progressive rock

REVIEW: Deep Purple – InFinite (2017 deluxe box) Part 2 of 2

This is Part 2 of a double-sized Deep Purple deluxe InFinite box set review!  For Part 1, click here.

DEEP PURPLE – InFinite (2017 Edel deluxe box set edition)

When we last met, we took a solid look at Deep Purple’s fine new album, InFinite.  Because the year is 2017, InFinite is available in multiple editions.  The most logical to buy is the deluxe box set.  This includes:

  • InFinite on CD
  • From Here to InFinite – a full length documentary DVD
  • InFinite on a 2 LP set in its own double gatefold
  • The Now What?! Live Tapes, Vol. 2 – an exclusive live album included on three 10″ records
  • A T-shirt
  • A poster
  • Five lovely photo cards
  • A sticker

That’s a lot of goodies for a reasonable price, and it all comes housed in a sturdy box.

The included DVD is a very intimate look at the creation of InFinite from writing to overdubs.  Narrated by Rick Wakeman (you read that correctly), it also looks at the moments that Steve Morse and Don Airey joined the band.  Much attention is given to the shocking departure of Ritchie Blackmore in 1993, and the acquisition of Joe Satriani (who is interviewed for the DVD). However, Joe had commitments and couldn’t stay long.  Deep Purple couldn’t wait for him, so they had to look for someone else.  They had a list, and the first name on it was Steve Morse.  Almost instantly they found themselves rediscovering the joy of music.  The atmosphere and attitude of the band did a complete 180.   When Jon Lord’s passing is discussed, there are a few teary eyes and sincere words.  Moving on to InFinite, it is remarkable to watch the band pluck ideas from the air and mold them into songs.  Bob Ezrin is a huge part of the process, with his own ideas and preferences.  His reputation as a taskmaster is reinforced by the band, but it seems like a very easy collaboration.  They have the same goals and desires, and trust each other’s musical instincts.  There is also a shockingly frank discussion with Steve Morse, about the osteoarthritis in his picking hand.  His technique has, over the years, worn out his wrist to the point that there is bone-on-bone contact.  The pain has grown so severe that playing the guitar required him to completely change his picking technique, while wearing a wrist brace.  Meanwhile Don Airey gets 20 “Cool Points” for wearing both a Rival Sons T-shirt, and a Winnipeg Jets sweater.  Canucks will also be pleased to know that Ian Gillan recorded his vocals at Bob Ezrin’s studio in Toronto.

The DVD can be had in a CD/DVD set, so the real reason for fans to choose this box set is The Now What?! Live Tapes, Vol. 2.  Vol. 1 was included on the “gold” reissue of their last album Now What?!  Vol. 2 is, as it states on the sleeve, “100% live!  100% unreleased!”  There are some obscure tracks on here, making this live album very enticing indeed.  You don’t have to sit through more versions of “Smoke on the Water” or “Black Night”.  Even better, or perhaps best of all to the vinyl nerds, are the lovely records that comprise The Now What?! Live Tapes, Vol. 2.  Three 10″ records, each in their own coloured sleeve, and each on coloured vinyl!  White, clear, and clear blue.

“Après Vous” (from London) commences the proceedings.  This newby from Now What?! has a lot of life on stage, and the long instrumental section sounds kinda like the old days.  Then an oldie:  “Into the Fire” (Milan) from 1970’s Deep Purple In Rock.  Ian really strains his voice on this one, but somehow pulls it off with style.  Back to London for “The Mule”, a song featuring Ian Paice’s busiest drum work.  No problems from Paicey.  Indeed, on the DVD Paicey says he hasn’t experienced much physical difficulty in continuing to play the way he wants to.

The second record starts with Purple’s recent “Green Onions”/”Hush” medley (Gaevle, Sweden), a cool way to inject new life into one of Purple’s earliest singles.  The interplay between the four musicians during the jam section is remarkable.  Even though most of the originals are long gone, it sounds sorta like Purple circa 1969.  Another medley showcasing Steve Morse (“The captain of the skies, the Aviator”, says Gillan) occupies side two.  “Contact Lost” (London) is Morse’s short instrumental tribute to the crew of STS-107, known to most as the Space Shuttle Columbia disaster.  This merges into Purple’s majestic song for Jon Lord, “Uncommon Man” and finally Steve’s instrumental “The Well-Dressed Guitar”.

One more record to go.  The excellent single “All the Time in the World” from Now What?! comes from Aalborg, Denmark.  It’s a slick and laid back jazzy rock groove.  Purple always seem to find a great groove, and “All the Time in the World” is unlike previous ones.  “Highway Star” (London) is like a polar opposite.  Though you know they will hold it all together, “Highway Star” still sounds so fast that it could come off the tracks at any time.  1971’s “Strange Kind of Woman” (Aalborg) is a long-time favourite with fun vocal-guitar interplay.  Back to London for the last track, “Space Truckin'”.  What can you say about “Space Truckin'”?  Not much except that Ian Paice still kicks it, and hard!

