These three drone videos are the edited-down results of everything I shot on the weekend of July 4-6. All videos were shot with the Potensic Atom SE. I brought both the Potensic and the Ruko, but as you can see, it was a very windy weekend and I did not want to risk the Ruko. Next weekend, I will attempt to fly the Ruko again.
Enjoy these magnificent videos, and amazing songs by Deep Purple, Hello Hopeless and the Arkells.
RECORD STORE TALES #1194: You got exactly two words of that right.
I have a soft spot for Ian Gillan and Roger Glover’s Accidentally on Purpose. The Deep Purple Pair had a writing partnership dating all the way back to the 1960s and a band called Episode Six. Before Ian was fired from Deep Purple in 1988, he and Roger emerged from the sessions for The House of Blue Light with an excess of stifled creativity. These lighter, more summery tuned formed the basis for their only duo album. I found it on cassette in the mid-90s, right when I was seriously collecting Deep Purple for the first time.
It’s not rock. There are some songs that do rock a bit, but it’s more like fun pop with roots in rock and prog. There’s saxophone, and loads of programming. Very 1980s. It took a couple listens to adjust to this distinctly non-Purple album, but once certain songs like the floaty “Clouds and Rain” and the funky “Evil Eye” started to hit, they stuck. Programming aside, you’ll hear some cool instrumentation and musicianship on this album. Eventually, I grew to like it. As soon as I found out the CD reissue had three bonus tracks that were not on the cassette, I upgraded, as I often do.
The bonus tracks included a song that would have worked on a corny 80s Beach Boys album, called “Cayman Island”. It also had a sax-heavy cover of “Purple People Eater” which is the definition of guilty pleasure.
Shortly after I bought the CD, a used copy came into stock at the Beat Goes On. It always happened that way. If you bought something new, you’d see a used copy a matter of weeks later. It was eerily inevitable. Of course, when that used copy came in, I threw it into the rotation for store play one afternoon.
A guy walked up to the counter, intrigued by the music.
“What’s this that we’re listening to right now?” he asked.
I was thrilled to have someone ask!
“This is a side project by Ian Gillan and Roger Glover from Deep Purple,” I answered with inner glee, but also some trepidation as I’d personally prefer to keep listening to it!
He responded, “Roger Waters from Pink Floyd?“
What…? No! No! You got just two words of that right: “Roger” and “from”!
He sulked away upon learning it was not Floydian music. No sale that day!
“Recently, a young journalist asked me how many songs I had written in my life. I replied that the last time my assistant counted, twenty years ago, it was over 500. I felt quite accomplished until she pointed out Dolly Parton’s 5,000 songs, calling me a lazy sod.” – Ian Gillan
DEEP PURPLE – “Lazy Sod” (2024 Ear Music)
Since Deep Purple’s =1 album was my #1 album of 2024, it should be no surprise that I love the single “Lazy Sod”. It exemplifies what Simon McBride brings to Deep Purple on this new album. His smooth playing is loaded with feel and perhaps he adds just a tad more hooky riffiness into the band. “Lazy Sod” is a fantastic track, a shorty at 3:40, even loaded with solos by Simon and Don Airey. No fat, just like those old Deep Purple Machine Head firecrackers from the early 70s.
Back when we reviewed the =1 box set, we speculated why a live version of “Highway Star” with Simon McBride wasn’t included. Same with “Lazy”. Here they are. “Highway Star” (Milan, October 17 2022) is pretty damn energetic and features the Simon stuff that we were waiting for. His sound might be likened as somewhere between Steve Morse and Ritchie Blackmore, but what he brings to the table fits perfectly, without copying either.
