While ZZ Top were on a break between Tejas and Degüello, it made sense to issue the band’s first Best Of. This album was released in 1977 and though it did not chart high, it did eventually go double platinum, selling over 2,000,000 copies in the United States alone.
The cassette and vinyl releases had the sides flipped. This cassette copy in hand begins with “La Grange”, which is still a pretty solid opening even if the vinyl says otherwise! “La Grange” is an ode to a house of ill repute somewhere in Texas, and it became the prototype blues/rock shuffle for a generation. This song still burns up the radio today.
One of ZZ Top’s greatest blues had to be “Blue Jean Blues” from Fandango! So slow, so fully soaked in whiskey and gasoline that you can smell it from here. Billy Gibbons is fully in the driver’s seat here, but it is Frank Beard and Dusty Hill’s unobtrusive rhythm section that allows him to emote so well.
From the first album comes the dirty upbeat blues of “Backdoor Love Affair”. It’s a combination of elements: Billy’s distorted take on the blues guitar, mixed with Dusty’s melodic bass and Beard’s perfect punctuation. By the end of the song, it’s a jam around a tasty riff.
The familiar “Beer Drinkers and Hell Raisers” from Tres Hombres is an incendiary duet between between Billy and Dusty. Pedal to the metal, ZZ are off on one of the best rockers from the entire catalogue. This is the kind of song that endeared them to the headbangers. Similarly, “Heard it on the X” hones in on the speedy aspect of ZZ Top’s abilities. This is another duet with Dusty and Billy, and an ode to the Mexican radio stations that informed much of ZZ Top’s upbringing.
Flipping the tape, we are now hearing what is side one of vinyl. “Tush” ain’t a bad way to start. It’s the stuff of legend today. It boasts one of Billy’s best guitar riffs, yet it’s still little more than a basic blues. It’s just a winning combination: the blues progressions played by a rocking band. Billy’s leads are as much of legend as the song itself, stinging little zips of flavour in a bluesy soup of chords and drums.
“Waitin’ For the Bus” is a steady blues. The speed has been shed for this heavy sludgy one, with Billy laying down not just a guitar solo but a harmonica solo too, one after the other like one greasy blues rock statement. Then, just like on the Tres Hombres album, “Jesus Just Left Chicago” follows immediately after. Still blues, but of a different flavour. ZZ Top were always talented at showing us different sides of the genre, while mixing it with the sensibilities of rock guitar distortion.
“Francine” is a belter, a perfect pop rock tune, with more rock than pop. Billy’s little riff is tasty as candy, and the song has the necessary melodic mettle. Even so, it is overshadowed by the slide-drenched closer “Just Got Paid”. One of ZZ’s heaviest tracks, it’s made completely digestible by Billy’s incredible guitar work.
This is Def Leppard’s first 7″ single in 30 years – since “Action” in 1994!
I’m bored of Def Leppard’s glam throwback songs. I know that seems hypocritical, given that many of their biggest hits (“Pour Some Sugar On Me”) are basically that. “Just Like 73″ is their latest single, a standalone without an album, issued on various coloured 7” singles this year. While we applaud Leppard for releasing new music on a physical format, the song is not one of their greatest to date.
The coolest aspect of “Just Like 73” is the surprising guitar solo by Tom Morello. Rage Against the Machine and Def Leppard were diametrically opposed in 1993, but I suppose back in ’73, those guys were listening to a lot of the same records. On the B-side is a version without Mr. Morello, which is valuable to the collector, but the song is lesser without him.
Sometimes Def Leppard seem bent upon recreating their past, and not always hitting that mark. “Just Like 73” pushes those big “Hey!” vocals that are so commonly associated with Leppard. It has the Gary Glitter kind of beats that they are so fond of. Really, the only thing new here for Def Leppard is that Morello squonk all over the A-side. That’s a great mix and they should collaborate further.
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.
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”.
“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.
Deep Purple albums take time to absorb, especially in the current “Ezrin era”. The records are not lazy with simple songs (puns intended)! Tim and I attempted to break down the new album =1, track by track. We tended to agree on a lot of the songs.