Purple fanatics who still love what the band is doing today will need this box set.  It will be indispensable to them.  Wear your T-shirts with pride!  For the casual Purple fan who just wants to check out the CD and DVD, that edition will suffice.

To InFinite and beyond!

4/5 stars

 

Further reading on more Deep Purple InFinite related releases:

DEEP PURPLE – Time For Bedlam (2017 Edel EP)

DEEP PURPLE – All I Got is You (2017 Edel EP)

DEEP PURPLE – Limitless (2017 exclusive CD included with Classic Rock #234, April 2017)

DEEP PURPLE – InFinite (2017 Edel)

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REVIEW: Deep Purple – InFinite (2017 deluxe box) Part 1 of 2

This is Part 1 of a double-sized Deep Purple deluxe InFinite box set review!

DEEP PURPLE – InFinite (2017 Edel)

49 years and still kicking it.  The Deep Purple of today is a very different band from the Deep Purple of 1968.  There is only one original member; drummer Ian Paice.  This matters not.  Ian Gillan and Roger Glover are the singer and bassist you remember from “Smoke on the Water” (1972).  Guitarist Steve Morse is a certified genius, and longstanding member for 22 years running.  Don Airey is still the “new guy”, but the former Rainbow/Ozzy/everybody keyboardist was the only man on Earth who could have replaced the late Jon Lord.  He’s done it for four albums straight, sometimes sounding exactly like Jon, and others like nobody else.

So if you didn’t know already, now you do:  There is no question that 49 years later, Deep Purple are still THE legitimate Deep Purple.  This isn’t like, God forbid, Quiet Riot.  Or Bobby Blotzer’s Ratt.

Deep Purple seem to work with producers in spurts.  They did two albums (Bananas and Rapture of the Deep) with producer Mike Bradford.  Now they have done two with the legendary Bob Ezrin!  As soon as Ezrin’s name enters the conversation, the bar is raised.  Ezrin is a full-on collaborator, with co-write credits on each song.  He is an educated musician with an impeccable ear.  His credits (The Wall!) speak for themselves.  Deep Purple is a very different band from Pink Floyd, but Ezrin gels with them in exciting ways.

We have already reviewed the first two singles (“Time For Bedlam” and “All I Got is You“), so for deeper impressions you can check those out.  “Time For Bedlam” opens the new album InFinite, quite successfully.  It’s reminiscent of “Pictures of Home” from Machine Head, which should catch listeners and keep them hooked.  “All I Got is You” (track 3) is the superior of the singles, smooth but smouldering hot.

The balance of InFinite, like much of the Steve Morse era of Deep Purple, takes a few solid listens to absorb.  The songs are challenging but rewarding.  Songs that are rock and roll can suddenly have highbrow instrumental sections.  Gillan and Glover’s lyrics are more biting than ever, enticing the listener to check them out over again.

“Hip Boots” has a vibe like “Lick It Up” from The Battle Rages On but better.  Don Airey really does sound perfect within Deep Purple, as this monster is largely powered by the good old Hammond organ.  Airey’s also the star of “One Night in Vegas” (working title:  “Something Else Or What”), with both organ and piano sounding oh-so-Purple.  (Bob Ezrin is also credited for additional keyboards on the album, but this sounds more likely to be Airey on both parts.)  Gillan’s lyrics as a storyteller are as amusing as always, going back to tracks like “Anyone’s Daughter”.  The first non-descript song is “Get Me Outta Here”, but perhaps more listens will increase the appeal.

An early favourite is “The Surprising”, a dramatic and quiet flight of progressive fancy.  The subtle but awesome drum work of Ian Paice unobtrusively creates a perfect backdrop for Don and Steve’s interplay.  Challenging “The Surprising” for dominance is the next track, “Johnny’s Band” (working title:  “Jig”).  It’s easily the most fun of the new songs, and the one with the instantly memorable chorus.  Then “On Top of the World” (working title:  “Slow Heavy”) is probably the most different of the tracks, containing a poetry section over a progressive backdrop.  Otherwise it’s just a smoking jam, with an oddly premature fade-out.  Steve Morse dominates “Birds of Prey” with his smooth stylings.  The track is a slow but excellent journey through the sand dunes of progressive rock.

The only questionable choice on InFinite is covering The Doors’ “Roadhouse Blues”.  It’s wonderful to hear Ian Gillan on the harmonica again.  (What was the last time?  “Hush” in 1988?)  But covering a beloved classic is dangerous 99.785% of the time (there are studies that have been done.*)  Fortunately Deep Purple are an exceptional jam band, so it’s not a total disaster.  Covering “Roadhouse Blues” is like another band covering “Smoke on the Water”.  It’s a “who cares?” moment.  I like to think of “Roadhouse Blues” as a bonus track on an otherwise excellent album.  The InFinite box set has the album on CD, and a 2 LP gatefold version, so you can listen any way you please.