“Lazy” (Sofia, May 23 2022) is the lengthy one, at 8:33. Don Airey opens it with some meandering organ soloing, before playing some more familiar notes. Then it’s Simon’s turn, sending out a delightfully original solo for “Lazy”. He throws it back to Don like a game of ball, and Don slays it some more. “Fun” doesn’t begin to sum it up. There are old Deep Purple versions of “Lazy” where it does not sound like they are having fun. This does, for Don and Simon in particular. The rest of the band have to be able to feed off that. Ian Gillan doesn’t enter the picture for over five minutes. He turns in a performance more like a lounge singer, but with some screams towards the end.
Another great single from the Purples. Thanks for keeping the format alive. It’s limited to 2000 copies but hopefully that’s enough for the collectors who want it.
4/5 stars
RECORD STORE TALES #1156: To What Lengths? (Shelf Wear)
We, as collectors in this community, generally buy our music on a physical format to listen to it, but also value its condition and cosmetic perfection. We don’t want creases in the inner sleeve, or banged-up covers if we can avoid it. We especially don’t like being the ones responsible for damage. It does happen. Sometimes it’s as simple as pulling a favourite CD or LP out of its designated filing location too many times. Scratches and scuffs appear on the jewel case or sleeve, if not protected. Most people protect their vinyl LPs in plastic, and a small minority of CD aficionados do as well, which mitigates damage to just those moments you remove the packaging from that sleeve: the dirt and oils in your hands, the dust in the air, the light wear from handling.
If you’re new here, this is a judgement-free place! If you go to tremendous degrees to protect your jewel cases (I had one customer who bought them 5 at a time and insisted each one be in its own separate little bag) then I applaud you. I wish I had your discipline, honestly. I’ve cracked and scuffed many-a-case over my years as a fan and collector.
Another fact known to CD collectors: Many, especially in the 1990s, came in specialised jewel cases that could not easily replaced if damaged. The best you could hope for was a Krazy Glue solution. Example: Pet Shop Boys’ Very CD in 1993, which came in a unique, opaque orange case with lego-like bumps on the front and a sticker with track listing on back. It had a matching orange tray inside. Fortunately, these were a bargain bin perennial and if you broke you case, you could buy a replacement for under $6 bucks. If not, you could do a reasonable repair job with glue.
Coloured jewel cases were another variation. With collector’s allure, Alice In Chains’ self-titled CD in 1995 came in two variations. The common one was a yellow case with a purple inlay. The very rare reverse was purple case with yellow inlay. So rare in fact that in my 12 years in music retail, I never saw a copy come my way without one or both components damaged. Less rarely, Kiss’ 1996 CD You Wanted The Best, You Got the Best came in a wine-red case with yellow tray. I may or may not have swapped some at my store with plain cases, allowing me to keep the wine-red and yellow for myself, for other Kiss releases. Perhaps I did.
Regardless of how you acquire such packages, the ideal collection has them relatively intact for the duration of their stay at your home. How to do ensure this to the best of your ability? As implied, I don’t want to put every CD I own in a sleeve. However, I do make sleeves for discs like the above. Simple ones out of clear comic bags (for example) cut down to size. They even make sandwich bags in the exact right size if you feel lazy. Remember: no judgement!
Of course, this cannot prevent breakage all the time. If you have ever moved house with boxes of CDs, you probably endured some damage. When I moved, I did two important things: 1) I insisted only I handled the boxes marked “CDs”, and 2) I packaged all specially-cased CDs in a special padded box, also handled by myself.
Another variation, and perhaps my favourite, is the engraved jewel case. One of the most common is the Prince “Love Symbol” CD, fairly easy to find multiple intact copies. My most treasured engraved case is Deep Purple’s 25th anniversary edition of In Rock. (Now we’re over 50 years…) I bought my copy in 1996, in Toronto, at (I think) Sunrise. It was there or HMV, and I was present with the mighty T-Rev, who braved the streets of Toronto with no air conditioning on a hot summer day in my Plymouth Sundance. He drove – I wouldn’t. I cradled my precious Purple in my arms so carefully on my way home. I could see easily that the signatures and text on the front were in the plastic of the case, and not printed on the booklet.
