DEEP PURPLE – Turning to Crime (2021 Edel / mailing list bonus track)
Deep Purple are more known as the kind of band that people cover, rather than a band known for doing covers. Sure, “Hush” (Billy Joe Royal) was a hit. “Kentucky Woman” (Neil Diamond) was almost a hit. Their first three records are cover-heavy, but that was the 1960s. Live covers, like “Lucille” (Little Richard) or “Green Onions” (Booker T. & the M.G.’s) were more of an in-concert thing. Until the surprising inclusion of “Roadhouse Blues” (The Doors) on 2017’s InFinite.
Stir in another surprise: a worldwide pandemic! You get one of the world’s greatest bands doing a covers album to keep from going stir-crazy! Re-teaming with producer Bob Ezrin, the boys in Deep Purple decided to turn to crime and steal songs from other artists. With twelve tracks plus one bonus, it’s 53 minutes of Deep Purple doing their thang all over the oldies. How salacious!
The excellent packaging even tells you who did the original tunes if you didn’t already know. Love’s “7 & 7 Is” has been covered numerous times by our beloved rock artists, including Alice Cooper (twice) and Rush. Without comparing, the charm of Purple’s version is threefold: 1) Ian Gillan’s mannerisms on lead vocals, 2) Ian Paice’s pace, and 3) Don Airey’s quaint 80s backing keyboards. Not to be outdone, Steve Morse turns in a solo that can only be described as brief but epic.
Sax and horns join the for “Rockin’ Pneumonia and the Boogie Woogie Flu”, once covered by Aerosmith. You so rarely get to hear Deep Purple gettin’ down with a horn section (although they once did a whole tour based on that concept). It’s brilliant, and listen for a nod to “Smoke on the Water” in a musical Easter egg. “Rockin’ Pneumonia” is reminiscent of “Purple People Eater” from Gillan/Glover.
Like a polar opposite, Fleetwood Mac’s “Oh Well” is built tough and heavy. Morse plays the main blues riff on an acoustic, while Don Airey’s big Hammond roars behind. This smoker will sound great if Purple play it live. Meanwhile, 73 year old Ian Paice plays those drums like a berzerker.
Mitch Ryder & the Detroit Wheels were an influence on early Purple. Ritchie Blackmore confessed to appropriating their kind of beat for “Kentucky Woman”. You can absolutely hear that here on “Jenny Take A Ride!”. The two songs are connected via Purple’s playing. There’s also a mid-track segue into one of Gillan’s big influences, Little Richard’s “Jenny Jenny”.
Bob Dylan isn’t an artist you think of in conjunction with Deep Purple. “Watching the River Flow” has a beat you can get behind. Ian Gillan’s actually the perfect singer to do Dylan, isn’t he?
The horns return on Ray Charles’ “Let the Good Times Roll”. It sounds like “Deep Purple go Big Band”! Which is not a bad thing. Especially if you want a varied covers album. Airey and Paicey really go for that jazz band vibe. You can picture this one in a big smokey club somewhere in Chicago.
It’s Little Feat next with “Dixie Chicken”, a track we can assume came in via Steve Morse. Airey and Morse are the stars here, but as a cover it’s a little nondescript. The Yardbirds’ “Shapes of Things” is similarly like sonic colourlessness, though Roger Glover gets to shine a little. They can’t all be highlights on this album.
Speaking of album highlights, this one will doubtless be divisive. Some will think it’s too corny for Deep Purple, others will love the fact that it’s so different and Purple’s take is so original. Lonnie Donegan’s version of “The Battle of New Orleans” is the main inspiration rather than Johnny Horton’s. You can hear that in the beat. But what might really surprise people about “The Battle of New Orleans” may be the singers. For the first time, that’s Roger Glover up front. Ian Gillan, Steve Morse and Bob Ezrin are also credited singers. As for Purple’s arrangement, it’s jaunty and slightly progressive where the guitar is concerned. It’s certainly not pure country though it does have plenty of twang and fiddle. Crossover hit material?
The album has not necessarily peaked as there are still great tracks ahead. “Lucifer” by the Bob Seger System is right up Purple’s alley. Purple could easily put it in a concert setlist. It’s jam-heavy and sounds right at home. Another track in the same category is Cream’s “White Room”. Keen-eared Purple aficionados will recall Purple opened for Cream on their first US tour. Of course, only Ian Paice is still around from that tour, but he got to witness the original band play it every night. It’s certainly odd hearing a band that is clearly Deep Purple playing such a recognizable Cream song, but damn they do it so well! What’s amazing is these jams were recorded separately in home studios by family members.
