hard rock

RE-REVIEW: Van Halen – A Different Kind of Truth (2012 CD/DVD set)

VAN HALEN – A Different Kind of Truth (2012 Universal CD/DVD set)

When this album was released in 2012, we all wanted Van Halen to win.  Eddie had been through some tough times, but he finally did what the fans demanded:  get back together with David Lee Roth, and record a new album.  Sure, we all lamented that Michael Anthony was gone, but it was new bassist Wolfgang Van Halen that made it happen.  Without Wolf, there would be no final Van Halen album.  Just VHIII, and we know how most of you feel about that.

Working with new producer John Shanks in neutral territory, Van Halen managed to crank out a new album in just three years, starting with jams in 2009.

Wolf knew that Van Halen had to get back to a “classic” sound for their first new album with DLR since 1984.  In addition to new music, Wolf dug back into Van Halen’s archive of unreleased material, and picked seven songs that rework and re-write.  Roth called it a “collaboration with the past”, which is a good way of putting it.  No, it does not sound exactly like old Van Halen; that would be impossible.  It does, however sound like Van Halen with Roth.

Opener “Tattoo” was the first single and weakest track.  It’s also the only one with audible keyboards (by Dave), though just for texture.  Roth said the multi-layered chorus was inspired by artists such as Rhianna, but that chorus is actually the annoying part of the song.  Eddie’s fills and Dave’s verses are fine and entertaining, as is Wolfie’s fuzzy bass.  The chorus is the weak link, perhaps even worse than the lyrics:  lines such as “tramp stamp tat” and “mousewife to momshell”.  I like tattoos as much as the next guy, but I’ll never use the word “momshell” except when discussing this album.

The real banger is the second single, “She’s the Woman”, a pretty close approximation of the original Van Halen song (pre-debut album).  Wolfie’s playing is monstrous, with a catchy circular bassline that proved the kid had the talent to be in this band.  His dad must have loved jamming with him.  Ed’s solo really brings us back to classic Van Halen, while Alex’s drums have that sound that we all missed.  I hate to say it, but this rendition is probably superior to the original lineup’s version.

“You And Your Blues” has that choppy Eddie guitar we love, and those “ahh, ahh” backing vocals that scream Van Halen, even without Mike.  Dave’s lower voice works well on the verses, though he is stretched out on the high notes in the chorus.  A great Van Halen album-quality song.    (If you’re fortunate enough to have a CD/DVD combo set, you’ll be treated to a cool acoustic version of “You And Your Blues” with loads of storytelling from Roth.)

“China Town” has some of the best shredding on album.  From Wolfie’s crazy capo bass to the lightning fast tempo, all four members of Van Halen are on fire.  If any song can be said to take the classic sound and launch it into orbit, it’s “China Town”, and Wolf is the star.  The bass is not overly high in the mix, but when you listen to it and isolate it in your head, you realize that this guy has brought a new side to Van Halen:  bass shred.  Additionally, it’s a great song in every way.

Going back to 1984 and an instrumental section called “Ripley”, “Blood and Fire” was reworked in 2000 for an aborted reunion with Roth.  Interestingly “Blood and Fire” actually sounds more like Hagar era Van Halen.  It does contain one of Dave’s favourite concert phrases:  “Well look at the all of the people here tonight!”  If this track had been on 5150, it would have fit like a glove, though it would have been one of the more rocking tunes.  Edward himself is the star on this one, as he rips, shreds, and tears as if it really was 1984 again.

“Bullethead” sounds new, and also goes back to the 2000 sessions.  Van Halen speed and Dave “charasma” are held together by the rhythm section of Al and Wolf.  It contains the lyric “Got a different kind of truth”, from which the album takes its title.  Ed’s effect-laden solo is no less cool, though nobody will list “Bullethead” in their top 20 Van Halen songs.  A cool album track it is, but that’s all.

One of the coolest tunes would have to be “As Is”.  Opening with some Alex drum intensity, it breaks into a slow heavy riff, before finally accelerating into a powerhouse Van Halen smokeshow.  That running riff sounds so classic, you could swear they injected Ed with youth serum.  He sounds like a man reborn, both in terms of shred but also in fun.  Ed gets to play with many different sounds and tempos on “As Is”, while Dave also gets to enjoy himself with singing and that spoken word stuff he does so well.  Most of this is done very fast.