I made a plan, and carefully executed it. My solution protects my CD to this day.
Using a Swiss Army knife, I carefully slit the right side of the plastic wrap, all around the entire CD, and removed this side flap. I then carefully coaxed the CD out of its plastic home, and upon success, pushed it back in. I had created a little sleeve that protected my new purchase upon my shelves. It still functions today, and my copy of In Rock still looks pretty good despite hundreds of plays.
Fingers crossed!
This could be the last weekend for good drone flying weather at the lake. Here’s what I made, and some great tunes for you to enjoy. First up we have a Thursday night flight to the tune of “The Roller” by Liam Gallagher’s Beady Eye. Then we have two Deep Purple instrumentals on an unedited Friday morning flight: “Son of Aleric” and “Contact Lost”.
Notably, the water levels are noticeable lower than two weeks ago, and the river entrance has dried up. I took the drone a little further to the river than on past flights. Got up to max altitude each time. Lots to see here, and some cool flying techniques that really leave you feeling like you’re gliding along with me.
The third flight on Saturday morning might be the most beautiful. The water was so clear, and the reflections from the sun made for beautiful flying. I soared in close to some boulders, and took a look across the river for the first time. There I found an big boulder we used to sit on as kids. The music for this video is “Blue Ocean” by Flying Colors.
Whew! That was a rock marathon, but Ryan and I crossed the finish line with a complete ranking of all the Deep Purple studio albums (excluding the covers album Turning to Crime). This was not an easy task. We both immersed ourselves fully in the music all week. In the end, some albums struck us harder than others. While our Top Fives were both very similar, but the rest of the lists were widely varied.
Thank you to Ryan Gavalier for this awesome jump through the Deep Purple catalogue. Not only was it an electrfying week of music, but it was also a week for re-appraisal. I always knew my first and last albums, but the middle was quite fluid.
While we did attempt to spend a good deal of time discussing each album, we really only scratched the surface. The best thing to do would be for you to check out the music yourself.
Thanks for watching, and we’ll see you tomorrow for another episode of Grab A Stack of Rock (Special Editon). Stay tuned!
My list can be seen at the bottom of this post by highlighting the hidden text.
22 The Book of Taleisyn (1968)
21 Shades Of (1968)
20 Abandon (1998)
19 The Battle Rages On (1993)
18 The House of Blue Light (1987)
17 Rapture of the Deep (2005)
16 Bananas (20030
15 Slaves and Masters (1990)
14 InFinite (2017)
13 =1
12 Who Do We Think We Are! (1973)
11 Deep Purple (1969)
10 NOW What?! (2013)
9 Burn (1974)
8 Come Taste the Band (1975)
7 Whoosh (2020)
6 Stormbringer (1974)
5 Machine Head (1972)
4 Perfect Strangers (1984)
3 Purpendicular (1996)
2 In Rock (1970)
1 Fireball (1971)
GRAB A STACK OF ROCK With Mike and the Mad Metal Man
Episode 69: Ranking ALL the Deep Purple Studio Albums, with Ryan Gavalier
Please welcome Ryan Gavalier from Gavalier Productions for his show debut! We have been wanting to work together for about a year now. For Ryan’s first topic, he went big: we are tackling the complete Deep Purple studio albums and ranking them. (We are excluding the covers album Turning to Crime, and the Concerto since it was a live album.) That’s 21 albums, so buckle up. We are giving you extra this long Labour Day weekend.
Both Ryan and I have spent the last week listening to Deep Purple, in chronological order. I always knew what my first pick would be, and I knew my last pick from the start. Now, it is a matter of filling in the blanks.
Be sure to join Ryan and I live, as you’ll want to play along in the comments. See you then!
Sunday September 1 at 8:00 P.M. E.S.T. / 9:00 P.M. Atlantic. Enjoy on YouTube or on Facebook!
