HOLLYWOOD MONSTERS – Thriving On Chaos (2020 Voice Music, Japanese import)
Supergroup? Or just a good time? Singer/guitarist Steph Honde, drummer Vinny Appice, and bassist Ronnie Robson gathered a load of friends and recorded a fun heavy metal album of originals and covers. There is also a healthy helping of Canadian content (such as Robson in the core trio)!
Opener “A Scream Looking For a Mouth” is a raging heavy metal track along the lines of vintage high-voltage Motorhead. Hell of an opener. Add Deep Purple’s Don Airey on guest Hammond organ solo, which just hits the right spot amidst all that raging. “Speak of the Devil” continues the heavy, though not the speed, thankfully, or you’d be seeing a chiropractor from all the headbangin’. A catchy chorus and solid riffing make it another instant winner. Solid metal. A chunky riff kicks off “Something Wicked”, a really fun uptempo rocker.
Things get slower and darker on the monumental “Running Up Hill”, which is instant hit material. Ted McKenna on drums. Instant classic, with a chorus that kills. Regardless of the daily struggles we face, Honde reminds us, “Never surrender!” It’s a message of positivity, and the best track on the album.
“Numb” is another good one, grinding out a riff slow an’ easy. The added keyboards provide texture. Even better is the beautiful acoustic ballad “In This House”. Honde has an excellent acoustic album called Empire of Ashes, and this track easily could have fit on it. Though he’s a rocker, he is exceptional at tender acoustic ballads.
The first cover is “I Don’t Need No Doctor” featuring Jim Crean on backing vocals. It kicks all the expected asses, and Honde’s guitar soloing is tasty as hell. Next up: Canadian content with the Goddo cover “Drop Dead”, featuring Greg Godovitz on co-lead vocals and Tommy Denander on lead guitar. It smokes, and that lead solo? Set phasers to stun!
“Thriving On Chaos” is another impressive original. It has a slow, dramatic riff that is somehow familiar. Excellent songwriting, and hard to pigeonhole. It’s followed by a very Maiden-esque song called “Fortune Teller”, which has a vibe very similar to some of the tracks on Fear of the Dark. Fred Mika plays drums on this tempered-steel monster.
The final cover (and Canadian guest) is the Thin Lizzy cover “Cold Sweat”, as sung by Danko Jones. Danko is the perfect guy for it! He nails the Phil vibe, yet with his own snarl. And the Steph Honde guitar solo? Call the fire department! This alchemy of Jones/Honde/Appice/Robson is pure combustion. You can seldom go wrong with a Thin Lizzy cover, but here everything goes so, so right.
Always a surprise when the Japanese bonus track is one of the highlights. The heavy, thumping “I Am the Best You Can Get” slays! “Heavy” is an understatement! Vocalist Steph Honde goes from scream on the verses, to growl on the chorus. The droning chorus is the best part! This one features (Canadian) Glen Drover on lead guitar and Alexis Von Kraven on the relentless drums. The Japanese CD even comes with a printed interview with Steph Honde – though I cannot read Japanese!
Pick it up – shell out for the Japanese if it’s within your means.
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
Whoosh!
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.
4.25/5 stars
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.
Summing up
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.
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.
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?
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:
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 – 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!
Infinite isn’t even out yet and we already have two CD singles in our hands! Deep Purple are wasting no time in getting the new music out there. The last single, “Time for Bedlam” had four tracks, including three brand new pieces of music. “All I Got is You” has five tracks, two of which are brand new. These singles are well worth buying, and won’t be obsolete when the album is released.
Age has done little to blunt the cutting edge. “All I Got is You” has old and new elements. It sounds like Deep Purple, but not like prior Deep Purple. Its jazzy intro misleads, for this is a pissed off song. It is difficult to describe except to say it’s busy, but still barely commercial enough for a single. As usual, Steve Morse and Don Airey’s instrumental work stuns the senses. If these new singles are what we have to judge by, the new album will be typical Morse-era Deep Purple: still them, still restless.
The bonus material is varied. “Simple Folk” is a lovely little guitar instrumental, reminiscent of the ballad “Never A Word” from Bananas (2003). Don’t be surprised if the melody shows up elsewhere in the future. It’s too good to relegate to a CD single, and it is exclusive too. Also exclusive: an instrumental mix of “Above and Beyond” from the last album Now What?!. Instrumentals of songs you know well are always an interesting ride. It is fun to listen to the music you couldn’t hear before, under the lead vocals. “Above and Beyond” was of course a single in its own right in 2013. Then, even better, we have the first take of the first single “Time for Bedlam”, complete with Bob Ezrin’s talking (and praise). This too is an instrumental version, but if you ever wanted to hear what Deep Purple sound like completely unleashed in the studio, give it a spin. I think I like it better than the actual single.
The only bonus track that will be re-released later on is the live version of “Highway Star” (yes, another one) that will be included on in the Infinite box set version. That set will contain lots of vinyl including three 10″ records that together will comprise The Now What?! Live Tapes Vol. 2. Sharp readers will recall that Vol. 1 came out with the deluxe “gold” edition of the Now What?! CD. As for “Highway Star”? Well, this one is 6:09 long and was recorded August 8 2013 in Denmark. I don’t know how else you can differentiate versions. My Deep Purple folder has 58 listings for “Highway Star” (albeit some of those would be the studio version on compilations).
As fans gear up for the Infinite album (and box set), they would be advised to get these singles too. There is enough extra material on them to complement the album nicely when it’s finally out on April 7.
HOLLYWOOD MONSTERS – Thriving On Chaos (2020 Voice Music, Japanese import)
“Thriving On Chaos” is another impressive original. It has a slow, dramatic riff that is somehow familiar. Excellent songwriting, and hard to pigeonhole. It’s followed by a very Maiden-esque song called “Fortune Teller”, which has a vibe very similar to some of the tracks on Fear of the Dark. Fred Mika plays drums on this tempered-steel monster.
mikeladano.com 