This sounds like a natural side break.  “Honeybabysweetiedoll” (another 2000 track) comes across like a side two opener.  Ed is experimenting with new sounds, like he used to, and you’ve never heard Ed sound or play like this before.  He goes for a middle-eastern vibe, but with the kind of intensity that other bands do not have the mettle to muster.  Dave’s lyrics about soccer moms don’t quite hit the spot where the music is concerned, but nobody’s listening to this song for the lyrics.  It’s the guitar that makes the biggest impact here.  You can imagine the Ed diehard fans just pounding their fists in celebration when they heard what Ed was up to, before they tried to figure out how he got that sound.

“The Trouble With Never” might be the only track that doesn’t seem like it goes anywhere.  You also miss Michael Anthony the most on backing vocals here.  It’s just a song.  Not a great one, not a bad one…but with one hell of a cool bassline.

“Outta Space” originated in the mid-70’s as “Let’s Get Rockin'”.  The riff is classic even though it never made an album before.  Dave sings in his highest voice, which is actually cool after a lot of lower pitched songs.  As you’d expect for a song originally called “Let’s Get Rockin'”, it smokes from start to finish, top speed and loaded with cool Eddie licks.  It’s fun to hear the rhythm guitar drop out during his solo, just as it used to in 1978.  Ed wasn’t fond of that sound, but it certainly evokes an era and a vibe.  It’s like a warm sweater.  Maybe Ed would appreciate that sometimes the absence of a guitar can also speak.

Dave plays acoustic guitar on the fun “Stay Frosty”, an old song that certainly recalls “Ice Cream Man” in every way.  There’s one lyric that Dave liked to point out:  “If you wanna be a monk, you gotta cook a lot of rice.”  Hey, it’s not untrue.  Let me put it this way:  If you imagined a sequel to “Ice Cream Man”, it’s “Stay Frosty”.  Not quite as good, but hits all the same beats that you want to hear.

“Big River” sounds like an older song.  It has a cool curly guitar opening, before laying into this awesome guitar/bass groove.  More a groove than a riff.  Dave’s lyrics and singing are top notch on this song.  Classic Van Halen. The surprise is that halfway through the song, for the solo section, it transforms into a completely different groove.  This section has some of Eddie’s best playing too.  It reverts back to the original riff for the last third of the song.  All the while Wolfie is playing the most incredible bass fills, but never stepping on his dad’s toes.  Think about that for a second.  In the mix, you have the greatest guitar player in the world playing over this awesome riff, but the bass player still manages to throw a whole bunch of cool fills in there, without getting in the way.  That’s a band, and that’s family, and that’s talent.  If this song had been on an album like Fair Warning, people would still remember it today.

The closing song “Beat’s Workin'” starts with a cascade of Alex Van Halen drums, gone gonzo.  It then breaks into a fun riff and a good time album-ender.  A song called “Beats Workin'” should sound like a celebration.  I get a bit of a Max Webster vibe, though heavier, along with a hint of Aerosmith.  Once again the rhythm guitar drops out when Eddie goes solo, but then Wolf gets a moment in the spotlight too.  His fuzz bass tone is very much unlike Michael Anthony’s.  There’s a moment here when he and Alex are just playing while Ed does his thing, and it feels beautiful, especially now, knowing the family will never be reunited.  But let’s not get too somber.  It’s a party, after all.

The bonus DVD also includes acoustic versions of “Panama” and “Beautiful Girls”.  They are alright.  Valuable to have in your collection.  You might not go back to listen to them very often.  Another reason to own this physically is the lyric sheet, with cool sketches for each song.  This is a Dave touch.

Final thoughts:

  1. The album cover, though a cool picture of a train, just doesn’t feel like classic Van Halen.  Then again, what does?  They’ve had so many different kinds of covers.
  2. The production on this album slams.
  3. Though Eddie is the star, and we’re all listening to every note he plays, it doesn’t sound like an EVH solo album like VHIII did.  It sounds like a real band album.
  4. John Shanks and David Lee Roth did the best they could with what remains of Dave’s voice, and did a fine job of it by doing more of that speak-sing thing.
  5. The flow on this album is excellent.  There is hardly any filler, and every song works in its given slot, especially the closing trio of “Stay Frosty”, “Big River” and “Beats Workin'”.