The final track on CD and LP is “Caught in the Act”, a medley of famous songs that they Purple-ized. Many of these, Purple have played live such as “Going Down” and “Green Onions”. We’ll save some of the others as surprises. They finish the medley with “Gimme Some Lovin'” by the Spencer Davis Group, and it’s a totally smashing way to finish an album that was some massively fun listening.
But it’s not really the last track if you signed up for Deep Purple’s Turning to Crime mailing list. A specially numbered 13th track was emailed to those who subscribed. “(I’m A) Roadrunner” by Junior Walker & the Allstars is another horn-laden Deep Purple soul jam. Just drop it in the folder and it’s already pre-numbered as the last track on Turning to Crime. Great sax solo!
What you won’t hear on Turning to Crime are any of Purple’s earlier classical influences, for those members are gone. Nor will you get any Beatles whom Purple covered twice in the early days.
How many times will you end up reaching for a Deep Purple covers album to fill your speakers? Hard to say, but know this — you will enjoy it every time you do.
The Infinite Live Recordings, Vol 2. (3 x 10″ EPs)
DVD – Live at Hellstock, Roger Glover and Bob Ezrin in Conversation
Every Deep Purple album seems like the final album. Maybe this one is; maybe it isn’t. It feels like the band treat every album as seriously as if it was their last. The cover art and music of Whoosh! takes us back to 1968 and Shades of Deep Purple. The logo is similar, and there is a new version of the 52 year old first Deep Purple song ever, “And The Address”.
Opening with the lead single “Throw My Bones“, the album sets a mid-tempo pace from the start. This is a lush, catchy groove with hints of classical and funk. It began life during the Infinite sessions but was not finished until Whoosh! Purple pick it up a bit on “Drop the Weapon”, a non-preachy appeal for cooler heads to prevail. It has a similar vibe to the 1988 album Accidentally On Purpose by Ian Gillan and Roger Glover. The immediate riffs and hooky vocals are bound to make this a favourite.
“We’re All the Same in the Dark” has a cool groove and a jaw dropping funky Morse solo. Purple haven’t sounded this funky since Glenn Hughes was in the band. Airey and Glover give it some heaviness. “Nothing At All” sounds like a Morse composition, but his intricate classical-inspired interplay with Airey is sheer delight. This could be the best track on Whoosh!, and contender for one of the best songs of the entire Morse era. A massive chorus could help this one cross over on radio. Though it’s a far different song, “Nothing at All” has elements that recall “Never A Word” from Bananas. A regal-sounding crowning achievement.
“No Need to Shout” opens with the growl of a Hammond. “Just a bunch a crap, you’re talkin’ out your hat!” sings Ian on a song featuring rare female backing vocals. This is one of a few new Deep Purple songs that display a pissed-off attitude. “I got your message loud and clear, the meaningless ringing in my ear.” Add in a couple naughty words and you can tell Ian isn’t having any of it. Cooler though is “Step By Step”, a very different kind of song with perhaps some lineage with “Vincent Price” from Now What?! The haunting, ghostly quality of “Step By Step” sets it aside with a cascade of keyboard accents.
Purple start to boogie on “What the What” (a friendlier way of saying “What the Fuck”). While Don’s hammering the keys, Steve stabs out with some tasty guitar twang. If any song recalls “old” Deep Purple, it’s “What the What”, which could have been on 1973’s Who Do We Think We Are! But that album completely lacks the joie de vivre of “What the What”. Then Purple get heavy on “The Long Way Round” which just drives. The keyboard solo is out of left field but is a spacey masterwork to itself. There’s even a sly Black Sabbath callback — “I promised myself I would not get Trashed again.” Then the song dissolves into a beautiful, quiet stream of notes. This serves as a great lead-in to “Power of the Moon”, an excellent track previously heard on the “Throw My Bones” single. It stalks prey in the cover of night.
Another heavy growl unexpectedly opens “Remission Possible”, an absolutely smokeshow of fretwork. It’s a brief instrumental interlude just before the excellent “Man Alive”. This track, enhanced by orchestra, sounds absolutely massive. It has serious heft, but it’s not weighed down. Ian is writing about some heavy themes and it will take deeper analysis of the album as a whole to decipher them all. Roger Glover was very happy with Ian’s writing on the album, which takes a more contemplative tone without going heavy-handed.
