4.5/5 stars

REVIEW: Spaceballs – The Soundtrack (1987)

I will be going LIVE at 12:30 AM (ET) Saturday morning with Robert Daniels on VISIONS IN SOUND. Tune in on your dial to 98.5 or internet to CKWR!  If you’re in the UK, why not wake up with us and some cool soundtrack music?

May was Star Wars month on Visions In Sound, but now it’s June and it’s also the 30th anniversary of the Star Wars parody Spaceballs!  We will be spinning music and discussing this comedy classic.  Jason Drury and I will help Rob with the celebration.  Join Us THIS Saturday 12:30-2:30am (ET)

 

SPACEBALLS – The Soundtrack (1987 Atlantic)

Hello, baaaaabay!

Composer John Morris has a long career working with Mel Brooks.  The Producers, Young Frankenstein, Blazing Saddles…all that was John Morris.  He is also responsible for the “Spaceballs Main Title Theme”, which is intentionally cheesy complete with laser beam sounds.  Any spoof of Star Wars should also spoof the music, and the title theme suits that role.  It sounds 50% Star Wars, and 50% The Last Starfighter.  It’s rousing but not at all serious, and a fine indication of the kind of movie that Spaceballs is.  The film wasn’t so well received back in 1987, but today it is fondly remembered.  Mel Brooks is even considering a sequel.

Kim Carnes and Jeffrey Osborne provide the love ballad “My Heart Has a Mind of Its Own”.  I enjoy Kim’s rasp, always nice to hear, but I couldn’t tell you what scene in the movie this goes with (and I’ve seen the movie 100 times at least.)  You can safely skip this one. Berlin have a cool track called “Heartstrings”, produced by none other than Bob Ezrin! This one is worth a listen.

The “Spaceballs Love Theme” is a violin piece composed Morris and performed by Gerry Vinci.  It too has a hint of corniness, but it could also fit into just about any Hugh Grant rom-com.  Also by Morris is “The Winnebago Crashes”, the point in the film in which our heroes crash on the desert planet.  This is an action packed centerpiece, with drums pattering away and horns ablaze.  This is melded with a tension-filled “The Spaceballs Build Mega Maid”.  Too bad these bits had to be edited together for the album.

“Spaceballs” by the Detroit Spinners is a hoot.  This is pure 80s soundtrack music.  Who you gonna call?  You’re in the right ballpark anyway.   It’s fun, and funny.  The Pointer Sisters have “Hot Together”, and it sounds just like the Pointer Sisters.  Disposable 80s pop but fun in the moment.  In a similar vein is “Wanna Be Loved By You” by a group called Ladyfire.  If you miss the days of the Bangles and Bananarama, then you’d dig Ladyfire.

Of course the Spaceballs movie had a lot more music than this.  It’s clear that this CD is just a cross-section with an emphasis on pop, which would have been the selling point for most.  Those who have seen the movie know there were two more big songs.  One was “Raise Your Hands” from Bon Jovi’s Slippery When Wet.  That’s not on the CD, but Van Halen’s “Good Enough” is.  Fans will recall that this song is playing as Barf (John Candy) and Lone Star (Bill Pullman) enter the space diner, just before John Hurt’s chest explodes and gives birth to an Alien.  It’s good to know that Eddie Van Halen’s axe will still be wailing away in the distant future.  Van Hagar were perfect music for the sleazy diner and it’s nice to get one rock song on this CD.

There is also a 19th Anniversary Edition available, expanded with all the cues and alternate takes too.  Still no Bon Jovi though….

2.5/5 stars (for this edition)

RE-REVIEW: KISS – Music From the Elder (1981)

The KISS RE-REVIEW SERIES Part 20:  

  Music From the Elder (1981 Casablanca, 1997 Mercury remaster, 2014 Universal vinyl)

Kiss had gone as far as they could go in the pop direction that they travelled on Unmasked.  The band’s stature was in jeopardy.  The image was outweighing the music and they suffered their first member defection.  As discussed in chapter 18, Peter Criss was out, but he was replaced by an energetic young drummer henceforth known as Eric Carr.  His abilities put sounds in reach that the band weren’t able to do with Peter Criss.  The smartest move, albeit the safest, would be a return to the band’s hard rocking roots.  Songs were written and demoed, including “Don’t Run” (Frehley/Anton Fig), “Every Little Bit of My Heart” (Stanley), “Deadly Weapons” (Stanley/Simmons), “Nowhere to Run” (Stanley), “Feel Like Heaven” (Simmons) and an instrumental called “Kix Are For Kids”.