4.5/5 stars

COMPLETE VAN HALEN REVIEW SERIES:

VAN HALEN – Zero (1977 Gene Simmons demo bootleg)
VAN HALEN – Van Halen (1978 Warner)
VAN HALEN – Van Halen II (1979 Warner)
VAN HALEN – Women and Children First (1980 Warner)
VAN HALEN – Fair Warning (1981 Warner)
VAN HALEN – Diver Down (1982 Warner)
VAN HALEN – 1984 (1984 Warner)
VAN HALEN – 5150 (1986 Warner Bros.)
VAN HALEN – OU812 (1988 Warner)
VAN HALEN – For Unlawful Carnal Knowledge (1991)
VAN HALEN – LIVE: Right here, right now. (1993 Warner Bros, plus “Jump” live single)
VAN HALEN – Balance (1995 Warner – Japanese version included)
VAN HALEN – Balance (1995) Review by Derek Kortepeter
VAN HALEN – Best Of Volume I (1996 Warner)
VAN HALEN – 3 (Collectors’ tin 1998)
VAN HALEN – The Best of Both Worlds (2005 Warner)
VAN HALEN – A Different Kind of Truth (2012)
VAN HALEN – Tokyo Dome Live in Concert (2015)
VAN HALEN – Tokyo Dome Live in Concert (2015) Review by Tommy Morais

+

VAN HALEN – Rock & Roll Hoochie Koo (1975 radio broadcast
VAN HALEN – “Best of Both Worlds” (1986 Warner 7″ single)
VAN HALEN – Live Without a Net (1987 VHS/DVD)
VAN HALEN – Selections from LIVE: Right here, right now. (1993 Warner promo EP)
VAN HALEN – “Can’t Get This Stuff No More” / “Me Wise Magic” (1996 Warner promo singles)
VAN HALEN – “Can’t Stop Loving You” (Parts 1 & 2, inc. collector’s tin)
VAN HALEN – “Right Now” (1992 cassette single, Warner)
VAN HALEN – Video Hits Volume I (1998 DVD)
VAN HALEN vs. JOHN LENNON – “Imagine A Jump” mashup by “Mighty Mike”

RECORD STORE TALES Part 186:  The Van Halen Tin
GETTING MORE TALE #657: Operation: Van Halen (Derek’s Story)

REVIEW: Aerosmith – “F.I.N.E.” (AOR Mix) (1989 Promo)

Thanks to Ash Geisler for this CD!  It is a welcome addition to my collection!

AEROSMITH – “F.I.N.E.” (AOR Mix) (1989 Geffen Promo PRO-CD-3806)

“AOR” equals “Album Oriented Rock”, a radio format established in the 1960s that essentially means “classic rock” by today’s standards.  Therefore, this Aerosmith single would be a remix aimed specifically at those kinds of radio stations.  Frequently and historically, many of these remixes are barely different at all from the album version.  Additionally, “F.I.N.E.” from 1989’s Pump album was not really considered a single.  It wasn’t available to buy commercially, and it wasn’t made into a music video.  It was a radio single only.  At 4:08, this track is not edited.

“F.I.N.E.”, which was track 2 on the album, is considered one of Aerosmith finer rock moments from the Geffen years.  It was always focused on a biting heavy Aero groove, a melodic Tyler vocal, and that irresistible chorus of “It’s aaaaaaaalright!”  This remix is hardly different at all.  If anything, the bass might be coming through more clearly.

If you have a look at the waveform file below, you can see there isn’t much difference, though some are visible.  The AOR mix is at top, the original 1989 CD file at bottom.

I don’t feel there’s any point in rating a promo CD single like on a scale of 5, because what’s the point?  This CD is valuable as a collectible to fans and hoarders alike.  It has an exclusive remix, and whether you can hear a difference isn’t the point to a collector.   Sometimes obscure AOR mixes get reissued on greatest hits or box sets, but to date, this one has not.

“Joe Perry says I’m aaaaallright!”

Thanks again to Ash from Australia for sending me this CD which I shall file with my Pump collection!

REVIEW: Stir of Echoes – Stir of Echoes (2008)

STIR OF ECHOES – Stir of Echoes (2008 Stir Records)

When Hamilton’s near-legendary metal band Mystique broke up at the end of the 1980s, singer Ray D’Auria bounced back with the hard rocking Slam Glory.  That is a story and album unto itself.  D’Auria’s next major release was a full lengther with quartet Stir of Echoes.  The band formed in 2006 with a self-titled CD release in 2008.  According to a note from filmmaker Marco D’Auria, the album was engineered by Steve Negus of Saga fame.  What musical avenues would Ray explore this time, two decades after the end of Mystique?