The final side of vinyl begins with another instrumental, the aforementioned “And the Address” from Shades Of. Deep Purple have occasionally re-recorded old material with new lineups, such as “Hush ’88” and “Bludsucker”. This cut of “And the Address” has more momentum. The only guy present who played on the original is Ian Paice, but Don Airey is a dead ringer for Jon Lord. “And the Address” is one of the most enjoyable songs on Whoosh!, probably surpassing the original recording.
There’s still one track to go: the “bonus track” called “Dancing In My Sleep”. Safe to say it’s called a “bonus track” because it’s the most different of all the songs. It’s an Airey conception based on a cool little techno beat. Though it’s certainly not dance music, it does have one foot in that world and it’s a sheer delight to hear Purple stretch out into new territory 52 years into their game.
A seriously fine album this late in the career. An album so fresh that it is hard to rate so soon. But clearly a high point, with a band still exploring new ideas completely unafraid of what people might say. In fact, a band who still has something to say. Something worth listening to.
But that’s not all of course. Go big or go home. Check out the rest of the box set’s contents in detail below.
The Infinite Live Recordings, Vol. 2
The previously released Infinite Live Recordings, Vol. 1 came out in 2017. The concept behind the series is simple: pure live releases with no overdubs. Vol. 2 comes from a show in 2017 on the Infinite Tour in Rio. It is the big bonus in this box set, and present on a set of three beautiful 10″ coloured records. 72 minutes of live Purple — essentially, a double live album.
The opening thunder of “Highway Star” is robust on purple 10″ vinyl. How these guys can still blast through it full speed is unknown, but they do it. Mr. Gillan still gives it his all, which is not the same in 2017 dollars as it was in 1970 dollars, but still more than the average mortal his age. Mr. Morse and Mr. Airey give each version of “Highway Star” a different feel, while Mr. Paice in the back is the only original member left from the 1968 lineage. Sticking to Machine Head, Purple seamlessly go into “Pictures of Home”. The old familiar groove of Mr. Glover is comforting warmth from the emptiness, eagles and snow. Morse’s solo is a composition to itself, and then Airey gets to put his spin on Jon Lord’s classic organ solo. Then it’s an unfortunate side flip as the band goes back to In Rock with “Bloodsucker”. Gillian is more a verbal timekeeper than the screamer he once was, but the track is otherwise flawless and heavier than lead. A more mainstream hit, “Strange Kind of Woman” flows from that, and relaxes the groove a bit. Don Airey gets his first of two solos (this one organ) as the last track on this disc.
The action continues on transparent burgundy vinyl, and “Lazy”. Morse’s signature string bending is the star of this show. There are a couple different twists in this fresh version including a nifty Gillan harmonica solo. Then it’s the only new song of the set, “Birds of Prey” from Infinite. It’s weighty and worthy of its place. Steve Morse is the Captain on this flight. Gillan ends the track on a joke and then, after a side flip, introduces Don Airey’s keyboard solo including Ozzy Osbourne’s “Mr. Crowley”. This diverse and fun solo goes into “Perfect Stranger” (no “s”?) which has steadfastly remained in the setlist ever since its 1984 conception. Gillan is shaky but the Purple is solid.
The final vinyl, clear 10″ power, commences with “Space Truckin'” signalling the beginning of the end. “Smoke on the Water” is the penultimate moment, slow and groovy after all this blazing rock. Ian Paice has a couple nice moments on this one and Steve Morse’s stuttery solo is completely compelling. One more side flip, and Purple end the set with their first hit “Hush” and the “Peter Gunn” theme. Glover goes funky on this one with a bassline a little like “Another One Bites the Dust” in parts.
An entertaining and good live album, but one you won’t play often simply because Deep Purple have 846 live albums (exaggeration).
There is still more live material from the same tour in DVD form included in this box set.
Live at Hellfest
Next we have a double feature DVD: A live show from Hellfest in 2017, and an interview session with Roger Glover and Bob Ezrin. The Hellfest show has a much longer runtime with more new material. They open the show with “Time For Bedlam” from Infinite. Ian doesn’t even attempt to sing it in tune, but we’ll always cut the guy some slack for still getting up there and givin’ ‘er. The track has a “Pictures From Home” vibe, and the band look cool playing midday in shades. Into “Fireball”, Ian Paice leads the charge as if it was 1971. Don Airey has an Ozzy bobblehead on his keyboard! Then it’s “Bloodsucker”, powered by Paicey. “Strange Kind of Woman” is a nice melodic respite after a pair of piledrivers like that. Ian ends this one with a bizarre freeform spoken word beat poetry bit, but with Morse shredding next to him.
