Steve Morse certainly needs no introduction here. What’s incredible is that the dude joined Deep Purple in 1994, released a Steve Morse Band album in ’95 (Structural Damage), and then both Deep Purple and SMB albums in 1996. Even more incredible when you consider that Morse wrote all the material for the SMB albums himself, and co-wrote every track on Purple’s Purpendicular. The man seems to have no shortage of ideas.
StressFest is another reliable Steve Morse Band album. Joined by Dave LaRue and Van Romaine once more, the band created another textured, varied album that skirts multiple genres with jaw-dropping chops. There are traditional sounding electric blues jams like “Live to Ride”, more delicate moments, blazing guitars, funk, jazz, bluegrass, rock…a little bit of everything.
One cool tune is “4 Minutes To Live”, a soft composition with a “piano part” that is actually Steve playing through a guitar synthesizer. But don’t let that scare you. There are plenty of 64th-note thrills and chills, fast picking and deep bends. Backed with the inventive drums of Romaine and the bouncy bass of LaRue, Morse’s songs are a challenging but rewarding listen.
What’s especially cool (and reason enough to check out an album like this) is, even though both Deep Purple and the Steve Morse Band are loosely classified as having some sort of relationship with progressive rock and serious musicianship, the music they create is nothing alike. Morse’s guitar is the foundation of both, but there’s little overlap. StressFest‘s songs wouldn’t work as a Deep Purple album, even though there are elements of them that could. Likewise, Deep Purple’s material in general is quite different from the Steve Morse Band.
I remember my parents brought this CD back home to me from Michigan, because you couldn’t get it in Canada, even though it was distributed by a major label. Sadly, it is still only available on import in Canada. Bad, Canada! Bad, bad Canada.
4/5 stars
I love the cover art; that does look like a stressful day indeed!
Trevor told me about Warren first. “He’s a big guy,” he said, “With big, blonde Sammy Hagar hair and glasses. Nice though. He was friends with my mom when I was growing up. I used to call him Wookiee!”
Warren was bringing in some promo CDs to sell, and Trevor was giving me a heads up and asked me to treat him right. Warren is a fan of a lot of the same musicians I am (guys like Ritchie Blackmore and Steve Morse) but his passion was bass. His favourite bassist was Chris Squire of Yes. So obviously Warren and I were going to get along. We did, and he frequently came to me as his first stop for selling music, buying music, and making conversation.
Warren was trying to do a few music magazines. He originally worked on a country music mag, but that wasn’t his thing and soon he started up Global Bass Online. Warren needed help with some of the interviews. He was really excited to be speaking to Victor Wooten, but he needed someone to interview Eddie Jackson, from Queensryche. Queensryche were promoting their new CD and DVD, Live Evolution. Warren gave me copies of each, and asked if I wanted to write the Jackson piece.
“Are you kidding?” I said, stunned. “You want me to talk to Edbass?”
A pause from Warren. “Who?”
“Edbass,” I replied. “That’s how Eddie Jackson credits himself on the album.”
“Oh!” said Warren. “Yes, Eddie Jackson. I know you can do it. Here’s a cassette deck you can plug into your phone. And here’s Eddie’s cell phone number. He’s expecting your call, he knows what’s going on.”
Wow. Eddie Jackson was expecting my call. Cool.
Warren and I collaborated on some initial bass-related questions, but he left the rest up to me. He gave me tips, but told me that I was a good conversationalist and that I would be fine.
I called up Eddie that night, keeping in mind that Seattle was 3 hours behind us. Eddie answered, we had a brief chat and set up an hour the following day to do the interview.
Warren ended up following his dream and moving to paradise (Switzerland). And we still keep in touch. And maybe I wouldn’t be doing what I’m doing now if it wasn’t for his confidence.
This review dedicated to the greatUncle Meat. Part 1 of a 2 part series!
MARILLION – Early Stages (Official Bootleg Box Set 1982-1987) (EMI)
This is the first of two Marillion Official Bootleg box sets. The second covers the Hogarth years 1990-1994. Mine came with an autographed print!