Based on what we know of these songs today, Kiss easily could have turned them into a classic sounding album.  Whether it be ego, fear, ambition or sheer hubris, Kiss scrapped the demos and aimed instead to shoot in another direction.  That is, Paul Stanley, Gene Simmons and manager Bill Aucoin changed direction at the protest of Ace Frehley.  Eric Carr had no say, being an employee.  Playing on the strengths of Kiss’ larger than life comic book image, Gene concocted a fantasy story that they wanted to turn into a concept album.  If that was successful, they could spin the album off into sequels, a tour and a movie.  And who else would be better to produce a concept album than Bob Ezrin?

The addition of Ezrin was another grievance for Ace Frehley.  It was Bob Ezrin who replaced him on 1976’s Destroyer album with Dick Wagner on “Sweet Pain”.

So a fractured Kiss went into separate studios to record the concept album.  Ace stayed in his new home studio in Connecticut and recorded his guitar parts there, painstakingly taking his time to get just the right crunch.  Much to his chagrin, Bob Ezrin used only bits and pieces of what he was sent.  Bob was dealing with a severe drug problem, and had isolated himself so that the only lines of communication regarding the album were Kiss and Bill Aucoin.  Nobody outside of the circle heard a note until they were done.  There was talk of a double album, but it made sense to do it one at a time…just in case it didn’t sell.  Hence the title, Music From the Elder.  Like Star Wars, this was meant to be only a part of the whole story.

A word about the running order.  When Music From the Elder was first released in North America, the story didn’t make much sense.  It was supposed to begin with the instrumental “fanfare” and then the acoustic strumming of “Just a Boy”.  Instead the record company shuffled the song order to start with something heavier:  “The Oath”.  But the concept never made any sense.  In 1997, Mercury released the Kiss remastered series, and restored the original intended track order.  They even restored a snippet of “lost” music, a Gregorian chant bit between the first two tracks.  The original Japanese pressing came with the tracks in the right order, but was missing one overall (“Escape From the Island”).  The Japanese version also came with a neat full cover obi with pictures of the band — something fans missed out on with the normal release.  (When fans did finally see pictures of the 1981 Kiss, they were taken aback by the modern hair and image.)  The current 2014 LP edition on 180 gram vinyl also has the restored track order.

The album begins quietly (and pretentiously) with strings and woodwinds of “fanfare“, credited to Ezrin and Stanley, and based on the melody of second track “Just a Boy”.  “Who steers the ship through the stormy seas?  If hope is lost then so are we.  While some eyes search for one to guide us, some are staring at me.”  The Elder is the tale of a reluctant hero known only as “the boy”.  He is the archetypal “chosen one” selected by the mysterious and powerful Council of the Elder.  “When the Earth was young, they were already old,” reads the liner notes.  He must face the evil Blackwell, but he can’t believe there is anything special about him.

Although “Just a Boy” is a deep cut loved only by those with Kiss infecting their blood, you can hear its charm.  It sounds nothing at all like Kiss, and its soft acoustics don’t even sound like a rock band.  Paul sings the chorus in an insane falsetto, which he also utilizes elsewhere on the album.  The powerful guitar solo is all his, and one struggles to hear Ace Frehley on the track at all.  “Just a Boy” is a good song, with structure and dynamics and thoughtful composition.  It isn’t something that could be performed well on stage, and the production leaves a muddy haze over the lead vocals.  It’s hard to hear 50% of Paul’s lyrics.  Fortunately, the 2014 vinyl reissue comes with something the 1997 CD did not:  a lyric sheet.  With that in hand, you can follow the story.

In fact, it must be recommended to listen to The Elder on vinyl at least once to fully appreciate the album.  Something about sitting there with a gatefold jacket open and following a story on a record sleeve works as a sort of time machine.  It’s truly an experience that you cannot feel with CD alone, and the only way to do that with the songs in the proper order is with the 2014 vinyl reissue.