What’s with the artwork? Is Simon a new Blackmore? What the heck is Ian Gillan singing about? Find out in this excellent episode of Tim’s Vinyl Confessions, out today.
My written review of the album will follow tomorrow morning, with the deluxe edition live discs getting the written review treatment in the coming weeks.
Here we go with the third and final (to date) Night Ranger album gifted to me by Tim Durling. ATBPO stands for And the Band Played On. And play on they did, now with Keri Kelli on guitar after the departure of Joel Hoekstra, currently in Whitesnake. Tim praises this album highly, so let’s find out why.
Some of the heaviest, slamming guitar I’ve heard from Night Ranger opens up the menacingly fun “Coming For You”. For some reason I’m thinking of “Lost In America” by Alice Cooper. This one is a grower. It jumps out more listen after listen. There are poker metaphors and a killer multi-part guitar solo! Sounds absolutely wicked, modern and technical, like Steve Stevens on adrenaline. It is quite possible that Brad Gillis is from outer space.
Second is “Bring It All Home To Me”, slowing the pace to a hard rock summer groove. I mentioned to Tim, I was hearing some twang in Night Ranger on the High Road album. I hear a teensy bit of that on the “baby, baby, baby” part of “Bring It All Home To Me”. Tim will argue that I am hearing that because nu-country appropriated a lot of 80s hard rock, and there’s an association there. Another bonkers solo here, making it two in a row for songs that fans of original guitar shred will want to hear.
More Gillis madness on the progressive sounding “Breakout”, bringing back the speed, but with a technical edge that few bands can really match. Kelly Keagy’s nuts on the drums, and fretboards are burning on the solo. This has to be one of the hardest Night Ranger songs to date. Then, a boogie piano and a surprising cocaine reference opens “Hard to Make it Easy”, and I’m resisting saying the word ” country” again…but there it is. This has line-dancing qualities. Now I’m not meaning this in a bad way. Night Ranger are allowed to stretch out and play stuff like this, and I won’t complain. The chorus sounds like Shania…just sayin’…but the dual guitar solo is more Lizzy.
We go somewhere down the crazy river with the snaky opening guitars of “Can’t Afford a Hero”, which soon transitions to a standard acoustic ballad. It would make a good Shaw-Blades track. Good tune with, again, great solo work. One of the more adventurous tunes.
“Cold As December” is a standout, with a powerful quality you can just pound your fist to. It’s just all riff and all beef! The guitar and vocals melodies are its strength. Despite its edge, the melodies and hooks shine through.
An unfortunate “We Will Rock You” drum beat soon gives way to another good song, “Dance”, a power ballad with more power than ballad. Really nice song. “The Hardest Road” is also ballady, but Kelly Keagy’s lead vocal adds a ragged raspy edge that enhances it beyond. Then the surprising “Monkey” kicks in with a serious beat. This is the song that would sound best in the car when you’re on the highway. Just non-stop stomp.
“A Lucky Man” is an album highlight, upbeat and bright, with a hint of that twang I keep hearing. This would definitely sound great at camp or cottage in the summertime. The keyboard and guitar solos are from the moon, which offsets the twang. Another personal favourite, easy peasy. Some tasty sweet guitar harmonies open up “Tomorrow”, another nice upbeat rocker with classy keyboard accents.
The closer is a “bonus track” (I ask why?) called “Savior”. It’s a little…goofy? I don’t know. Everybody’s looking for a good time? Sure. I’ll agree with that. Not sure about the song though.
Pat Torpey was such an important part of Mr. Big. Drumming, singing, writing: Pat did it all, and that’s why Mr. Big have found him so difficult to replace. His death from Parkinson’s disease was shattering to the band. They carried on with Matt Starr for a while, but they needed someone who could sing. Enter: Nick D’Virgilio from Spock’s Beard. Not just a legendary progressive rock drummer, but also a singer in his own right, Nick was an unexpected but appropriate choice for Mr. Big to record their final (?) album Ten.