I listened to this box again over the course of a week. I chose the car as the setting. I’ve spent a lot of time driving to Marillion in the past (lots of great memories) so this setting works for me. I enjoy loading long box sets onto my car MP3 player. I did that recently with the 12 CD Deep Purple Bootleg Series box set. As soon as I was done with that one, I dove into Early Stages.
I also acquired the recent compilation Early Stages: The Highlights. Why, you ask? Well, like many “highlights” packages, they usually stick on one exclusive song to get you to buy the same thing twice. The bait is “Market Square Heroes” Fife Aid 1988, the final song of the final show with Fish. OK, I’ll bite.
I don’t have a lot to say specifically about any of the concerts included in this box set. There are a lot of songs from periods before they were recorded on albums, and that’s cool. There are four different drummers on this set*, representing the rarely documented transitional periods in Marillion’s lineup. The discs are all of great sonic quality considering the years they were recorded. Fish is a great frontman, usually funny but occasionally serious, and always entertaining.
Here are some observations about some of the set’s highlights. From The Mayfair, Glasgow, 1982: “He Knows You Know” is not quite as slick as we’re used to, a little tentative, but no less powerful. An early version of “She Chameleon” is quite different musically from what it would become, although the lyrics are mostly in place.
When you get to the Marquee show (December of ’82), Fish is especially talkative and sentimental. The gem here is obviously “Grendel”, a song which never ceases to amaze me. Fish’s expressive voice has me hook, line and sinker. You’ll be treated to the complete workout of “Grendel” again in 1983 (Reading). The 1984 Hammersmith concert has emotional classics like “Jigsaw” and “Cinderella Search”. The real treat is an early version of the first track for the forthcoming album Misplaced Childhood; a track Fish calls “Side One”. It’s an early version, the lyrics still not all the way there, and it’s missing the entire “Lavender” section. But you can hear the shape of things to come.
Hey Uncle Meat! Who’s your favourite lyricist?
The box set closes with a late period show, and a big one: Wembley, 1987. A good chunk of Misplaced Childhood (all of Side One) and Clutching at Straws are presented. There are only a couple oldies: “Fugazi” and “Incubus”. This is a slicker, more commercial-sounding band, much more skilled at writing complicated yet catchy music.
Of note: there are a whopping 15 pages full of liners notes by one Derek W. Dick, aka Fish, and new cover art by Mark Wilkinson! If that doesn’t sell this set, then nothing will.
5/5 stars
* Mick Pointer, John Martyr, Andy Ward, and Ian Mosely. Only Jonathan Mover is not heard on this, although he is on the 6 CD Curtain Call box set.
In Part 117, we talked about promo CDs: How to identify them, what they were, what they’re worth. A short while ago, Statham and I were having a conversation about promo discs. The conversation began in regards to one of my treasured rarities, a King’s X promo CD for their 1994 single, “Pillow”, from the Dogman CD.
Even though eBay (supposedly) have strict policies against selling promo discs, I just found one as I was writing this, identical to mine, on sale for $46.99 USD. It even says “Promo Copy – Not For Sale” in clear writing on the back cover, in the eBay photo! Somebody at eBay is asleep at the wheel.
I got mine for free, a decade ago!
This one found its way into our warehouse, probably via a liquidation. The warehouse manager knew we couldn’t sell it, not with that big inscription on the back, so he gave it to me, knowing I was a huge fan. As I explained to Statham:
LeBrain: We weren’t legally allowed to sell promos, at least ones that were obviously identifiable as promos, in the store. We’d been caught once when one hit the shelves .Even if I bought this CD from you for $5, I technically couldn’t sell it in store. We could have asked $20 for it easily, because of the unreleased tracks. Those weren’t on anything else.
Statham: So even on the dark days, the ones you HATED about being there, there were then moments like your getting this CD that made it OK again!
LeBrain:Yes! Although I had to keep them secret…Our warehouse manager would slide them my way, on the condition that I don’t tell. Don’t know what they would have done with them otherwise, besides throw them out. That would have been a shame. [I think the statute of limitations has expired on my promise not to tell!] We paid money for these promos though, we got nothing for free. Everything we sold was purchased from somebody else, be it a wholesaler or an individual.