Part Three of a Three Part Series
Part 1: =1 (the album)
Part 2: =1 (the live album)
Part 3: =1 Access All Areas (DVD)
DEEP PURPLE – =1 Access All Areas (2024 Edel DVD)
Here we have a simple and straightforward one hour bonus DVD. No bonus features other than subtitles, so let’s dive in and watch Deep Purple hit the road! This documentary, unlike past ones, is not about the making of the =1 album. This is about Deep Purple on tour, and is more like a fly on the wall look at the band in their environment. We seem them relax, practice, drink and work.
We begin with Steve Morse, and his sad necessity to step down from Deep Purple after 28 years in the band. Roger Glover explains that Steve came in at a time (1995) when Deep Purple needed to reinvent themselves, which is what they did. Then, we transition to Deep Purple live on stage with Simon McBride, and “No Need to Shout” from the bonus live 10″ records included in this box set. Don Airey calls it a “fresh start”, and Ian Paice contemplates on how a new member creates new energy in the Purples. Roger praises Simon’s “cool” personality. The important thing, with any new Deep Purple member, is to musically just be themselves. Don jokes that Simon “brought the average age of the band down to 74.”
Time to hit the road. Ian Gillan talks about the routine, and the tour begins (to the tune of “Hush”). Hotels, breakfasts, limousines…and security tips from Gillan! It takes about three hours to set up the stage and start checking the PA. Drums are tuned and cymbals are attached to the kit. The guitar tech talks about the adjustment from Steve Morse to Simon McBride, and a different brand of guitars. We also get a good look at Don Airey’s keyboard rig. In a cute touch, Don keeps a bobblehead of his old boss, Ozzy Osbourne, on his keys. Finally the band turns up and sound checks. Don Airey tells Ian Paice a funny story about Gary Moore messing with his keys. The band have a quiet, very English sense of humour, but they are often seen laughing and kidding around.
During soundcheck, we get to hear Purple working on a new song: “Old-Fangled Thing”, which ended up on =1. Airey says he really enjoys soundchecks because it gives them a chance to play things like bossa novas, and entertain the crew. We move on to the 02 arena with Blue Oyster Cult opening, and other gigs with Jefferson Starship, who Purple seem to get along with famously.
There is a hilarious bit in Don Airey’s keyboard solo. He takes a wooden shim, and sticks it in the keys to hold them down. As a single note plays. A waiter with a glass and bottle emerges. Don pours himself a glass of wine as he takes a brief break. It’s all so very quaint and gentlemanly funny. Don’s son is actually the band’s stage manager, and it has allowed him to see more of his dad than he ever would at home.
The documentary then jumps to another day, and the 10 minute wait before showtime. Backstage, Roger Glover takes a crack at Ritchie Blackmore’s violent aversion to cameras. Ian Paice jokes about the palpable tension in the air, as the band continue to joke around and laugh, whiling away the last minutes before stage time. Paicey picks up a pair of bananas, plays a drum roll, complains the bananas are not properly balanced, and tosses them aside. That’s the wildest party moment in the Deep Purple dressing room.
Finally the waiting is over. The whole day revolves around the 90 minutes on stage, remarks Gillan. The band take the stage while Holst’s “Mars: Bringer of War” assaults the crowd in preparation. “Highway Star” (which, incidentally, is not included on the live records in the box) rolls out the thunder, and Simon McBride brings his own style to it. The documentary runs through a few live clips to give you a taste of the set, including the beautiful ballad “Nothing At All”.
When Deep Purple hits Berlin, Ian Paice has the idea to play a bit of “Let the Good Times Roll”. A young horn section is brought in, and it sounds great to everyone. We are treated to a clip of a soundcheck of “Hush” with the horns.
Show over, it’s off to the hotel, get a tea, and into bed with a book for Ian Gillan. Paicey prefers a glass of wine after a show, “because I’m allowed”.