Kiss have thrown obscure covers on their albums before, but it’s strange to see such a thing on a concept album.  “Odyssey” by Tony Powers fit the story at this moment, although nothing could sound less like Kiss.  It is a fully orchestrated song and it doesn’t even have Eric Carr on it.  Ezrin didn’t think he was getting the right vibe so he brought in Allan Schwartzberg who also played on Gene’s solo album.  “Odyssey” is as overblown and pretentious as a song can get, as if Kiss suddenly became the Beatles and this was their “Hey Jude” moment.  This many soft, un-Kiss like songs right off the bat is a good way to throw listeners, so the record label ended up moving it to side two.  Paul Stanley has disowned the song, but what Paul failed to appreciate is that though campy, “Odyssey” is also incredibly fun.  It has no place in the Kiss canon, but there it is, and it’s hard to forget that delightfully pompous orchestra.

The first appearance of the mighty demon Gene Simmons is “Only You”, a choppy and spare guitar number that is the first rock moment on the album.  It’s an attempt to be progressive and rock, and it more or less works.  It’s simple and blocky, but it shifts into a few different sections including a reprise of the “Just a Boy” theme.  Paul also guests on a verse as the boy character, questioning his destiny:  “I can’t believe this is true, why do I listen to you?  And if I am all that you say, why am I still so afraid?”  The Elder respond, “In every age, in every time, a hero is born as if by a grand design.”  In an interesting twist, Doro Pesche later covered this song with completely different lyrics.

According to their self-written Kisstory (volume 1) tome, Eric Carr expressed some doubt as to the band’s current direction.  In response Gene challenged him to come up with something of his own, so Eric provided the beginnings of “Under the Rose”, on which he also plays acoustic guitar.  “Under the Rose” became his first writing credit on a Kiss album, with Gene Simmons.  “Under the Rose” is soft/heavy, soft/heavy, and features an ominous choir on the chorus.  But through this, Ace Frehley’s presence cannot be felt.  Such an important part of the Kiss sound before, now relegated to the sidelines.  Ace had only one lead vocal on The Elder, a song based on a riff written by Anton Fig.  Their “Don’t Run” demo was re-written by Gene Simmons and Lou Reed, yes Lou Reed, to become “Dark Light”.  In context of the story, “Dark Light” warns of coming evil.  Ace’s presence is welcome, providing some much needed rock foundation and a brilliant guitar solo.  Unfortunately “Dark Light” is probably his weakest in his Kiss career, a disappointing followup to prior classics like “Talk to Me”, “Save Your Love” and “Shock Me”.

Lou Reed co-wrote the lyrics to the single “A World Without Heroes”, which originated as a Paul Stanley ballad called “Every Little Bit of My Heart”.  Reed came up with phrases like “a world without heroes is like a world without sun.”  These clicked with Gene and Bob Ezrin who completed the song.  Paul plays lead guitar on a somber single that, again, sounds little like Kiss.  Kiss had done ballads before and even had hits with them, but nothing like “A World Without Heroes”, one of their darkest songs.  Strangely, it ended up being covered by Cher.

At this point of the story, the boy agrees to fulfill his destiny and become the hero.  This happens on the most heavy metal song on the album, “The Oath”.  This is the track that opened the original released running order of the album, completely destroying any comprehensible plot.  You can still understand why they did this.  Its metal riff and impressive drums are the intro that the album really needed.  Paul sings in falsetto again:  “Now inside the fire of the ancient burns, a boy goes in and suddenly a man returns.”  The song was performed live once in 1982 on a TV show called Fridays.  Although the performance seemed sloppy and awkward, Ace burned up a couple wild guitar solos.  If this is the kind of material that Bob Ezrin cut from the album, it was a big mistake.

So the boy has taken the oath, and it’s time to meet the evil one. Gene and Lou Reed wrote “Mr. Blackwell” about the character, who doesn’t seem to be too worried about the discovery of the chosen one. “Here’s to the kid, a real man among men,” mocks Blackwell in the lyrics. (The song also contains the phrase “rotten to the core”, which was a song title Gene had been batting around since the mid-70s.) Musically, “Blackwell” is spare and revolves around the words. A bumping and thumping bass is the main feature of a song that is more words than music.