The answer is:  if Mystique was metal, and Slam Glory was hard rock, then Stir of Echoes is good old rough n’ raw classic rock.  A heavier Led Zeppelin, perhaps.

Ray’s voice has transitioned to a rougher, more raspy delivery though still with the power and range we expect.  Opener “Sentimental” boasts some slippy-slidey guitar bits and bites, while a locked-in bass/drum groove keeps things moving.  This bluesy rocker is world class.  I like how the rhythm guitar part drops out when the solo comes in – very live sounding.  That’s Marco Ciardullo on guitar.

Track two, “Alone” is an upbeat rocker with Ray shredding the vocal cords throughout.  It’s actually a bit of a drum showcase on the side, with plenty of solos and fills by Darryl Brown.  There’s a bit of Zeppelin in the vocal delivery when Ray sings, “I, I…” at the midway point.  A brilliant track that smokes with a bass solo (by Carmine…just Carmine) and impressive musical exposition.

The groove of “Sold It All to Fame” recalls the classic British blues of bands like Humble Pie.  It sounds like it was born from a jam.  There’s a tasty guitar riff to bite into.  Following this groove, they go heavier on “Bonefoot” which might recall a Sabbathy vibe, circa the first three or four albums, in the riff and looseness.  “Lies, lies, lies!” screams Ray D’Auria like a man wronged.

Stir of Echoes slow things to a nocturnal crawl on the blues “In the Cold”.  Many classic heavy rock bands boast a classic slow blues, and this sounds like Stir of Echoes’ stab at the genre.  The band gets to stretch out musically while Ray focuses on the pain.  “All of this time…alllll of this time…”  Like a classic-era rock singer, Ray sounds out of another decade.

The burner gets turned up to 10, and things start smoking again on “Little Dog”, an absolute blitz.  Then they go for a more fun vibe on “Shot Gun”, which has one riff that definitely reminds us of Zep’s “How Many More Times”.  You have to question how Ray could sustain this kind is singing!  It’s top level, at all times, with the rasp and high notes!  At the end of the song, they ignite the afterburners and the whole thing goes stratospheric.

The first respite on the album lies within the acoustic intro of “Burning in the Rain”, the closest thing they offer to a power ballad.  Emphasis on the power.  Really, it’s more of a bluesy showcase for Ray to offer up some of his most passionate singing.  “Shake” takes things back to boogie, and the mid-tempo groove really allows the bassline to breathe.  This is a great song to dance or drink to.

The only song you might consider “soft” would be the acoustic closer “Too Late”.  Very Zeppelin III in feel.  The lack of volume allows Ray to lay back a bit and really just sing.  It’s just him and some acoustics, so the spotlight is on, and he uses it well.  Brilliant performance.

Except “Too Late” isn’t the closer!  There is an unlisted bonus track called “Wild Eye” which may be the best of the bunch!  It’s certainly one of the most memorable.  The stuttery opening riff is just a little different from the pack.

Stir of Echoes aren’t as diverse as Mystique, and the subject matter is more grounded.  Stir of Echoes is more laser-focused on a specific kind of rock, and they go all-in.  They do what they do very well.  The last band that attempted this kind of sound and did it this well was called Badlands.  If you know, you know.  Get it.

4/5 stars

REVIEW: The Best of ZZ Top (1977 cassette)

ZZ TOP – The Best of ZZ Top (1977 WEA cassette)

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.

If you just got paid today, pick up some ZZ Top.

Notably, this cassette pre-dates any of the ZZ Top remixing shenanigans that happened in the 80s, so purists will get only the original classic tracks.

4.5/5 stars

REVIEW: Def Leppard – “Just Like 73″ (7” single)

DEF LEPPARD – “Just Like 73” (7″ Mercury single)

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.

3/5 stars

REVIEW: Deep Purple – =1 Access All Areas (2024) [Part Three- The DVD]

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.

REVIEW: Deep Purple – =1 Live 10″ Vinyl (2024) [Part Two – The Live Album]

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

 

 

REVIEW: Deep Purple – =1 (2024) [Part One – The Album]

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

Tim’s Vinyl Confessions: Ep. 551: Deep Purple (=1 review) [VIDEO]

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.

REVIEW: Night Ranger – ATBPO (2021)

NIGHT RANGER – ATBPO (2021 Frontiers)

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.

Solid album, if a bit long:  3.5/5 stars.