Though it’s never overtly stated, one can’t help but notice the contrast in this documentary to the war stories of old. We remember the tales of on-stage and backstage blowups, food trays thrown about…but not any more. Now Deep Purple is five older gents who love playing together and don’t seem to mind each other’s company too much. That’s nice to see. And it’s still entertaining enough for an hour.
As a bonus DVD in a box set, this one’s easily a 5/5.
The box also came with art prints, a lanyard, guitar picks, a nice T-shirt and more, all seen in this unboxing video below.
Part Two of a Three Part Series
Part 1: =1 (the album)
Part 2: =1 (the live album)
Part 3: =1 Access All Areas (DVD)
DEEP PURPLE – =1 Live Album – 10″ Vinyl (2024 Edel)
When you buy a Deep Purple super deluxe, you get a new live album on three 10″ records every time. These records are each 45 RPM. This wonderful Deep Purple tradition carries on with this important release, the first live album with Simon McBride to be released. Let’s have a listen to all six sides.
Record 1 was recorded in Milan 2022, the same gig that yielded the B-sides for the “Pictures of You” single (“When A Blind Man Cries” and “Uncommon Man”), though they are not included here. This record opens with Machine Head‘s “Pictures of Home”, and Ian Paice beginning the proceedings with his usual drum intro. Don Airey’s organ dominates the mix, but Simon can be heard doing justice to the original arrangement. His tasty solo is his own unique composition, combining bluesy playing with shred in a way unheard before in Deep Purple. Blackmore fans who found Steve Morse to be just too different may prefer Simon McBride.
From 2020’s Whoosh! album comes “No Need to Shout”, one of the more straightforward tracks. It has a solid “Stormbringer”-like groove, but consider that Deep Purple remain unafraid to play new songs on tour every time. Simon and Don sneak in these quick licks that add season to the sauce. The chemistry with McBride is immediately undeniable.
A set highlight is the powerful ballad “Nothing At All”, probably the best song from Whoosh! Originally this song had a trademark Steve Morse guitar lick, but Simon acquits himself very well in this tricky part. It’s not identical, but the right notes are played, if in a very slightly different style. This beautiful song is harder live, with Ian Paice really smoking those drums, and Don Airey hitting his keys with more vigor.
The first record closes with another Machine Head classic, the undeniable “Lazy”, which we have so many live versions of. I have at least 34 live versions of “Lazy”, with more residing on live albums I have yet to rip to my PC. This version is the first available with Simon, and the word to use is “refreshing”. After 52 years, it is nice to have a version with another lead soloist, bringing his own powerful, melodic twist. Ian Gillan’s vocal is a little laid-back, but this version is a delight! When Ian starts playing the harmonica, it changes into something more akin to a country jam.
Record 2 was recorded in Sofia, Bulgaria in 2022. “Strange Kind of Woman” keeps us in classic territory. Somehow I get the feeling that Airey’s organ isn’t growly enough. Of course Gillan struggles with the high notes, but that’s old news and nobody should really care anymore. Simon’s solo is, once again, a fresh twist. Then they dig back even further with “Hush” from Shades of Deep Purple. Nothing different here, just the same classic groove and a killer organ solo, followed by a playful tradeoff between Simon and Don.
Side two only has newer material, beginning with “7 and 7 Is” (by Love) from the covers album Turning To Crime. Including “Hush”, that’s two covers in a row. It is cool that they were playing Turning To Crime material live, but this is skippable for most people (except Ian Paice fans who will dig the busy drum parts). More enjoyable is “Throw My Bones” from Whoosh! Don’s synth on this track is especially fun, and Simon makes it a bit heavier in the guitars. “Time For Bedlam” from InFinite closes this side. Ian Gillan struggles with the difficult vocals, which makes it harder to enjoy, though the guitar melodies are just sublime. This is a very technical track. Roger Glover holds everything together on bass while the feature players stretch out.