Statham:Right, but all of that is pre-killed by the writing all over the promos prohibiting their sale. So there never was a [legal] leg to stand on, with those. But nobody ever reads those warnings anymore. The Interpol warning at the start of a DVD? Just something else to skip. Part of the scenery. Surely we can ignore that, right?
LeBrain: Yeah exactly. Every other store in town had promos on their shelves too. And they weren’t as discerning as we were, they’d sell anything. [But] you’re right, we didn’t have a leg to stand on. I guess in the long run it meant that I could get stuff like this for free.
Statham: Even as recently as last year, I bought a promo single from there [LeBrain’s old workplace]. So apparently things still slip through the cracks!
LeBrain:I’m sure they do. After all, it was over 10 years ago that we received a warning about selling promos. I don’t know who tattled on us, but it always struck me as unfair. We PAID for those promos. We got NOTHING for free! And I would never buy or sell a promo in the store that didn’t have something worthwhile on it, like bonus tracks of some kind. It had to have some kind of value.
And so it goes. I have a lot of promo discs from those days, stuff that you technically couldn’t buy in stores, stuff that guys at record shows routinely ask $20 for. eBay prices? Double that. Some of them are worthless, one track promo singles with no cover and no real value. Others have exclusive live tracks, like this King’s X single we’re about to discuss.
KING’S X – “Pillow” (promotional CD single, 1994 WEA)
“Pillow” was released as a single in mid-1994, and promptly went nowhere. That’s too bad, as it’s a great song, heavy and slow, fitting right in with the grunge movement that was still dominating the charts. King’s X trademark harmony vocals by Ty Tabor can be heard during the chorus, under Doug Pinnick’s soulful lead. Doug’s 8-string bass chimes while drummer Jerry Gaskill sets the groove. This track, one of the standouts from the Dogman album, simply crushes.
The two B-sides are live, recorded in Dallas on May 8, 1994. “Shoes” is another great Dogman track. What is especially cool is how great King’s X harmonies sound live! This track proves they have the goods, but the Texas crowd is more than happy to take over the vocal chores. They clearly knew the new songs backwards and forwards.
The second B-side is the complex “We Were Born To Be Loved” from the landmark Faith Hope Love album. “I like a crowd that makes a lot of noise,” says Doug, before the band tear into the intricate rhythms and harmonies involved with this rocker. It’s another Doug lead vocal, with Ty and Jerry on the harmonies. Knowing how great King’s X are, I’m sure this truly is live — no backing tapes or overdubs.
There’s not much in the way of artwork; just a sticker on the front of the case and a pretty plain white back cover. Stickers don’t age too well, as the gooey sticky stuff starts to seep through the paper. Plus if you crack that front cover, you’re screwed.
Since this single was released, both these recordings have seen the light of day on an album, called Live & Live Some More, from 2007. While that sort of destroys the collector’s value for a single such as this, it doesn’t change the fact that these songs are awesome!
DEEP PURPLE – Collector’s Edition: The Bootleg Series 1984-2000 (2000 Thames Thompson, Australia only, 12 CD set)
There are two (!) 12 CD Deep Purple bootleg collections; this is the first and best of them. Although Deep Purple’s career is chock full of live albums chronicling this period, this set does feature many treats that are hard to find or not available on official live albums. These really are bootlegs; the band decided to release their own versions of pre-existing audience bootleg albums! All artwork, errors included, are copied from the original bootleg releases.
Before you get too excited I will state right off the bat: There’s no Deep Purple Mk V or VI. No Joe Lynn Turner, or Joe Satriani. There is, however, a show from 1995 with Steve Morse, previewing tracks from the yet-to-be recorded Purpendicular album. This transitional period is very cool. You get to hear Morse perform “Anyone’s Daughter”, which was dropped from the set not long after. Since Morse and Blackmore’s styles are vastly different, it’s a cool take on a track that you don’t hear often as it is. In addition, you’ll hear Morse reinvent “Woman From Tokyo” on a bootleg from 2000.