At the exact moment that you need Ace Frehley to come back and save the album, he does with the instrumental “Escape from the Island”. Co-written with Eric Carr and Bob Ezrin, “Island” delivers the thrills and action-packed guitar action. Because it’s an instrumental it’s hard to determine exactly how it fits the story, except it sounds like an action scene. Perhaps Blackwell launched a preemptive strike on the boy, who escaped. Ace’s guitar attacks the surroundings, chopping them down with fatally loud riffs.

The final song (on all versions of the album) is the single “I”. Gene and Paul split lead vocals on this Simmons/Ezrin song, but once again Eric Carr was secretly replaced on the recording by Allan Schwartzberg. The story is wrapped up with the boy now proclaiming he believes in himself and is ready to take on the evil. The end of the album, yes, but clearly intended as only the first chapter of something bigger. Gene spoke of a heavier sequel album called War of the Gods which would depict the conflict. Instead, “I” serves as the ending, and at least it’s a kicker. Like vintage Kiss, the riff and chorus meld into one fist of rock. The lyrics are suitably uplifting. “I believe in something more than you can understand, yes I believe in me!” That’s pure Kiss in a nutshell right there.

A short hidden track following “I” provides the only dialogue on the album (over a reprise of “fanfare“), although more was recorded. The hidden coda reaffirms that the Elder have found the right kid. “He’s got the light in his eyes, and the look of a champion. A real champion!”

There are two ways to listen to The Elder.  If you want the whole enchilada and would like to hear the story in its correct order, pick up a remastered edition of the album either on CD or vinyl.  If you’d like a more even listening experience that is the same as that of fans who dropped the needle on the album in 1981, then go for the original CD or vinyl release.  But if you’re a Kiss maniac, you simply must do it both ways.

Music From the Elder is a flawed album, mostly marred by sonic muddiness.  It has an uncharacteristic quantity of ballads and un-Kiss-like songs, so fans stayed away in droves.  What they missed was a decent concept album for Kiss, a band that never should have attempted a concept album in the first place.  Because the album failed to sell, Kiss’ ambitious tour plans were scrapped and the band stayed home.  Aside from the three songs played on the Fridays TV show (“The Oath”, “A World Without Heroes” and “I”), Kiss never played any songs from The Elder live until their 1995 acoustic Konvention tour.  The lack of a tour meant Kiss’ momentum was all but halted.  The new drummer that fans barely knew only ever played one show in North America!

A bigger problem was brewing, and that was a bitter and disenfranchised Ace Frehley.  Once again, fans were not aware of the problems brewing in Kiss, but The Elder was the last album Kiss Ace played on until 1998.  It was a repeat of the Peter Criss situation only two years prior.

If Kiss had stuck to their plan of recording a hard rock album again, perhaps things would have played out completely differently.  We’ll have a chance to check out some of the songs they were working on in upcoming chapters for they would not stay buried long.

Today’s rating:

3.5/5 stars


Uncle Meat’s rating:

2/5 steaks 

Meat’s slice:  Some of my favorite records ever have been “concept” records.  Operation: Mindcrime, Misplaced Childhood, 2112, Metropolis Pt 2: Scenes From a Memory, El Corazon; to name just a few of many.  When it comes to The Elder, my one sentence review of this album would simply be:  Some bands should not make concept albums.  Bob Ezrin came straight from The Wall to record this mess.  I read somewhere recently, and it may even have been in the comments here perhaps, but Ace Frehley hates this album.  Which completely makes sense considering he had been on such a roll until it halted with this record.  It’s kind of a hard album to break down individually, but some quick notes:

“The Oath” – Very chuggy heavy song.  I think the [domestic] album starts off with the best song.  Song begins as if it’s Manowar meets Kiss.  More reminiscent of Creatures of the Night than this record.  Perhaps some bombastic Tenacious D-like moments.

“Just A Boy” – Starts off like early ELP and first reaction is that Paul Stanley could never come close to singing this song again.  Solid song.  Overall I get a Wishbone Ash feel. 

“Dark Light” – As mentioned earlier, Ace’s roll slows down with a dull track.  I do like the guitar solo over the bongos though.

“Only You” – An even duller track that starts with Gene singing, and morphs into Stanley singing with some stupid effect on his voice.  Right producer, wrong band.   (That could be another one sentence review of The Elder)

“Under the Rose” – This clunker doesn’t flow for me.  Gregorian Monks?  Bah….

“A World Without Heroes” – I thought it was lame then and it’s only slightly less lame to me now.  Could have used more Lou Reed.