4/5 stars

Check back soon for Part 2 of this review — the extras from the deluxe box set!  They include a DVD and three 10″ records that make up The Now What?! Live Tapes Vol. 2.  (Vol. 1 was a bonus CD on the Now What?! reissue.)

* No there weren’t.  

 

Further reading on more Deep Purple InFinite related releases (each with exclusives):

DEEP PURPLE – Time For Bedlam (2017 Edel EP)

DEEP PURPLE – All I Got is You (2017 Edel EP)

DEEP PURPLE – Limitless (2017 exclusive CD included with Classic Rock #234, April 2017)

REVIEW: Deep Purple – Limitless (2017 Classic Rock exclusive CD)

DEEP PURPLE – Limitless (2017 exclusive CD included with Classic Rock #234, April 2017)

You have to hand it to the folks at Classic Rock.  It’s a quality publication that also manages to give out quality free cover-mount CDs.  With all the attention on Deep Purple these days due to their newly released album Infinite, Classic Rock have done the band up in style.  The CD is not just for beginners either.  Limitless (get it?) has a bunch of material from recent vintage and one exclusive track too.  That’s right — one track on this CD is exclusive to Classic Rock, so get on it, collectors!

At 43 minutes, Limitless has the ideal run time for a great listen through.  If you want to check out some new Deep Purple right off the bat, then just dive in.  Tracks 1 and 2 are the first two singles from Infinite:  “Time For Bedlam” and “All I Got is You”.  Both tracks are excellent, and fine samplings of what the current Deep Purple lineup (est. 2003) sound like.  With Steve Morse and Don Airey, the band have gone from strength to strength.  The instrumental prowess on these songs will easily demonstrate why Deep Purple are universally lauded.

Going back one album prior, we have two tracks from the Now What?! period.  The single version of “All the Time in the World” is a nice ballad for inclusion, though I think “Vincent Price” blows everything else on that album away.  Also included is the rock and roll “First Sign of Madness”.  The liner notes state this song is taken from the “Above and Beyond” CD single.  That doesn’t actually appear to be the case, but ” First Sign of Madness” was included as a bonus track on many editions of the Now What?! album.

The second half of Limitless is dedicated to live material, all classics.  “No One Came” from 1971’s Fireball is one of Purple’s most lethal grooves, and is lifted from the deluxe “Gold” reissue of the Now What?! album.  Gillan’s voice strains hard on this one.  A fun version of “Strange Kind of Woman” comes from the double live 2015 Wacken set.  It’s pure delight.  Next, “Perfect Strangers” is always welcome aboard, and this live version comes from the parallel double live 2015 Tokyo release.

Finally the set draws to a close with the Classic Rock exclusive track, a live tape of “Black Night” from Milan, July 21 2013.  Many of the live tracks on the Now What?! reissue come from that gig, but “Black Night” is previously unreleased.  It’s a jamming version, over seven minutes and Morse-heavy.  And there are more live tracks from that gig in the Deep Purple Infinite box set version, which looks just fantastic.

And magazine isn’t bad either!  The Deep Purple interview reveals some of the lighter side of the legendary Gillan/Blackmore relationship, tempered by the passage of time.  Incidentally, the magazine gives Infinite 7/10 stars.  That’s not bad for a band about to hit their 50th anniversary in a year’s time.  Check it out, and enjoy the 8-track CD Limitless while you read along!

4/5 stars

REVIEW: Deep Purple – “All I Got is You” (2017 EP)

NEW RELEASE


DEEP PURPLE – “All I Got is You” (2017 Edel EP)

Infinite isn’t even out yet and we already have two CD singles in our hands!  Deep Purple are wasting no time in getting the new music out there.  The last single, “Time for Bedlam” had four tracks, including three brand new pieces of music.  “All I Got is You” has five tracks, two of which are brand new.  These singles are well worth buying, and won’t be obsolete when the album is released.

Age has done little to blunt the cutting edge.  “All I Got is You” has old and new elements.  It sounds like Deep Purple, but not like prior Deep Purple.  Its jazzy intro misleads, for this is a pissed off song.  It is difficult to describe except to say it’s busy, but still barely commercial enough for a single.  As usual, Steve Morse and Don Airey’s instrumental work stuns the senses.  If these new singles are what we have to judge by, the new album will be typical Morse-era Deep Purple:  still them, still restless.

The bonus material is varied.  “Simple Folk” is a lovely little guitar instrumental, reminiscent of the ballad “Never A Word” from Bananas (2003).  Don’t be surprised if the melody shows up elsewhere in the future.  It’s too good to relegate to a CD single, and it is exclusive too.  Also exclusive:  an instrumental mix of “Above and Beyond” from the last album Now What?!.    Instrumentals of songs you know well are always an interesting ride.  It is fun to listen to the music you couldn’t hear before, under the lead vocals.  “Above and Beyond” was of course a single in its own right in 2013.  Then, even better, we have the first take of the first single “Time for Bedlam”, complete with Bob Ezrin’s talking (and praise).  This too is an instrumental version, but if you ever wanted to hear what Deep Purple sound like completely unleashed in the studio, give it a spin.  I think I like it better than the actual single.