The Jon Lord tribute from Now What?!, “Uncommon Man”, is heartfelt, and a solid track from their current era. It sounds massive. As good in quality is “The Surprising” from Infinite, something of an epic, and performed with full gusto. Intricate symbol work by Paice.
After a brief pause, it’s on to Don Airey and “Lazy”. A high speed workout like that merits something slower to follow, so it’s “Birds of Prey” from Infinite, a steady groove with dynamics. Steve Morse’s solo takes center stage and it’s a melter. “Hell To Pay” picks up the pace. Not Purple’s most remarkable single, nor the best version, but nice to have in live form. Airey’s jammy keyboard solo on this track is stellar, just as the sun starts going down. Then he gets his own full-blown solo, with the Ozzy bobblehead there next to him during “Mr. Crowley”. Roger Glover just watches from the side as Don goes to town through familiar melodies and themes. The crowd eats it up smiling.
Don takes it into “Perfect Strangers” without missing a beat, and soon the rest of the band joins him. This version has some stellar Morse guitar trickery. The set is almost finished, with only “Space Truckin'”, “Smoke on the Water”, “Hush” and “Black Night” left to satisfy cravings for the classics. Even at the end Paicey still brings that thunder. “Hush” has the “Peter Gunn” theme attached, and “Black Night” brings the show to a massive finish.
It’s absolutely delightful watching Ian Paice play the drums, as he mouths along to every beat as if playing beatbox along to himself. It’s fantastic and an expression of pure joy.
It’s not over yet. The DVD has even more content.
Roger Glover and Bob Ezrin in Conversation
The DVD also includes the conversation with Roger Glover and Whoosh! producer Bob Ezrin. This is another full 70 minutes of content. Ezrin was involved with Purple from the jamming stage in Nashville and speaks in terms of “we”. One of the biggest takeaways from this interview is a piece of wisdom from the late Jon Lord as told by Roger Glover. Lord didn’t want to do more than two takes of a solo. More than that, and he starting thinking too much.
The pair discuss the lyrics, the songs, the title (nicked from Faulty Towers), the playing, and more. It’s lovely watching the pair just enjoy Steve Morse’s harmonics. “Like capturing lightning,” says Roger. Watching this portion of the DVD will enhance your enjoyment of the album. It’s fun knowing what parts of the songs turned on the musicians and producer. “Stretch out,” advised Bob. And so Purple interpreted that as stretching it out every way. “I wanna put the Deep back in Purple,” said Bob. The boys also praise Ian Gillan’s focus, from eating right to meditating. They even go back in time and talk about Glover’s joining of Deep Purple in 1969.
Ezrin particularly loved seeing magic unfold live before his eyes and ears, captured on tape. He is obviously a fan of Deep Purple as musicians and as people. Whether you can get into Ezrin-era Purple or not, there is real chemistry between band and producer.
You’ll probably only watch this conversation once, but you’ll be glad you did that at least. There is so much knowledge and history to absorb here that all fans are advised to give the whole thing a spin.
The box set itself comes with a cool black T-shirt with the “strolling dissolving astronaut” graphic. This is the second album in a row with simple excellent art design for Deep Purple. The astronaut recalls the music video for “Knocking At Your Back Door” from 1984. He appears in numerous places in this set in different forms. There are three art prints (two 12×12 and one 12×6), and of course all this music! The vinyl copy of Whoosh! comes in a gatefold sleeve with credits and photos. It sounds phenomenal with plenty of bottom end. For lyrics, you’ll have to dig into the included CD copy.
Of course, if you don’t need all the extra live stuff and added goodies, you could just buy Whoosh! on CD, vinyl or download. It’s frequently said that the benchmark for Purple is Purpendicular. “Best album since Purpendicular,” fans often enthuse. Whoosh! could be the best album of the Ezrin era, and is a contender for best of the Steve Morse epoch. A serious fan will want the whole box with the three live 10″ discs. They are beautiful to look at and sound good on the turntable. Though the set is expensive, this is the kind of thing I’m willing to pay for.
DEEP PURPLE – “Throw My Bones”/”Man Alive” (2020 10″ Edel single)
As a general rule, I won’t listen to new Deep Purple until I have a physical product in my hands. These days that usually happens in the form of a new single. Deep Purple will be back with a new album Whoosh! produced by Bob Ezrin in August 2020. Until then, they’ve issued a three track single with one exclusive new song. How nice of them!
A huge thanks to John of 2 Loud 2 Old Music for gifting this vinyl. Certain new releases are difficult to find today (for obvious reasons), at least without spending money on huge markups by secondary sellers. Music friends are the best kind of friends — make one today!