“Mr. Blackwell” – Funky novel track.  Dancy and quirky but one of the strongest songs on The Elder for me.  One of the only songs for me that has a great hook to it.  Unmasked this album is not.

“Escape From the Island” – Good solid rocker.  Great drumming.  This would have been a great live jammer, but I’m doubting they have ever played this live.   LeBrain?  [Nope]

“Odyssey” – WTF?  Was this Paul’s tryout demo  for Phantom of the Opera?  This song alone is an unforgivable sin, and just another reason why this album should have been aborted in the womb.

Favorite Tracks”  “The Oath”, “Mr. Blackwell”, “Escape From the Island”

Forgettable Tracks:  Take your pick….


To be continued…

Original mikeladano.com review:  2012/07/26

REVIEW: Deep Purple – InFinite (2017 deluxe box) Part 2 of 2

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:

  • InFinite on CD
  • From Here to InFinite – a full length documentary DVD
  • InFinite on a 2 LP set in its own double gatefold
  • The Now What?! Live Tapes, Vol. 2 – an exclusive live album included on three 10″ records
  • A T-shirt
  • A poster
  • Five lovely photo cards
  • A sticker

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!

4/5 stars

 

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)

REVIEW: Deep Purple – InFinite (2017 deluxe box) Part 1 of 2

This is Part 1 of a double-sized Deep Purple deluxe InFinite box set review!

DEEP PURPLE – InFinite (2017 Edel)

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.

4/5 stars

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)

REVIEW: Deep Purple – Limitless (2017 Classic Rock exclusive CD)

DEEP PURPLE – Limitless (2017 exclusive CD included with Classic Rock #234, April 2017)

You have to hand it to the folks at Classic Rock.  It’s a quality publication that also manages to give out quality free cover-mount CDs.  With all the attention on Deep Purple these days due to their newly released album Infinite, Classic Rock have done the band up in style.  The CD is not just for beginners either.  Limitless (get it?) has a bunch of material from recent vintage and one exclusive track too.  That’s right — one track on this CD is exclusive to Classic Rock, so get on it, collectors!

At 43 minutes, Limitless has the ideal run time for a great listen through.  If you want to check out some new Deep Purple right off the bat, then just dive in.  Tracks 1 and 2 are the first two singles from Infinite:  “Time For Bedlam” and “All I Got is You”.  Both tracks are excellent, and fine samplings of what the current Deep Purple lineup (est. 2003) sound like.  With Steve Morse and Don Airey, the band have gone from strength to strength.  The instrumental prowess on these songs will easily demonstrate why Deep Purple are universally lauded.

Going back one album prior, we have two tracks from the Now What?! period.  The single version of “All the Time in the World” is a nice ballad for inclusion, though I think “Vincent Price” blows everything else on that album away.  Also included is the rock and roll “First Sign of Madness”.  The liner notes state this song is taken from the “Above and Beyond” CD single.  That doesn’t actually appear to be the case, but ” First Sign of Madness” was included as a bonus track on many editions of the Now What?! album.

The second half of Limitless is dedicated to live material, all classics.  “No One Came” from 1971’s Fireball is one of Purple’s most lethal grooves, and is lifted from the deluxe “Gold” reissue of the Now What?! album.  Gillan’s voice strains hard on this one.  A fun version of “Strange Kind of Woman” comes from the double live 2015 Wacken set.  It’s pure delight.  Next, “Perfect Strangers” is always welcome aboard, and this live version comes from the parallel double live 2015 Tokyo release.

Finally the set draws to a close with the Classic Rock exclusive track, a live tape of “Black Night” from Milan, July 21 2013.  Many of the live tracks on the Now What?! reissue come from that gig, but “Black Night” is previously unreleased.  It’s a jamming version, over seven minutes and Morse-heavy.  And there are more live tracks from that gig in the Deep Purple Infinite box set version, which looks just fantastic.

And magazine isn’t bad either!  The Deep Purple interview reveals some of the lighter side of the legendary Gillan/Blackmore relationship, tempered by the passage of time.  Incidentally, the magazine gives Infinite 7/10 stars.  That’s not bad for a band about to hit their 50th anniversary in a year’s time.  Check it out, and enjoy the 8-track CD Limitless while you read along!

4/5 stars