Though some fans seem unwilling to allow bands to age and change, Mr. Big has done so without missing a beat. Sure, Eric Martin doesn’t sound 28 years old anymore (because he’s 63), but there is nothing wrong with his voice here. Just a little rasp, and a little less range. He has aged better than most 63 year olds you can name in the rock biz. He is still top notch, first class, and also a key songwriter here, along with Paul Gilbert and Andre Pessis. Absent from the credits is Billy Sheehan. That might explain why this album is less bass-y. Even so, in 2024 Mr. Big have come up with one of their best albums, up there with Hey Man.
The Gilbert-penned first track “Good Luck Trying” has a definite “Manic Depression” vibe. It’s a blues-rock classic, authentically rocking as if it came from another decade. It’s like a time machine, and the Hendrix inspiration is undeniable. A solid start.
Much like Hey Man and “Take Cover”, the best track is the second one. “I Am You” will be in your head for days. There’s a subtle acoustic guitar part, which is something of a recurring feature on this album. “I Am You” boasts a powerful chorus, but with an anthemic meloncholy vibe. Too bad a lyric sheet is not included, as this one has cool soul-baring words. Everything about this song is perfect, from impassioned vocals to mighty chorus. Sometimes it’s worth buying an album for one song. This is one of those songs, no hyperbole. It’s just a little different for this band, but it’s also a total pop rock anthem, and one of best Big songs in years.
We get a Zeppelin vibe on “Right Outta Here”, with bluesy verses and exotic choruses. Anytime you hear chords that we might refer to as “exotic”, Zeppelin comes to mind. Expect those Middle Eastern melodies on the guitar, and more acoustic backing. Nick doesn’t necessarily play like John Bonham, but there are the odd big hits that recall him.
In a fun twist, “Sunday Morning Kinda Girl” contains the lyric “big finish”, the name of their current tour. This song has a hard rock vibe mixed with 60s melodic sensibility. Definite Beatles vibes in the melodies, though the song is far harder than the Fab Four. Their green-tinted sixties minds must have been in tune for this song. Again, acoustic guitars can be heard in the background, but check out Paul’s very Queen-like guitar solo.
There are a few ballads on Ten. Ballads have been a thing with Mr. Big since the first album, but obviously “To Be With You” made them far more important. “Who We Are” is an electric ballad, with a bluesy style. Not as memorable as some past Big ballads, but a good song regardless. Great chorus here, and superb drum fills.
“As Good As It Gets” is uptempo acoustic/electric fun. Like “I Am You”, very different for this band and an easy album highlight. Once again, the drum work and fills here are stunning. It’s almost Rush-like. Paul brings in a very sweet guitar melody, with layers of guitar tracks thickening up the soup. This song also has one of the few Billy Sheehan bass solos on the album.
The boogie of “What Were You Thinking” has some wicked slide guitar by Paul Gilbert, housed within an uptempo rocker. Maybe the fastest tune on the album, but it’s not to be compared to old Big like “Addicted to that Rush”. This is just rock and roll. The lyrics reference Star Trek with “phasers on stun”, and you just have to love that. Another possible album highlight.
If there is a weak link, it’s “Courageous”. It’s a mid-tempo song, but not a ballad. It has some wonderful guitar, but doesn’t move the Earth. What does shake the Earth is the opening drum beat on “Up On You”. A hard rock party rocker, this features the return of the slide! Just because it’s a hard rock song with slide guitar, there is a slight Motley vibe (circa Dr. Feelgood), but only slight. Some boogie piano also helps keep things moving, but this is the most 80s rocker on the album.
Closing an album (sort of) with another ballad is daring. Yet “The Frame” is the softest of them, and a totally appropriate closer. It’s not “To Be With You”; there is no campfire rock on this album. There is plenty of music with an emotional weight, and “The Frame” has that and more. It takes a few listens to sink in, but it’s not really goodbye. There is a bonus track on all versions of the album.
Some countries got an instrumental track (to be reviewed later), but the bonus track in Canada is different from the one in the US and Japan. Here we get a blues cover, “8 Days on the Road”. Easily another album highlight, with someone else (Paul Gilbert?) singing lead on a bluesy drawl. Brilliant track and playing. Talk about going out with a bang! If this really is the end, then “8 Days on the Road” is a brilliant capstone. It showcases the kind of playing that Mr. Big built their reputation on.
