“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!
BRUCE DICKINSON – “Resurrection Men” (2024 BMG CD single)
The Mandrake Project is a dense album. It takes a lot of time to absorb and understand. The concept goes way over my head, but the songs are heavy and the direction is metal. Bruce Dickinson is nothing if not ambitious, and of course that means taking the new album on the road. His live band this time out includes the always reliable Dave Moreno on drums, and Whitenake bassist Tanya O’Callaghan. Bruce has released two singles from the album with exclusive B-sides, and the second is “Resurrection Men”.
“Resurrection Men” is long for a single, at almost six and a half minutes. It is loaded with drama, and the acoustic intro really sets a mood. Then it goes into something more western, like from a Clint Eastwood film, with interesting percussion. That soon subsides and we go full electric. This song lunges all over the place, from slow grinding verses to quiet bass-driven parts, and a powerhouse chorus. Ultimately it’s not really single material, but that’s one thing that makes this release so interesting. It’s also impressive how Bruce continues to sing with such lung power.
Live from Sao Paolo comes “Afterglow of Ragnarok“, the first single from The Mandrake Project. A song about “what happens after the end of the world,” according to Bruce. It is tight, and does not deviate far from the original cut. The live setting is unforgiving, but even without multitracked vocals, Bruce nails it. The stage energy is palpable, and Moreno kills it on drums.
The most exciting track is the very first live version of “Abduction” from Tyranny of Souls. This one absolutely smokes, with breakneck pace, lightning drum fills, and melodic guitar harmonies. A lot of solo Bruce stuff could almost be considered Iron Maiden made modern, louder and more intense. “Abduction” falls into that category. This live version has some really cool guitar solo work, very different from Roy Z’s on the album.
It is truly wonderful to see artists such as Def Leppard, Deep Purple, and Bruce Dickinson releasing physical singles with actual B-sides in 2024. Keep it up.
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.
DREAM THEATER – “Hollow Years” (1997 Warner Music Germany)
I always found something about 1997’s Falling Into Infinity to be underwhelming. Yes, we had the stunning Doug Pinnick cameo in “Lines in the Sand” and a wickedly heavy “Burning My Soul”, but the album didn’t have the same impact or longevity as Awake or Scenes From a Memory. It wasn’t for lack of effort. They recruited Desmond Child and Kevin Shirley, and released singles. The album never broke the top 50 in Canada and received mixed reviews. A later-released demo version of the album revealed what the band would done if not influenced by Shirley and Child. One of those demos was first released on the 1997 “Hollow Years” single.
First track on this single is a 4:15 edit of “Hollow Years”, with more than a minute and a half edited out. The shame is that it didn’t become an instant hit. With the Spanish guitar melody and subtle keyboard accents, it could have and should have done better for the band. There is a very pretty piano melody after the chorus by Derek Sherinian, in his last of two outings with Dream Theater. Yet it’s still Dream Theater, not some ballad band. John Myung’s fretless bass sets it apart, and Mike Portnoy is always Mike Portnoy no matter the style of music. The premature fade on the edit version, however, is extremely annoying. Even if you don’t already know the song, it sounds like a premature fade. The ending is so good; a song highlight! The full length version, uncut and as intended, is really the only version to listen to.
“You Or Me” is a version of “You Not Me” from the album, before Desmond Child helped them tweak it. It opens with the sound of a radio changing stations, and then a cool synth rhythm. John Petrucci’s riff soon kicks in, and it’s clear Dream Theater were trying new things that might be perceived as more appealing. Ultimately, the version that ended up on the album is probably the better of the two. It’s definitely catchier.
The final track is “The Way It Used To Be”, a long non-album song with a Marillion-like guitar melody. It could have been lifted directly from Seasons End. Petrucci is the star on this one, as he also employs cool harmonics. Definitely a cool and valuable bonus track. If it wasn’t almost eight minutes long with plenty of musical prowess, it might have been a worthy hard rock hit on its own.
Great little CD single, but those edit versions are never as cool as they are collectible.
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.
Deep Purple’s first new album with Simon McBride on guitar will be out July 19. Called =1 (“equals one”), the music seems to heading into a riffy direction. The band have just released a new CD single, something of a tradition for them during the Bob Ezrin era in this late part of their career. This single includes two tracks from the album, including the recently released “Portable Door”, and two live tracks with Simon recorded in 2022. Let’s have a listen and hear what the Purples have in store.