We are back to Milan on the third disc. Record 3 opens with the biggest surprise: “Anya” from 1993’s The Cattle Grazes Battle Rages On. It is no secret that making the album was an unpleasant experience for the band, especially Ian Gillan, but it is really cool to see them reaching back to the early 90s. This is the first version available with Don or Simon. Just as “Anya” is the only representation of the 1990s (a decade with four Deep Purple studio albums), “Perfect Strangers” is the only track from the 80s, as it often is. This is a solid workmanlike version.
The final side closes, of course, with “Smoke on the Water” and “Black Night”, leaving us without a version of “Highway Star” with Simon. This is a real shame; we hope one will come on future inevitable live albums. Ian Paice sounds great on these, and Simon’s solo on “Black Night” is bonkers, the same way that Blackers used to be bonkers.
This is a great little late-period live album. With a band and a back catalogue this extensive, it is natural that they can’t always fit in songs from Purpendicular, Now What, or In Rock. Newer material is more valuable in a live release such as this. Still…would have been nice to get “Highway Star”.
4/5 stars
Part One of a Three Part Series
Part 1: =1 (the album)
Part 2: =1 (the live album)
Part 3: =1 Access All Areas (DVD)
DEEP PURPLE – =1 (2024 Edel)
“It all adds up to one…” Would that have made a better title? Deep Purple don’t always come out with the greatest album titles or covers, but they have produced consistently good music during the Morse era, and now beyond. In their first lineup change since Don Airey joined the band in 2003, Steve Morse has stepped down for important personal reasons, and new kid Simon McBride has picked up the plectrum.
When Mr. McBride was born in Belfast in 1979, Deep Purple weren’t even a band anymore. They were in the middle of an eight-year hiatus. The last Deep Purple compilation released was 1979’s Mk II Purple Singles when he was an infant. Deepest Purple wasn’t even out yet. Rainbow was about to release Down to Earth with Graham Bonnet. Gillan were working on the second album as a band, Mr. Universe. Into that world sprang Simon McBride. He would grow to become a solo artist who would work with Purple members Don Airey and Ian Gillan, before being asked to join temporarily and then permanently.
Retaining Bob Ezrin the producer’s chair, Deep Purple wound up with something familiar, yet slightly different. There is less double tracking on Ian’s voice, which gives it a fresher sound. The songs are slightly harder edged, and there are more of them. =1 is the first first Deep Purple without bonus tracks since InFinite, and like Whoosh, feels conceptual on some tracks. According to the band, the world is “growing ever more complex, everything eventually simplifies down to a single, unified essence. Everything equals one.” I don’t know about that, but that’s what =1 means to them.
At 13 songs, the album could be trimmed down to a tidy ten. Let’s break them down.
Simon gets to show off some new sounds at the start of “Show me”, a relentless groove, unlike anything from the Morse era. Ian’s speak-sing storytelling vocal is familiar and fun, a perfect way to adapt to singing in your 70s. The groove is different from past works. Wonderful solo work from Don and Simon here, with Don on synth. The back and forth is very tasteful. It’s more playing for the song, and less trying to outplay each other like Jon Lord and Ritchie Blackmore in the 1970s.
Track two continues that hard grooves. “A Bit on the Side” boasts a great chugging guitar part, very different for Deep Purple of any era. The chugging is almost Slash-like, circa “Locomotive”. The chug-riff is the main feature, but once again Simon’s solo is stratospheric with loads of technique. Don’s is equally cool, with a spacey vibe.
“Sharp Shooter” is one song on which Ian doesn’t sing the name in the chorus. Instead there is a memorable refrain of “Shot in the dark”. The vocals are pushing the upper limit a bit, and the song has a vibe very much like the Morse era of Deep Purple. Nice soulful female backing vocals here, which is rare in Deep Purple. Once again, Don is focusing on the synth for solos. Not a highlight, but a decent tune with a modern Purple groove.