The only bonus track that will be re-released later on is the live version of “Highway Star” (yes, another one) that will be included on in the Infinite box set version.  That set will contain lots of vinyl including three 10″ records that together will comprise The Now What?! Live Tapes Vol. 2.  Sharp readers will recall that Vol. 1 came out with the deluxe “gold” edition of the Now What?! CD.  As for “Highway Star”?  Well, this one is 6:09 long and was recorded August 8 2013 in Denmark.  I don’t know how else you can differentiate versions.  My Deep Purple folder has 58 listings for “Highway Star” (albeit some of those would be the studio version on compilations).

As fans gear up for the Infinite album (and box set), they would be advised to get these singles too.  There is enough extra material on them to complement the album nicely when it’s finally out on April 7.

4/5 stars

REVIEW: Deep Purple – Time for Bedlam (2017 EP)

NEW RELEASE


DEEP PURPLE – Time For Bedlam (2017 Edel EP)

Has any band gone nearly 50 years with such integrity?  The only original member left is drummer Ian Paice, but that matters not.  Ian Gillan and Roger Glover are original members to laymen.  Steve Morse has been in the band for over 20 years, and Don Airey is at about 15.  There is no lack of authenticity to Deep Purple, no matter what preconceptions you may have.  This most recent lineup with Airey is now on its fourth studio album.  The new album Infinite (produced again by Bob Ezrin) will be out April 7.

“Time for Bedlam” is a great choice for a single.  It rocks a “Pictures of Home” (1972) vibe.  Gillan’s lyrics are as biting as ever.  “Sucking my milk from the venomous tit of the state…”  Meanwhile Deep Purple sound like Deep Purple, but always pushing outwards.  There is newness in “Time for Bedlam”.  The droning intro is nothing like Deep Purple past, with Ian in a low monotonous voice.  But whatever makes Deep Purple sound like Deep Purple, it’s on “Time for Bedlam”.  For most people, the organ is the most identifiable ingredient, and Don Airey continues to pay tribute to the original, Jon Lord, in every note.  The solo sections from Airey and Morse are jawdropping.

This great CD single has three additional tracks.  “Paradise Bar” is a new non-album track, a laid back summer time groove.  It has progressive keys and a lazy easy going vibe.  It remains to be seen how it ranks among Infinite‘s album tracks.  It’s nice to buy a single and get an actual new unreleased track, and “Paradise Bar” isn’t mere filler.  Fans will enjoy Steve and Don’s solo trade-offs.  An unreleased instrumental version of “Uncommon Man” (from 2013’s Now What?!) will also be of interest to fans of the musicians in Deep Purple.  For such a long track (6:59) it’s amazing how well it works as a simple instrumental.  You have to hand that to this great band, and producer Bob Ezrin for capturing such great ambience.

The last track “Hip Boots” is an instrumental rehearsal of a track that will be on Infinite.  It’s a funky jam, a lot like what Deep Purple have always done.  It remains to be seen what the album track is like (will it have vocals, will it be a jam?) but this is an intriguing look at a song in a state that we don’t normally get to hear.  It whets the appetite for what could be coming.

Kudos to Deep Purple for still utilizing the singles format (something they also did with Now What?!), and in doing so, giving the fan some added value.  They’re creating a buzz for Infinite, so let’s hope that pays off in April!

4/5 stars

REVIEW: Extreme – III Sides to Every Story (1992)

scan_20170129EXTREME – III Sides to Every Story (1992 A&M)

Of Extreme’s five studio albums, there can be little doubt that Extreme III is the most ambitious.  It is a sprawling set over 80 minutes in length; too long for a single CD.  So long that only the cassette version has all 15 tracks in one place.  In contains three distinct sides, each different from the other, countless styles, and an orchestra.  Extreme took what made them popular on the last album, and what was currently going on with grunge rock, and tossed it all out the window.  They followed their own direction and were not rewarded with sales, but something more important:  a masterpiece.

The first “side” (keep in mind this is a CD) is subtitled “Yours” and consists of rockers both hard and funky.  After a comedic intro, “Warheads” annihilates the speakers.  A short choppy riff blows in, tempo opened up wide.  Gary Cherone tries to keep his messages entertaining, and this anti-war anthem has a pretty obvious message.  Nuno Bettencourt joins him for the choruses and breaks for a cool neo-classical solo.  The same message carries over into the first single “Rest in Peace”, introduced by a  string quartet playing the song’s melody before Nuno kicks it with a funky riff.  During the solo, Nuno even quotes Jim Hendrix.  “Rest in Peace” was not an immediate single, it takes some growing.  This is true of the whole album.  There is a lot going on.  Even that little Hendrix lick — blink and you’ll miss it, but it’s there making the solo that much cooler.  It is worth mentioning that Extreme did a fantastic video for “Rest in Peace” based on a 1952 National Film Board of Canada short called “Neighbours”. This wordless film served as the blueprint, but as a result they got sued and had to change it.