The Bootleg Series also contains my favourite version of “The Battle Rages On” ever released. 1995, Ft. Lauderdale Florida, Ian Gillan tore the roof off with that song. In my mind I always imagined his screams directed towards Blackmore, even though he was probably furthest from Gillan’s mind. It’s a magical version, you can hear the electricity and the emotion. Just awesome.
Also a treat is a revisiting of the old In Rock classic, “Into the Fire” from 2000. This version crushes! Unfortunately, a stiff and slow version of “Sometimes I Feel Like Screaming” follows it. Deep Purple are that kind of band, usually they just kill it. But their history does contain rare stumbles, and this take of “Sometimes I Feel Like Screaming” is nothing stacked up against other versions available. On the other hand, Purple just smoke the Abandon track “’69” immediately afterwards! They extend this concise rocker to include an extended jam with a nod and wink to “Paint It, Black”.
Other highlights: Blackmore’s solo spot “Difficult to Cure”. Rarely heard 80’s-era tracks such as “Under the Gun”, “A Gypsy’s Kiss”, “Nobody’s Home”, “The Unwritten Law”, “Bad Attitude”, “Hard Lovin’ Woman”, and “Dead or Alive”. You can’t buy a live version of “The Unwritten Law” anywhere else. “Fools”, a rarely played track from Fireball, simply crushes. Holy Ian Paice, Batman! Steve puts his own slant on the guitar part in “Fools”, but it is his solo spot on “Cascades” that is truly intoxicating.
These being bootlegs, don’t expect sound quality or packaging or liner notes, unfortunately. The sound quality does improve as you go from the oldest discs to the most recent. The oldest shows have a lot of crowd noise, and poor sounding drums. By the time you get the Japan 2000 show, things sound much better although can still stray towards muddy at times. Packaging-wise, what you see is what you get: A box, six jewel cases, front covers and back covers.
This was an Australia-only release. I have no idea what it’s worth today. I haven’t seen one in years.
I decided that there’s no point rating these bootlegs individually. For one, it’s a set, and when it came down to splitting hairs, I like them equally. And that speaks volumes as to the consistency of this band.
DEEP PURPLE – Power House (1977 Warner Bros, Japanese import)
I have always loved listening to the Power House album, featuring the classic Deep Purple Mk II era. After Purple broke up in ’76, the market was inundated with compilations and live albums. This one, and others like Last Concert inJapan, and When We Rock We Rock… were snapped up by fans who wanted more Purple. All of these albums have been rendered redundant by superior, current Deep Purple remasters. If you’re the kind of fan who collects all of those 70’s posthumous Hendrix albums, then you’ll dig Power House, a brief but enjoyable romp through less familiar Purple. You’ll even get the original liner notes by Simon Robinson.
Power House consisted of 6 then-unreleased tracks. Here’s your complete track list:
1. “Painted Horse”. This is an outtake from the Who Do We Think We Are sessions in July 1972. This is the track that Blackmore “didn’t like”. He hated what Gillan did with the vocal, and demanded it be changed. Gillan refused, and the result was a great, unique Deep Purple rocker that remained unreleased until after the band was defunct.
2. “Hush”
3. “Wring That Neck”
4. “Child In Time”
From the Concerto for Group and Orchestra program in September 1969. The original hit LP release of the Concerto had just the three movements of that piece. Deep Purple played a standard three song set before the Concerto, and here it was released on Power House. These three versions remain among my favourite performances of these songs. “Child In Time” had yet to be recorded on album, and Jon Lord’s melodies are experimental and in development. Very cool. It’s “Hush” that really smokes, a definitive version of this cover. Gillan made it his own right there.
Today the Concerto is available remixed on two discs, with the full piece, the Deep Purple set, and the Royal Philharmonic’s rendition of Malcolm Arnold’s “Symphony No. 6”, which was also performed that night.
5. “Black Night”. Another nearly definitive version in my books! This is a B-side, recorded at the Made in Japan dates in August 1972. This is widely available today on various extended versions of the Japan shows, the Singles A’s and B’s, 24 Carat Purple, and many others.