A word about the cover art: love it! Though not identical, the new Deep Purple logo is strongly reminiscent of the original Shades Of Deep Purple logo from 1968. The astronaut is similarly retro. He even recalls the similarly-garbed “archaeologists” in the music video for “Knocking At Your Back Door”. And now, for the first time, the needle drops on the vinyl and we find out what the new Deep Purple sounds like.
“Throw My Bones” has one of those quirky Steve Morse guitar riffs but then it’s backed up by those lush Don Airey keyboards. This is one of the catchier songs that Deep Purple have written in the last few years. Morse’s solo is as breathtaking as usual, but the sparkling keyboards are what makes this song shine.
The second track is the non-album “Power of the Moon” which prompts the question: if this didn’t make the album, just how good is the album? Because this track is excellent. It’s different. Its quiet passages are mesmerising. Once again it’s Morse and Airey who really take it to another level.
Finally we have “Man Alive”, a song adorned with an orchestra. Under the deft guidance of Bob Ezrin, something powerful and dramatic hits the ears even though Deep Purple don’t really do “heavy” anymore. “Man Alive” is the song that detractors call the “environmental agenda song”. Hey, if Deep Purple can say something relevant to today and get you to think, that’s great. We don’t always have to hear about strange kinds of women from Tokyo. The lyrics are assembled intelligently and thoughtfully.
A lot of people bitch and moan about Ian Gillan. For the most part, it’s not the singer delivering the hooks in these new songs. Just as Steve Morse has had to adapt to his damaged right wrist to keep playing, Deep Purple have adapted to Ian Gillan’s age. The songs don’t blast like they used to; they breathe. Ian’s voice is multitracked to give it some thickness. Incidentally the vocals were recorded in Toronto, a city that Gillan has history with.
Longtime Purple fans who enjoyed Now What?! and InFinitewill enjoy these new songs just as much. The cool thing about Purple is that they have distinct eras. We might be in the tail-end of a Bob Ezrin era (and the whole saga in general) and with time, the Purple/Ezrin collaborations will be looked back on fondly. The Ezrin albums don’t sound like the Bradford discs, the Glover productions, or any of the others. They’re more subtle and show a band growing even in their later years. Whoosh! could be a nice capstone to a career. We shall see.
ALICE COOPER – Alice Cooper’s Greatest Hits(1974 Warner)
Picture this: a kid, just turned 17. An older uncle named Don Don. Recording tapes off each other in the summertime. I didn’t know much of Alice Cooper. “Teenage Frankenstein”, “The Man Behind the Mask”, and “I Got A Line On You” were the songs I knew best. I heard a bit of a live version of “I’m Eighteen”, and a Krokus cover of “School’s Out”. That’s all I knew. But my uncle had Alice Cooper’s Greatest Hits in his tape collection, and I had a blank tape.
I recorded Greatest Hits on one side of a 90 minute cassette. (Eventually I taped Trash on the other side.) My impressions at that young age were mixed. The music sounded old fashioned. Not at all like his 80s stuff. While some songs (“Desperado”) flat out lost me, after a couple listens, other tunes started to jump out.
Some of the elements that appealed to me were the lyrics. “She asked me why the singer’s name was Alice, I said ‘listen baby, you really wouldn’t understand.'” (“Be My Lover”.) “The Reverend Smith he recognized me and punched me in the nose.” (“No More Mr. Nice Guy”.) Of course, “Elected” too — that goes without saying. Simple, comedic and effective lyrics.
The huge orchestration behind “Hello Hooray” hit me where it counts too. I grew up on soundtracks and orchestras, so anytime a band used a big bombastic arrangement like that in rock song, it immediately appealed to me. Even then I was aware of Bob Ezrin from his work with Kiss.
My favourite song on the whole thing was “Teenage Lament ’74”. What is it about that song? The old-fashioned jangly rock and roll? The unforgettable “What are you gonna do?” chorus? Although it’s fallen by the wayside since, “Teenage Lament” is still an Alice Cooper triumph of triumphs. On the cassette version, it had a place of honour — second song, side one, right after “I’m Eighteen”. I couldn’t figure out all the words but I got the jist. I still love what I perceive to be its old-fashioned sound. Alice Cooper didn’t need to be heavy to be awesome. I was learning this. None of Alice Cooper’s Greatest Hits would be considered “heavy” by the standards of the time when I first heard it (1989).