Track one, “Pictures of You” has a pretty cool and weighty riff. Backed by Don Airey’s organ, it’s one of Purple’s catchiest riffs in recent years. The chorus follows the riff melody. “These pictures of you are too good to be true,” sings Ian Gillan. Ian’s voice is pushed to its current limits, which is often the thing you hear people moaning about the most, but it’s really no issue. Simon comes in with a wicked catchy solo, before the whole song detours into a dainty Don Airey piano part with Simon doing volume swells overtop. Though only 3:50 long, “Pictures of You” packs a lot into a short time.
Without a gap, the band breaks into something completely different, ominous and heavy: “Portable Door”. Ian Paice is the backbone, always smooth, always identifiable, infallible. With Ian Paice on drums, Deep Purple will always sound like Deep Purple. Don Airey’s organ really dominates the solo section, as it should, and Simon’s guitar work is sublime. As for the tune itself? Top notch.
The live tracks were recorded October 17 2022 in Milan, Italy. These tracks will not be on the deluxe box set version of =1, and are exclusive to the single. First up is the classic blues “When A Blind Man Cries”, and we get to hear Simon do what Simon does. Perhaps more interesting though, the arrangement includes a new lounge-y into with piano. “Blind Man” feels slower than usual, but Ian Gillan is in fine voice. Simon takes center stage on the guitar solo, and it’s so phenomenal that you can hear the audience break into applause at its conclusion. It’s slow and passionate until he lets rip. Having Don Airey follow is almost anti-climax. Welcome to Deep Purple, Simon McBride!
The more recent “Uncommon Man” closes the disc, with a beautiful guitar solo backed by heavenly keyboards. As one of Purple’s more regal songs, it sounds great on stage. Roger Glover gets a little bit of the spotlight just before Simon’s solo, but this is a pretty faithful version. Most importantly, it is good to see that Deep Purple do not drop songs from the latter part of their career out of the setlist. (There are three other live versions of this song with Steve Morse available on other releases: Celebrating Jon Lord the Rock Legend, To the Rising Sun in Tokyo, and the Now What?! Live Tapes Vol. 2)
With only 5000 copies worldwide, this is sure to be a collector’s item.
I’ve never hid my disappointment that Skid Row have been unable to hang into a lead singer for long since Sebastian Bach’s 1996 ouster. Johnny Solinger was their best shot at a permanent lead singer, since replaced by a dizzying array of vocalists. Erik Grönwall, from Swedish Idol and H.E.A.T., was probably the biggest hope. Sadly, as a cancer survivor, Erik was forced to resign and focus on his health. The one album he made with Skid Row, The Gang’s All Here, received critical acclaim in 2022 and was called Album of the Year by several outlets.
Erik Grönwall brings the necessary range and power, more so than Solinger. Unfortunately, both Solinger and Bach had a lot of character in their voices. Grönwall has a more generic sound, and this robs Skid Row of some of what made them special. He almost sounds too good, too professional.
A lot of people will disagree and that’s fine. We’re all entitled to our opinions.
Only two songs here, “Time Bomb” (sort of a punky rewrite of “Piece of Me”) and “The Gang’s All Here”, made it onto the tour setlist. 80% of the album was not played live. There are shout-along choruses, Kiss-like guitar licks, and Bolan’s bass bounce…but do the songs stick to the brain like albums of yore? Some do. The best moments are the ones that recall the past, such as “Resurrected” which has a “Monkey Business” familiarity. Unfortunately, the trite lyrics are another one of those “we’re back where we belong” kind of songs.
The strongest song is the ballad “October’s Song”, which comes closest to nailing the timeless Skid Row level of quality. Grönwall’s schooled approach to singing is opposed to Bach’s desperate passion to blow down the biggest of buildings, but that was a long time ago, and Bach is never coming back. “October’s Song” has some great riffage and should have been made a permanent part of the setlist. You’ll not find a better song among the new ones. We’ll say it right here: this song stands up against the back catalogue, even the intense Slave to the Grind ballads.
Credit due: Skid Row almost go activist on the environmental message song “World On Fire”.
Much of the album was written with previous singer Z.P. Theart, of Dragonforce. Core Skid Row members “Snake” Sabo, Scotty Hill, and Rachel Bolan handle the majority of songwriting, retaining Rob Hammersmith on drums.
If you want a new Skid Row album that you can pump your fist to, stomp your feet, or bang your head, then The Gang’s All Here is a must-buy. If you were hoping for a Skid Row album that you’ll remember for years like Slave to the Grind, Subhuman Race, or even Thickskin, then the jury is still out. Thickskin had way better songs – there, I said it!
AEROSMITH – “F.I.N.E.” (AOR Mix) (1989 Geffen Promo PRO-CD-3806)
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