6. “Cry Free”. Outtake from the Deep Purple In Rock sessions in January 1970. It is incredible how fertile the band were in the early 1970’s. As if In Rock wasn’t amazing enough, this kind of song doesn’t even make the album? Amazing that Deep Purple’s outtakes were so impressive. That they could throw this away speaks volumes of their confidence at the time.
Regardless of Power House being superseded in recent years by better packages, I still enjoy this album, in this sequence.
DEEP PURPLE – Deep Purple (1969 EMI, 2000 The Original Deep Purple Collection)
I love when bands release a self-titled album as their third, perpetually (purpetually?) confusing fans who think it’s their first! Maybe not so much in the Wikipedia age, but many of my customers thought that Deep Purple was the band’s debut.
This album is unbelievable. I know people, very particular music fans, who consider this to be the best Deep Purple album. I wouldn’t make that claim myself (I prefer Fireball) but I rank this one very high. Neither of the first two albums by Deep Purple Mk I did much for me. I found them meandering and plodding. Somehow, by the third record, the band had morphed into something different. The singer was Rod Evans (Captain Beyond) and the bassist was Nicky Simper (Warhorse). And of course more changes would come, since this would prove to be the last album for both men.
Side one, track one is an amazing opener called “Chasing Shadows” (not to be confused with a later Deep Purple song just called “Shadows”) that features a Paice-arranged drum orchestra throughout the whole song. “Blind” is second, which features Lord on harpsichord. How 1960’s! Great song though, slow and mournful with a wicked Blackmore solo. This is followed by the Donovan cover “Lalena”. It is another sad sounding track in a row, but with a beautiful organ opening from Jon Lord. A brief instrumental called “Fault Line” is a crazy interlude, recorded backwards with the bass recorded forwards. That melds into a serious rocker called “Painter”, which ends side one. “Painter” to me is best remembered for Ian Paice’s inventive drumming and Blackmore’s excellent bluesy playing.
Side two began with “Why Didn’t Rosemary?”, a groovy blues rocker with the relentless rhythm section of Paice and Simper driving it. “Bird Has Flown” follows, but not the Beatles song. It verges on heavy metal with Blackmore leaning heavily on the wah-wah peddle. The final track, “April”, is a 12 minute tour-de-force and an obvious foreshadowing to the next Deep Purple album, Concerto For Group And Orchestra. It features a long opening in two movements. The first movement is mostly organ and classical guitar, with some electric guitar accents. The second is based entirely on classical instruments and sounds very medieval at times. (Foreshadowing Blackmore’s Night!) Finally, the band kicks in with an intense rocker, Paice laying it down hard. Rod Evans’ lead vocal is among his best, a fitting swan song, although he certainly didn’t know that at the time!
Indeed, even while Deep Purple were gigging with Rod Evans and Nick Simper in the band, they would soon secretly begin rehearsing and recording with their replacements, Ian Gillan and Roger Glover!
This excellent CD remaster comes with an extensive booklet and five bonus tracks. Some of these bonus tracks were completely previously unreleased. These are live BBC performances and non-album singles. Notably included are two cool, catchy and rare singles A-sides: “Emmaretta” and “The Bird Has Flown” (an earlier version of “Bird Has Flown”). Some of the BBC performances have since been released on compilation albums, but these are rare performances indeed. In a short while, the band would write In Rock and drop most of the old songs from their set.
The only flaw with this CD, (and I’m talking the only flaw), is the cover. That awesome painting by Hieronymus Bosch is one of the coolest, creepiest, most interesting paintings I know. The original LP was a gatefold and you could fold the whole thing out and stare at it for years. The cover on this CD is so tiny, and doesn’t show the back part of the LP. That’s a real shame. For such a great cover, for it to be chopped and rendered down to about 2″ per side…it doesn’t make any sense. What a blown opportunity. The CD should have come with a small fold out poster, at least.
5/5 stars…but pick up an original LP if you can. I have a purple vinyl reissue, but it lacks the gatefold, and you really lose something without the gatefold.