“Is It My Body”, “Under My Wheels”, and “Billion Dollar Babies” were the next songs to slowly reveal themselves to me. “Muscle of Love” and “Desperado” were the last ones to enter into this new Alice love affair. Before long, they were all memorized. Then it was time to start collecting the albums! Billion Dollar Babies seemed like a wise choice, since I liked so many of its songs on Greatest Hits. And that’s how a greatest hits album is supposed to work. It is meant to whet the appetite and make you want more.
Today Alice Cooper’s Greatest Hits has been supplanted by more recent, more complete greatest hits discs, remastered for the modern age. That’s fine and well, but Greatest Hits works better as a first Alice. The track order, the more concise running time (41 minutes), and of course the classic cover art made this something special. It’s historic as it was the very last product released by the original Alice Cooper group before Vincent Furnier went solo. Also worth noting: all tracks were remixed by Jack Richardson, but you probably won’t even notice. Completionists, pay attention.
Want an awesome first experience with Alice Cooper? Follow my lead and check out Greatest Hits.
I was very enthusiastic for this album when it came out in 2011: four copies purchased (to get all the bonus tracks) and a 5/5 star rating. I can hear what I loved about it so much, even if the feelings are faded today. That’s what makes these “Just Listening” writings interesting!
The original Nightmare is still a favourite and always will be. Factors that appealed to me about the sequel album are the musical and lyrical callbacks. These recurring cues unite both albums quite successfully despite the decades that passed. Musical sequels can be a dicey affair (Mindcrime 2, anyone?) but Alice Cooper and Bob Ezrin managed to do the near-impossible.
The standard album runs 52 minutes, and that’s just a tad long. Although there are no obvious duds to cut, the original Nightmare was more effective because it was more concise. (You want a longer experience? Adding in all the bonus tracks more than doubles the album’s length!) Regardless of the digital age that most of us inhabit, there is something to be said for the length of a standard LP. It just happens to jive with the natural attention spans of the human mind. The new Nightmare crams 14 tracks into that 52 minutes, and it plays out as a lot to absorb. Especially after giving the album a rest for a few years.
Another way in which the second Nightmare is inferior to the first is the overall tone. Nightmare 2 is far more humorous. A couple tracks (“Ghouls Gone Wild” and “Disco Bloodbath Boogie Fever”) are there for the laughs. That’s fine — Alice Cooper does humour in music better than 99% of those who try. The original Nightmare had its fun, but the tone of the album was far darker, especially with songs like “Steven” and “Only Women Bleed”. You’re going to have a preference one way or the other too. I prefer the darker original Nightmare to the more comedic sequel.
These are all very fine hairs to split. I still like the album, a lot. I believe it to be Alice’s best from the last two decades. There’s very little wrong with it. I just don’t think it matches the first as much as I once did.
The first three-year gap between Kiss albums. The first Kiss record produced by Bob Ezrin since 1981. The first shared Simmons/Stanley lead vocal in ages. The first lineup change since 1984. And saddest of all, Kiss’ first album without Eric Carr since 1980. Revenge was a shakeup for fans and band alike.
The pendulum of rock had swung back to “heavy”, with Metallica scorching the charts and grunge pummelling everyone else with new sounds. It was obvious that Kiss had to go heavier, too. In 1992, most rock bands had to sink or swim. In order to swim, bands tended to heavy things up. A lot of the time they called it “going back to the roots”.
Kiss began making tentative steps back that way. Hot in the Shade(1989) toned down a lot of the keyboards and 80s trappings. On tour, they played more old material like “Dr. Love”, “God of Thunder”, and “I Was Made for Loving You”. Then, as an experiment, they got back together with Bob Ezrin for a song from a movie soundtrack. Everyone was writing, even the sick Eric Carr. The initial plan was to have Eric play on half the new album, so he could have time to recover from his cancer surgery. The drummer from Paul Stanley’s solo tour, Eric Singer, was available to play on the other half. Singer was on tour with Alice Cooper during the summer of 1991, but would be home soon enough. Then, on November 24, Eric Carr passed.
The most obvious choice to replace Carr was Eric Singer. He was already working with the band, he knew the songs, and he was a fan. Bruce Kulick found him inspiring to have around, as Singer loved his guitar work. In fact the only thing about Eric Singer that didn’t fit was his hair colour!
The energetic new drummer was a godsend. With albums to his name by Black Sabbath and Badlands, Kiss couldn’t have asked for a more technically adept player. He could hit hard (though Eric Carr takes the belt in that regard) and he could authentically do any era of Kiss. Be it the early, slippery Peter Criss material or the heavy metal of Eric Carr, Singer had it all covered. And he could sing! Though we wouldn’t get there quite yet.