Though Mr. Big albums have been spotty through their career, Ten is among the better records. It may go down with albums such as Hey Man as a cult classic.
Today on Tim’s Vinyl Confessions, we deep dive into the new (final?) Mr. Big album called Ten. Shockingly, it’s their tenth studio album. I know, right? It’s also a few firsts: the first album with no songwriting from bassist Billy Sheehan, and debut Mr. Big album for new drummer Nick D’Virgilio. It has been eight long years since their last album, Defying Gravity, which wasn’t bad at all. Did they top it? Did they go out on a good note?
Now that Ratt has ceased to exist as a band, we seem to be getting better and better reissues. There was that Atlantic Albums CD set that came out recently with cool bonus tracks, and a forthcoming LP reissue with that set with an additional recently-discovered unreleased track. Too bad Stephen Pearcy didn’t dig that one up in time to issue on 2024’s Rarities album, a nine track compilation of unreleased versions spanning 1982 to 1989. These include the classic lineup of Peacy, Robbin Crosby, Warren DeMartini, Bobby Blotzer and Juan Crocier. There is also one previously unheard song written by Pearcy and Crosby to add some extra value.
We open with a 1983 version of “Tell the World” from the 1984 Ratt EP. It is a less polished version of the same, complete with shouted backing vocals and echo effects. The most notable differences are the prominent busy Blotzer drum fills. This is followed by a 1982 rehearsal tape of the hit-to-be, “Round and Round”. Of course the sound quality is what should expect for a 1982 rehearsal tape. It’s garage quality and probably recorded by a boom box in a really loud room. That said, it’s still a fun listen since the band is so tight and the song was years away from the charts. It’s actually unfinished; about 90% there.
Do you know how many songs Ratt have about wanting something? We already have “I Want A Woman” and “I Want To Love You Tonight”, which might be why “I Want It All” didn’t make an album. “I Want It All” is an undated demo from the 80s that was later finished up with new bassist Robbie Crane on 1997’s Collage. This older version is rougher but otherwise the same arrangement. It’s a little different for Ratt, opening with acoustic guitars. It’s a good sassy mid-tempo Ratt track that would have fit on any number of albums post-Out of the Cellar.
The next batch of tunes are live. “In Your Direction” from Cellar is from 1987, as is “Round and Round”, “Body Talk” and “Drive Me Crazy”, though “Body Talk” is also noted as being live in Germany. “In Your Direction” is bootleggy, most likely an audience recording. “Round and Round” is clearer but a little by rote. You can hear Juan’s backing vocals clearly, and Stephen even drops an F-bomb that would have been edited out had it been released in the 80s.
“Body Talk” and “Drive Me Crazy are a pair from Dancing Undercover. The intensity of “Body Talk” is impressive, though some of it gets washed out in the thrashy tempo. The greatest sin, however, is the premature fadeout during the guitar solo. There is no such fade on “Drive Me Crazy” which fares well live. The backing vocals are a bit ragged, but it all holds together in a stampeding Ratt romp.
Back to a 1985, “Wanted Man” from Cellar is the last of the live songs. The bass drum is a bit thuddy, and nothing’s particularly clear (especially Robbin), but the performance is spot on. Listen, we all like buying bootlegs, don’t we? You should have no issue with the sound quality so long as you understand in advance, none of these recordings were intended for release.
The final song is the previously unheard “Love on the Rocks” from 1989, which did not make the Detonator record. Written by Stephen and Robbin, it’s a pretty damn solid Ratt song and one of the best sounding tracks on the album. The chorus is decent and a properly produced version would have been polished-up album worthy. As it is, it’s a good B-side or bonus track.
While not essential, this Ratt compilation is a solid addition to any collection. It’s for the fan that has everything but wants a little (back for) more. But that cover artwork? Surely they could have done better than that.
ZZ TOP – The Best of ZZ Top (1977 WEA cassette)
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