Gary Cherone loves creating his own portmanteaus (“Americocaine”, “Pornograffitti”), so “Politicalamity” is the title of the third track. It’s a wah-wah soaked funky rocker with fully-loaded horns making their first album appearance, in the tradition of “Get the Funk Out”.  Lyrically it continues the anti-war theme dominating the first side, and also social injustice, but in a fun catchy style. “Rich and poor, salute your country’s colours. Less is more, When one oppresses the other.” That was 1992; I wonder what Gary would have to say about today? Racial equality dominates “Color Me Blind”, one of the hardest rockers on the side. “I had a dream last night, I was blind, and I couldn’t see colour of any kind.” It is possible that the lyrical tone of the album turned off some old fans, though Gary keeps things from getting preachy.

“Cupid’s Dead” is the only song on the first side without a serious message. This rap-rock hybrid features a guest rapper (John Preziosa Jr.) and a chugging, funky riff.  Hard rock bands who incorporated rapping were seldom successful, but Extreme dodged this bullet.  “Cupid’s Dead” is good enough that is was recently dusted off for the Pornograffitti Live 25 tour.  Drummer Paul Geary and bassist Pat Badger keep the funk rolling in heavy fashion.  The side-ending “Peacemaker Die” features Martin Luther King’s “I have a dream” speech, surely some of the most powerful words in American history.  It is difficult to not get the chills when Dr. King speaks, framed in this excellent funk rock lament.

Take a moment’s break here and pretend you’re flipping a record.  Side two is subtitled “Mine” as a contrast to “Yours” for side one.  “Mine” consists of six ballads, but only five are on the CD due to the 80 minute time restriction.  Nuno expressed regret that the sixth track didn’t fit and hoped one day a 2 CD edition would be released.  Still hoping!

“Seven Sundays” is a romantic song, a piano ballad with Gary in falsetto mode.  Nuno adds synth strings for textures.  “If I had one wish, it wouldn’t be hard to choose.  Seven Sundays in a row, because that’s the day that I spend with you.”  Quite a turn from “Cupid’s Dead”, but that’s why it’s on another side.  “Tragic Comic” was the natural successor to the hits on Extreme II, a fun acoustic track with a “Hole Hearted” beat.  The lyrics are clever comedy and the track was selected as a single.  Many will identify with the hapless romantic, the titular stut-tut-tuttering p-poet.  “And when we dine, I forget to push in your seat.  I wear the wine, spillin’ it all over my sleeves.”  Been there done that Gary!  The lighthearted song is a delightful contrast to the darker material on side one.

Van Halen-style volume swells make up the intro guitar melody of “Our Father”, an electric power ballad with some stunning six-string mastery.   “Stop the World” was chosen as a single, a light melancholy ballad reminding us that if we forget history we are bound to repeat it.  These serious songs were not destined to repeat the big singles of albums past.  When you play these songs, you feel things and you think things, and not everybody wants music to do that to them.  Nuno’s solo on “Stop the World” is warm, immaculate perfection.  “Stop the World” merges directly into “God Isn’t Dead?” (except in single form of course).  “God Isn’t Dead?” is the darkest spot yet, quiet and painfully plaintive.  Piano and orchestra paint a stark picture.

The final song on the side, and a hint of the daybreak ahead, is “Don’t Leave Me Alone”, which is only on the cassette version.  Fear not however; it can be found in CD form on CD singles.  Just rip everything to your computer and slide “Don’t Leave Me Alone” into the correction position in the running order.  It belongs here at the end of the “Mine” side.  It deliberately ends it on a brighter note than “God Isn’t Dead?” though it is still far from a good-time ballad.  It is dusky lament, but with hints of light in the tunnel.  Nuno’s moog solo is a treat.

extreme-dont-leave-me-alone-tragic-comic-single

At 12 songs, the “Yours” and “Mine” sides would make a complete album on their own, and it would still be an ambitious project at that.  Regardless, the third side titled “& the Truth” is the most industrious of them all, an eager fulfillment of talents bursting at the seams.  III Sides to Every Story…”Yours”, “Mine”, “& the Truth”.  This time, the side is made up of one massive 22 minute song called “Everything Under the Sun”.  It in turn is subdivided into three parts.  This is where the orchestra really comes into play.