It was the heavy metal side that was most immediately apparent. The first track and first video from Revenge was “Unholy”, something very unlike anything Kiss had done before. And it came about in a most peculiar way. Enter: Vinnie Vincent.
Those who say “Vinnie saved Kiss” will point to “Unholy” as one such song that saved Kiss. After years of estrangement (and preceding even more), Vinnie came out to write with Gene and Paul. “Unholy” was one of three songs he contributed.
With a fury unlike any before, Gene Simmons and company swirl in rage on “Unholy”. The closest they got to this kind of heavy before would be Creatures, but there’s something just pissed off about it that wasn’t there before. With a concrete riff and angry slabs of drum tribalism, Kiss announced their return loudly. Not to be outdone, soloist Bruce Kulick laid down his noisiest guitar assault yet. There isn’t an ounce of fluff to “Unholy”.
Thanks to Bob Ezrin, Revenge is Kiss’ best sounding album since Lick It Up or Creatures. It’s no Destroyer, and it’s no Elder. This time they cut the extras down to the bone, leaving the four Kiss guys to rock it themselves. Err, mostly themselves. That’s Kevin Valentine on drums for the second song, “Take It Off”. Strange that Kiss continued to have ghost musicians on albums when they clearly didn’t need to. An ode to strippers, “Take It Off” is lyrically juvenile, but gleams like stainless steel. Paul Stanley wrote it with Ezrin and ex-Alice Cooper guitarist Kane Roberts, and it could have been used as a single had Revenge needed another. A dirty, dirty single.
Paul, Bruce and Ezrin composed “Tough Love” with a slower, chunky riff. Kulick’s solo is remarkable, but it’s also just nice hearing Paul do a sex song that has some balls. There is no “X” in this sex, although there’s a little BDSM for the 50 Shades crowd. Then, teaming up with Gene, they do their first co-write and co-lead vocals together in the first time in a dog’s age. “Spit” is old school fun with a modern heavy edge. Bruce pays homage to Jimi Hendrix in his complex guitar solo, a composition all to itself. Eric Singer gets to throw down tricky beats and fills, making “Spit” one of the most deceptively clever songs Kiss has done.
“God Gave Rock ‘N’ Roll To You II” was released as a single the year before. It was the experiment with Ezrin that kicked off Revenge in the first place. It was the only song that Eric Carr was alive for, and you can clearly hear him on backing vocals. Singer handled the drums, though Carr did it in the music video. The album mix is different from the single or soundtrack, in order to better suit the sonics of Revenge as its sole anthem.
Gene tells a story about a girl who “kisses like the kiss of death” to end side one. “Domino” hearkens back to early Kiss, with a sparse arrangement and Gene playing rhythm guitar instead of Paul. This greasy rocker just screams “Kiss”. There is nobody else with songs like “Domino”. It was the third single from Revenge, sporting a nifty video with Gene cruising around in a convertible while Kiss plays as a trio! Paul Stanley: bass guitar.
“Heart of Chrome”, the second Vinnie Vincent collaboration, rocks with attitude. Once again, anger seems to be the emotion of the day. The 90s-look Kiss could deliver anger in spades. Then Gene takes the mantle on “Thou Shalt Not”.
He said “kindly reconsider the sins of your past,” I said “Mister you can kindly kiss my ass.”
These are not songs for the Kiss hits mix tape you’re making for your roadtrip. These are songs to be experienced in context of the album, where they deliver mighty riffs and enough hooks for the long-player. “Thou Shalt Not” has another one of those Kulick solos that could be a study in string manipulation, and Singer just keeps it kicking the whole way through.
You could choose from two schools of thought regarding “Every Time I Look at You”. As the album’s only true ballad, some see it as a mistake on a record as heavy as Revenge. Others see it as a reprieve from a fairly relentless onslaught. Indeed, it does sound as if from another album. With a string section, Ezrin on piano, and Dick Wagner on ghost guitar, one could even argue that it’s an album highlight. A little re-sequencing though, and you probably wouldn’t even miss it.
Gene makes it heavy again on “Paralyzed”, not an outstanding track but a little funkier than usual. “I Just Wanna” is far more entertaining, though it is a shameless and obvious rip-off from “Summertime Blues”. It was chosen as the second single, and lo and behold, it’s the third Vinnie Vincent song too. “I Just Wanna” is immediately catchy and memorable for days. Probably because you already knew it as “Summertime Blues”.