BILL WARD – “Straws” (mp3: October 9, 2002 CD: October 11, 2003)
A true rarity indeed, this is one that I wished I owned a physical copy of. Sadly I do not. Only 2200 were made. 1200 were sent out to the heads of state all over the globe, including George W. Bush. The other 1000 copies were sold at billward.com, and are so rare now that Discogs doesn’t even have a listing for it. Each copy was signed and numbered with the proceeds going to your choice of five charities. For all the details, check out Joe Siegler’s excellent article at black-sabbath.com.
Jesus Murphy! George W. Bush owns a Sabbath related CD that I don’t??
I’ve had to make due with a mere mp3, also purchased directly from Bill’s site. The charity I chose was the National Veterans Foundation. Now, even the mp3 is unavailable for purchase, making this a true rarity today. We can hope that Bill’s Beyond Aston solo album will one day be released, as over 10 years have passed since this single from it was released!
Previously on LeBrain’s Record Store Tales & Reviews, we took a look at Bill’s excellent debut, Ward One: Along the Way. “Straws” is reminiscent of that and his second solo album, When the Bough Breaks. Like much of his solo work, it is complex and passionate. Understated but powerful. It begins jittery but soon evolves into an anthem of sorts with some very heavy Bonham-esque drums performed by Ronnie Ciago. On this track, like When the Bough Breaks, Bill does not play drums. He is only singing on Beyond Aston. He did, however, write all 17 tracks slated for that album himself.
“The Dark Half Hour” (2005)
According to Joe Siegler’s information, Beyond Aston has been completed but shelved. I hope this is not a permanent situation. The only other track released was called “The Dark Half Hour (web mix)”. It was made available for free in 2005 and is still available for free. It too has the stomping Zeppelin drums, but is much heavier than “Straws”. This is Sabbath-level heaviness. It has some solid riffing and some amazing buzzy noisy solos on instruments I can barely identify! This is one heavy track, saturated with distortion. Since this is “not the final version” I would expect the sound to be cleaned up for CD. I kind of like it overdriven and noisy though.
If these two tracks are any indication, Beyond Aston is going to be an incredible album, if it is ever released.
KIM MITCHELL – I Am A Wild Party (Live) (1990 Alert)
Kim Mitchell’s solo career has been pretty spotty, but I think most fans own this live album. Personally, I would rank it as a must-have. If only it wasn’t so damn brief! What is this, an EP? Even by 1990 standards, when cassette was a primary format, 38 minutes for a live album from a musician with a career as rich as Kim’s…?
I Am A Wild Party (Live) kicks off with the title track, which was one of two “new” songs recorded at rehearsal. It’s actually an older song from the sessions of his 1986 album; the chorus ends with the line “I’m shakin’ like a human being.” This is now a Kim klassic, the kind of fun summer party rocker that he is known for. The other new song is “Deep Dive”, a good hard tune with some greasy guitar groove.
Live highlights include the old Max Webster classic “Battle Scar”. As you may remember, that was Max Webster’s team-up with Rush. Here, bassist Peter Fredette (a great singer in his own right) takes Geddy Lee’s vocal. He does it extremely well, too. Elsewhere on this album, Fredette sings the high parts on the ballad “All We Are”, which many fans consider better than the original studio version from Akimbo Alogo.
“That’s the Hold”, “Lager and Ale”, “Rock & Roll Duty” all rock harder than their album versions, let loose from the sterility of a studio, with Fredette wailing away in the background. These are great live versions, with not a lot of crowd noise to distract from the actual musicianship and volume!
I think the album could have been 10 or 11 songs. When the party sounds this good, you don’t want to leave.
What’s especially cool (and reason enough to check out an album like this) is, even though both Deep Purple and the Steve Morse Band are loosely classified as having some sort of relationship with progressive rock and serious musicianship, the music they create is nothing alike. Morse’s guitar is the foundation of both, but there’s little overlap. StressFest‘s songs wouldn’t work as a Deep Purple album, even though there are elements of them that could. Likewise, Deep Purple’s material in general is quite different from the Steve Morse Band.
: Lebrain
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