Part I, “Rise ‘n Shine” is the sunrise after the blackness of the second side.  Gentle acoustics rouse you from your slumber, and Nuno takes the first verse of this duet.  Gary follows on the second as the orchestra swells.  “Rise ‘n Shine” is the most hopeful sounding music on the album, a bright and steady composition brilliantly structured.  Daniel and his dreams may be a Biblical reference but they don’t have to be.  A brief interlude foreshadows the melody of Part III, but first is Part II, “Am I Ever Gonna Change”.  This section was chopped out and used as an individual song live and on compilations.  You can hear why, since it has that echoey Van Halen guitar lick and a powerful nut-kicking chorus.  The orchestra returns and it’s Extreme at full power.  This eventually fades into the quiet start of Part III, “Who Cares?”.  Inaudible voices whisper during a piano passage, and then the orchestra returns at maximum.  Biblical overtones:  “Tell me Jesus, are you angry?  One more sheep has just gone astray.” Nuno’s singing is run through a vocoder giving him a computerized voice.  Some might think it sounds like The Elder gone wrong, but that would be selling “Who Cares?” short.  Finally Nuno breaks out of the circuit boards and come in at full voice for the final choruses.  The melodies from “Rise n’ Shine” and “Am I Ever Gonna Change” are reprised as the epic piece finally comes to a close.

There is little debate that “Everything Under the Sun” is the grandest thing Extreme have attempted in the studio.  It was a successful experiment, as it remains interesting and engaging through its entire 22 minute length.  You cannot say that for every Rush song of that nature.

Unfortunately for Extreme, the timing was all wrong, and this album soon found its way in bargain bins at cut rate prices.  The good news is that means you can get a copy yourself for next to nothing.  Try also to track down copies of the “Stop the World” or “Tragic Comic” singles, in order to get the full package.  They are plentiful on sites such as Discogs, and it’s important to hear the album at its full complete length.  III Sides to Every Story is an unsung hard rock masterwork, and if you want some softer rock songs with lots of brains and a huge heart, give it a shot.

5/5 stars

Interview: EDDIE JACKSON of QUEENSRYCHE – Oct 30 2001 – AUDIO

This audio goes with the text of Eddie’s interview with me in October of 2001. Links to the complete text can be found below, but why read when you can listen?  The audio has remained in my dusty archives…until now.  This was a great in-depth chat about the band at the time, lineup changes, and the Live Evolution CD that they were currently promoting.  Give it a listen from the pre-digital age.  Cassette, baby!

Links

Audio

REVIEW: Deep Purple – Hard Road: The Mark I Studio Recordings 1968-69 (5 CD box set)

scan_20170123DEEP PURPLE – Hard Road: The Mark I Studio Recordings 1968-69 (2014 Parlophone)

It’s fantastic that old mono recordings are getting the CD treatment.  The original mono mixes of the old Beatles albums were a revelation to those who had never heard them before.  The original mono versions of Deep Purple’s Shades Of and Book of Taliesyn are less surprising, but still a welcome addition for completists who want to hear it “as it was” in 1968.  Comparisons are difficult, but both albums sound like they were meant to be in stereo.  Unlike the Beatles pop rock compositions, Deep Purple’s featured a lot of solo work and even full-blown orchestral movements.  The stereo separation makes that easier to appreciate.  Only Purple’s third album, 1969’s self-titled Deep Purple, did not receive a mono mix.  It is presented here in stereo only.

Now, these three Purple albums all received the deluxe edition treatment (single discs) in the year 2000.  Those versions on Spitfire (links in above paragraph) are still excellent ways to get this early Deep Purple music.  They are fairly common, have great liner notes and pictures, and feature the stereo versions plus 14 bonus tracks combined between them.  There is also a compilation CD called The Early Years featuring more bonus tracks, including 2003 remixes and live takes.  Where Hard Road fails is in replacing these previous four CDs completely.  One would hope you would get  all the associated bonus tracks from this period in one handy-dandy box.  Sadly this box is not quite so dandy.  Here is a list of tracks missing from Hard Road that were on the remastered single discs:

  • “Kentucky Woman” (alternate take on The Early Years)
  • “Hard Road” (BBC session on The Early Years and The Book of Taliesyn remaster)
  • “Hush” (live from US TV)
  • “Hey Joe” (live BBC recording from the remastered Shades Of).
  • “It’s All Over” and “Hey Bop-a-Rebop” (unreleased songs, live BBC sessions from The Book of Taliesyn)

The live BBC songs above can also be found on the double CD BBC Sessions…except for “Hard Road”.