As a touching surprise, Revenge ends on an instrumental called “Carr Jam 1981”. Bob Ezrin dug up an old demo from The Elder with a hot riff and a complete drum solo. It had been bootlegged before, notably on Demos 1981-1983, but not with very good sound. Ace Frehley even recorded it as “Breakout” on his second solo album. Ezrin cleaned up the original demo for Revenge, edited it for length, and overdubbed Bruce on lead guitar. “Carr Jam” has become Eric’s signature drum solo. Placing it here at the end of Revenge was not only poignant but also just great sequencing.
Album in hand, now it was time to tour. Kiss would start with a short run in the clubs. More on that next time.
DEEP PURPLE – The InFinite Live Recordings Vol. 1 (2017 Ear Music)
The all-time kings of the live album have finally released…another live album! It’s boldly titled The InFinite Live Recordings Vol. 1, implying that another live set isn’t far off. The gimmick this time (aside from being 100% live with no overdubs, which is now the Purple norm) is that The InFinite Live Recordings Vol. 1 is only available on vinyl, or by re-buying InFinite in its new “Gold” European edition reissue. If you’d prefer avoiding the double-dip, then the only way to enjoy The InFinite Live Recordings Vol. 1 is by spinning the triple 180 gram LP set.
So let’s do that.
This album is the complete Deep Purple set from Hellfest 2017 (June 16 2017 in Clisson, France). The always fearless band opened with the brand new “Time for Bedlam” single. The intro and outro are dicey (weird vocal sound effects) but then Deep Purple suddenly plows straight into “Fireball”. Somehow Ian Paice transforms into his younger self and there is nothing lost. Going back even further in time, it’s “Bloodsucker” from Deep Purple In Rock.
The oldies, like “Strange Kind of Woman” and “Lazy”, are more or less just filler. Even though they’re always different, you’ve heard them so many times while the newer songs are fresh meat. “Uncommon Man” is long and exploratory, while “The Surprising” and “Birds of Prey” are more than welcome on the live stage. In particular, “Uncommon Man” and “The Surprising” are showcases for Deep Purple’s progressive side, sometimes taken for granted. Both must be considered among the greatest Morse-era Purple songs. Both stun the senses, live.
While there was a live version of “Hell to Pay” (from Sweden) on the fairly recent single “Johnny’s Band”, another one in the context of the set is cool because it naturally introduces Don Airey’s keyboard solo (listen for a hint of “Mr. Crowley”). And that solo segues into “Perfect Strangers” after you place the third LP on the platter.
The usual suspects close out the set: “Space Truckin'”, “Smoke on the Water”, “Hush” (with a detour into the “Peter Gunn” theme) and “Black Night”. The reason Deep Purple get away with playing generous amounts of new material is because, without fail, they always deliver the Machine Head hits.
These live recordings were produced by Bob Ezrin, so you can count on great audio. Why should you choose this over the numerous other Deep Purple live albums from the Morse era? Because it is always a pleasure hearing new songs on the concert stage. Deep Purple have remained consistent over the decades and each live album offers a brief snapshot of a set you might never hear again.
“The Sound of A” is in the air…but it took 50 years to get there!
Alice Cooper’s Paranormal was one of the most delightful rock releases of 2017, which really came as no surprise. Alice has been consistently awesome for several albums in a row. Any time he works with producer Bob Ezrin, you can count on quality. The new five track Sound of A EP is quality.
The song “The Sound of A” was written in 1967 by Alice and bassist Dennis Dunaway. When Cooper reunited with members of the original band for some songs on Paranormal, Dunaway suggested revisiting “The Sound of A”. With Bob Ezrin’s help, “The Sound of A” has become another in a long line of understated Cooper classics. It has the sound of Welcome to My Nightmare with a hint of the present. Another apt (but coincidental) comparison would be “Journey of 1,000 Years” by Kiss.
“The Sound of A” is packaged with four unreleased live songs: “The Black Widow”, “Public Animal #9”, “Is It My Body” and “Cold Ethyl”. Of these, the real treat is “Public Animal #9”, an old School’s Out favourite that has never seen release on any Alice live album. This is from Columbus Ohio in May 2017. As is often the case, “The Black Widow” is shortened live, but “Public Animal” is damn fine. Can you believe it took this long to get a live version? It’s one of the best on School’s Out, albeit in the shadow of a big hit. Even “Cold Ethyl” is hard to find live. You can locate it on 2011’s No More Mr. Nice Guy via Concert Live, and the semi-official Extended Versions and Alone in His Nightmare.
Don’t miss The Sound of A. Consider it a live EP with some stuff you’ll be glad to have.
– “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 24, 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.
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.