The first video/single was “Portable Door”. Ian Gillan weaves his traditional “English as a second language” lyrical whimsy. Some favourite lines:
When it came to me one day in Jerksville
Man, I was right on the edge
And that jacket’s too small for a man of your size
And those socks are too big for your head
I love that. Socks are too big for your head? Why not. The lyrics seem to be about tedious conversations that go in one ear and out the other.
I was trapped in a dire situation
Between reason and someone-in-law
“Between reason and someone-in-law” is just brilliance. Only Ian Gillan could write that. Meanwhile, Simon hits you with a cool chord that swooshes through. “Portable Door” has a stamp like the last few albums, but the one Simon chord really sets it apart. One chord: huge impact.
“Old-Fangled Thing” has a nice lyrical reference back to “Living Wreck” from In Rock, but is not the most memorable of songs. Is “old-fangled” another Gillan-ism? This song is a little tricky, like much of the Morse era was. In the end, it’s possible that this song could have been axed, but its speed is impressive.
There are two “ballads” (or slow blues) on this album. The dramatic one is “If I Were You”. There is a memorable chorus and a mournful guitar melody that might recall things like “When A Blind Man Cries”. Either way, Purple have done some impressive ballads and slow songs during the Morse era, and now the Simon era too. His solo is a little Bonamassa at times. Also take note: there’s an orchestra on this track!
The second single “Pictures of You” is immensely memorable. A fantastic song, with a focus on vocal melody. Purple play it simpler here and the dividends pay off. There’s a bit of multi-tracked vocals on the chorus, which is essentially what this song is about: the chorus! Until we get to the outro that is, which is more Marillion than Purple.
On the single for “Pictures of You”, the song went right into “Portable Door” without a break. The effect was an exciting transition. It’s less exciting on album, leading into “I’m Saying Nothin'”. This has that herky-jerky feel of the Morse era, but is otherwise not particularly memorable. Another one that could have been cut.
What’s the story with “Lazy Sod”? Ian Gillan was asked how many songs he’d written in his life. He estimated about 500. He was then informed that Dolly Parton wrote over 5000…”you lazy sod”. Can’t argue with that, so Ian turned it into a lyric. “That’s alright because I’m a lazy sod, and I’m hot.” It’s the third single and the most “rock” of them. Very old-school Deep Purple. Could have been on Who Do We Think We Are!
“Now You’re Talkin'” is the second song with an abbreviated “in'” title instead of “ing”. (David Coverdale, were you in the room?) Very similar to “Bananas” from 21 years ago. Almost a re-write of that prior song, but with a really fun screamed part in one of the verses. Really great riff, and always a pleasure to hear Ian do a scream, whether he sounds like a 70+ year old or not! Wait til you get to the solos!
Back in the Rapture of the Deep era, Ian told us that “Money Talks” to him. Now, he has “No Money to Burn”! There is an organ-based riff, which is a nice change of pace for this album, but the song is otherwise unremarkable. The third of three songs we could cut to get down to ten.
Deep Purple are not overkilling it on ballads. “I’ll Catch You” (maybe a slow blues) is a lovely ballad, soft and bluesy like a smokey club. It is placed perfectly near the end as an ear-cleanse, before we get into one of the best Deep Purple closers in years with the very English title, “Bleeding Obvious”.
If “Bleeding Obvious” isn’t the best closer since “Bludsucker” on Abandon, then let’s hear your picks! It could also be the most progressive tune? Could that opening figure work for Dream Theater or Marillion? Or even Rush? This is an absolutely brilliant tune, mostly down to that tricky riff and melody.
And so that’s it with =1; no bonus tracks this time. There is a deluxe box set with the first official release of a concert with Simon McBride, which we’ll get into on a separate review. Aside from the length, the only real complaint here is the minimalist artwork. The inner sleeve art is far more engaging.
4/5 stars
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