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Of course there is plenty of material on Hard Road that is not on those earlier discs, making things that much murkier.  In addition to the original mono versions, these include:

  • “Kentucky Woman” remixed in 2003
  • “Playground” in a non-remixed version
  • “River Deep, Mountain High” and “The Bird Has Flown” (single edits)
  • A fresh 2012 stereo mix of “Emmaretta”
  • The isolated single B-side version of “April (Part 1)”
  • An early instrumental version of “Why Didn’t Rosemary”

Irritating, yes.  But only to completists.  For just about anyone else, Hard Road will satisfy their need for pretty much all the Deep Purple Mark I they can handle.  It’s not as complete as the title would let on, what with that live “Hush” and alternate take of “Kentucky Woman” missing in action.  Instead you will receive a large booklet with plenty of notes and a new 2013 interview with producer Derek Lawrence.  He was on board early, before they were in Deep Purple.  He describes an early version of the band called “Roundabout” (with Bobby Woodman on drums and Chris Curtis on bass) as “bland”.  When Ian Paice and Nick Simper joined, they sounded better, but to Lawrence clearly Ritchie Blackmore and Ian Paice were the stars.

Each disc comes in its own LP-style sleeve.  It’s a gorgeous set.  It sounds fantastic, and was assembled with the usual care that goes into a Deep Purple album.  A few niggling missing tracks aside, this is highly recommended to those looking add the first three Purple to their collection.

4/5 stars

 

 

REVIEW: Extreme – Pornograffitti Live 25 (2016 Japanese 2 CD set)

scan_20170114-4EXTREME – Pornograffitti Live 25 (2016 Victor Japan 2 CD set)

When you hear that an album like Pornograffitti (which defined one of our teenage summers) turned 25 last year, don’t it make you feel old?  Maybe you haven’t played it in a while.  (If you haven’t, here is a refresher course.)  It was one of those discs that had appealing songs from start to finish, each different from the last.  All 13 songs (14 if you include the solo “Flight of the Wounded Bumblebee”) are reproduced in sequence on this new live CD release, fresh from a hot show in Vegas in 2015.  You can buy a blu-ray or DVD of the concert too, but CD collectors will want to spring for this Japanese double set.  On a second disc you get “Play With Me” (given more exposure in the movie Air Guitar Nation) and “Cupid’s Dead”, normally exclusive to the video version.  The total package is close to an hour and a half of some of Extreme’s best songs.  The Japanese printing also has its own cover art, though no other exclusives.

The familiar taped intro of rain and piano inaugurates the “funked-up fairy tail” that is Pornograffitti.  “Trying so hard to keep up with the Joneses!” begins Gary and and the Vegas crowd knows all the words.  With Nuno Bettencourt and Pat Badger helping out, the Extreme vocals are nice and thick live.  The sound is beefy goodness, wound up in electric guitar strings.  Kicking it on drums, Kevin Figueiredo keeps things pretty close to the way original drummer Paul Geary did it.  “Decadence Dance” is sincerely good nostalgia.

Following the vague storyline of the original album, “Lil’ Jack Horny” shows up amidst shimmery guitar harmonics and a funky lil’ riff.  The horn parts (tapes?) jack up the funky little guitar number, which carries over to “When I’m President”.  Nuno squeaks and squonks while Gary waxes poetic.  “So go ask Alice, ah you know what he said?  What did he say — remember, I wanna be elected?”   Maybe one day Gary, because it is indeed true:  just about anyone can be president!  Cherone promises that things’ll be different.  You can even be in his cabinet!

The funk peaks (obviously) on “Get the Funk Out” which remains as silly and fun as it was 15 years ago.  (Listen for a little bit of a lyrical modernization from Nuno!)  It’s pure live smoke only slowed down by the obligatory audience participation section.  This appropriately segues into “More Than Words”, which is slightly more than a singalong.  Stripped naked of the loud guitars, Nuno and Gary can still harmonize as clean and perfect as they always have.

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“Money” resumes the rock, as Gary bemoans the modern worship of the almighty dollar.  Nimbly killing it on both guitar and harmonies, Nuno Bettencourt is a super hero.  He does it again on “It (‘s a Monster)”, a stock album track that goes from point A to point B at top speed.  Some real gems start showing up a in steady string from there.  “Pornograffitti” possesses some serious funk metal riffage and guitar tricks, performed at an unbelievable level of rock supremacy.   Then it is time for the slow jazz lounge croon “When I First Kissed You”.  Piano flourishes and Figueiredo on brushes lend it a really pretty dusky sound.

“And now back to our regularly scheduled program!” shouts Gary as Extreme once again puts on their rock and roll shoes.  It’s time for “Suzi (Wants Her All Day What?)”, another funky rock combo.  Nuno plays some of the fastest licks ever attempted, but that is mere warm-up, for next is “Flight of the Wounded Bumblebee”, the legendary guitar instrumental that re-defined the guitar instrumental for a short while.  There is no time to recover because it’s straight into “He-Man Woman Hater”.  This Van Halen-like blast contains some of Nuno’s finest fret abuse.

Pornograffitti was also a little different, and one aspect of that is that it ended with two ballads.  Historically that has been demonstrated as a risky way to end an album, but Extreme pulled it off by using two that were different from any of the others on the CD.  “Song For Love” was a big pompous Queen-like anthem, and you can all but see the lighters and cell phones waving in the air.  “Hole Hearted” was the memorable acoustic closing number, great for campfires and rock concerts alike.  Live is just as solid as the studio original.

Onto to the Japanese bonus CD with its two bonus tracks.  “Play With Me” has always been a bit of a novelty, but notable for its sheer velocity and Mozart-a-go-go guitar dexterity.  Few players have chops like these.  “Cupid’s Dead” is a set highlight – heavy, funky and progressive at times.  Extreme III deserves as much praise as Extreme II: Pornograffitti so it is quite pleasing to have this adventurous track close.

Bravo to Extreme for making this trip back in time a real treat.

4.5/5 stars

 

 

REVIEW: Fish – Kettle of Fish 88-98 (1998)

scan_20170105FISH – Kettle of Fish 88-98  (1998 Roadrunner)

Kettle of Fish, the “best of” Derek W. Dick, is the first and only CD I’ve ever had stolen from me.

I got it cheap, something like $7 brand new, from one of our stores.  Then a year later, someone stole the CD player from my car, with the Fish CD inside.  Emotionally distraught, I sought to replace it right away.  The best I could do was $30 for a replacement copy shipped from Fish’s official site.  How crushing.  I wondered with bemusement what the thieves thought of Fish’s progressive rock poetry.  I imagine they tossed the disc into a snowbank.

While Kettle of Fish is no replacement for Fish’s debut solo album Vigil In a Wilderness of Mirrors, it is a fine collection of the man’s first decade as a solo artist and an enjoyable listen through.  It also boasts a nice colourful booklet with all the relevant singles covers, photos, lyrics and liner notes by Derek W. Dick.  Incidentally my original copy was missing pages.  I wonder if that is how it ended up in our store?  A defective run, sent off to a clearance somewhere, that eventually found its way into one of our warehouses.  Missing pages notwithstanding, it’s an excellent packaging job.

Since the album is made up of singles (and two new songs that we’ll get to), you will always find that critical deep album cuts are missing.  “Vigil” was not a single, but it’s one of Fish’s greatest achievements.  There’s no “The Company”.  “I Like to Watch” is missing in action.  Instead the CD is arranged to give roughly equal time to all of Fish’s output to date.  Tracks from Internal ExileSuits, Yin, Yang and Sunsets On Empire are given fair representation.

Some of the best tracks are the lesser known variety.  “Brother 52” is hip and modern, yet still obviously Fish.  The loopy drums are perfect for the track, lending it a 90’s groove with a rock integrity throughout.  The spoken word parts of “Brother 52” are sometimes distracting, but are by and large incorporated as part of the song.  A vibrant violin solo goes for the kill and that’s all she wrote.  The Celtic jig “Internal Exile” is another immediate favourite.  The lyrics evolved from a song Marillion were working on for their unfinished fifth LP called “Exile on Princess Street”.  It was the kind of stuff Marillion were getting sick of. According to Dick, “The lyrics started to follow a more political lean with a distinctly Scottish nationalist tone. The band weren’t happy.”

I saw a blue umbrella in Princes Street Gardens,
Heading out west for the Lothian Road,
An Evening News stuffed deep in his pocket,
Wrapped up in his problems to keep away the cold.

Grierson’s spirit haunts the dockyards,
Where the only men working are on the documentary crews,
Shooting film as the lines get longer,
As the seams run out, as the oil runs dry.

The finished lyrics make you feel it. Yes the music for “Internal Exile” is bright and chipper, with a tin whistle to take your worry away. It sounds nothing like the morose music Marillion coupled it with. Maybe that’s what made all the difference.

Tracks including “Credo”, “Big Wedge” and “State of Mind” are varied and of very high quality.  You might think you put on an unknown 80s Phil Collins single if you play “Big Wedge” unannounced.  Of the two new songs recorded for the album, “Chasing Miss Pretty” is the most enjoyable.  It’s simple silly light rock for the summer time.  Fish seems to have dropped the ball a little bit on the lyrics, but “Chasing Miss Pretty” is still far more poetic than anything Jon Bon Jovi has ever written.

First of all, I caught her reflection in the window of the pharmacy store,
There I was locked up in my pick-up in the rush hour on the Delaware road.
It must have been the scent of her perfume or the glimpse of that French lingerie,
A product of my imagination, I blame it all on a hot summer’s day.

Unfortunately the other new song “Mr. Buttons” is forgettable musically and lyrically.  A song about hackers and e-crime in 1998 is going to sound quaint in 2017.

The weight of Fish’s early career casts a large shadow on everything the man has done since.  Vigil was a triumph in every way for the singer.  The early songs generally outshine the later songs.  You will find favourites in the later material, but the early stuff will probably keep you coming back for another listen.  The new songs are a nice add-on, and the packaging makes it worth a go, especially if you don’t own any Fish.  Proceed!

4.5/5 stars

 

Roger doesn't appear happy with his Fish CD.

Roger doesn’t appear happy with his Fish CD.