roger glover

REVIEW: Rainbow – Straight Between the Eyes (1982)

scan_20160911RAINBOW – Straight Between the Eyes (Remastered, originally 1982 Polydor)

I’ve always found the most interesting bands in rock to be the ones who have had multiple singers over different eras.  Blackmore’s Rainbow never did two albums in a row by the same lineup.  From Ronnie James Dio to Graham Bonnet to Joe Lynn Turner and beyond, Rainbow has been an ever-changing entity during its brief lives.  Each era has much to offer, with the Turner years sometimes slagged as the weakest.  It is true that ballads became a larger part of the Rainbow sound under Joe, but the turn towards the commercial was evident during the Graham Bonnet era, on Down to Earth.

The peak of the Turner period would have to be Straight Between the Eyes, his second with the band.  The lineup this time consisted of founder Ritchie Blackmore, with Roger Glover on bass (his third Rainbow record), drums by Bobby Rondinelli (his second) and new keyboardist David Rosenthal, replacing Don Airey.  Rondinelli is a remarkably hard-hitting drummer and his solid, massive beats propel the songs.  The finest example of this is “Death Alley Driver”, which could easily be seen as an updated version of “Highway Star” from a decade earlier. The amusing video clip featured Joe Lynn Turner on a motorcycle being chased perilously close by a pilgrim-hatted Blackmore in a hearse!* “Death Alley Driver” indeed!**

Although “Death Alley Driver” is the first track, the soulful ballad “Stone Cold” was the first single. It was a minor hit and still gets radio play today. The integrity lies in Ritchie’s smooth guitar, Joe’s always authentic vocals, and the classy organ backing it up. The song’s strength is in its unmistakable pulse, which is Rondinelli and Glover’s impeccable rhythm. Blackmore fans may have been aghast at the soft rock single, but “Stone Cold” holds up as a classy ballad from a spanking album.

Sadly the music video was not the humorous pleasure the “Death Alley Driver” was. Turner looks stiff**^ and awkward searching through a hall of mirrors looking for a girl with a frozen face.  Blackmore just looks disinterested.

Straight Between the Eyes was produced by Roger Glover, as were the previous two albums.  With Bobbi Rondinelli behind the kit, Glover extracted an even bigger drum sound, and it is up in the mix.  Each track boasts a massive beat, even the ballads like “Tearin’ Out My Heart”.  He provides a gallop, and that’s the extra kick the songs get.  The album would not have been as forceful with a different drummer.

So as Joe sings it, “Let the Dream Chaser take you away” if you want to get “Rock Fever”!  The album can be found affordable so it won’t be a “Tite Squeeze” on your wallet.  Feel the “Power” and “Bring on the Night”!  It’ll rock you “Stone Cold”.**^^

4/5 stars


* Something about that action-packed music video makes the music seem faster and heavier.

** During the Blackmore closeups inside the hearse, pay attention to the rear window behind him. You can clearly see from the trees behind that the car is not moving an inch!

**^ Cue Aaron.

**^^ These are all good songs.  No real duds on Straight Between Eyes.

REVIEW: Deep Purple – Space Vol 1 & 2 (Aachen 1970)

DEEP PURPLE – Space Vol 1 & 2 (Live in Aachen 1970) (2001 Sonic Zoom)

Over the course of the decades, Deep Purple and their official Appreciation Society have found numerous interesting live recordings to release for the fans.  From significant moments to obscure gigs, each disc has had their own points of interest.  It doesn’t hurt that Deep Purple never did the exact same thing twice.

This German gig from 1970 wasn’t well documented or reported on.  Purple were on a large bill including Pink Floyd, Free, Traffic and Tyrannosaurus Rex.  It’s possible but not known for certain that Kraftwerk may have also played that day.  Bootleggers made sure that at least some of it was recorded.  The released bootleg H-Bomb was one of the earliest Deep Purple live recordings available, and has been available in bootleg form since it taped.  According to organist Jon Lord, he heard that the bootleggers sneaked in an eight track mixer inside a Volkswagon, hidden under the stage.  When they had the chance to hear the recordings on LP, the band were actually impressed with the overall quality.

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In 2001, Sonic Zoom released the show on CD and called it Space Vol 1 & 2.  Since the original tapes were long lost, Sonic Zoom went back to the earliest vinyl pressings, and cleaned them up, using the best sounding versions of each track.

What you get here is only four longs, but quite a long set, being well over an hour long.  Purple opened with their instrumental “Wring That Neck”, stretched out to include lots of solos and jams.  They tease out recognizable melodies such as “Hall of the Mountain King”, “Jingle Bells”, and a jazzy “Three Blind Mice”, disguised on rock instruments.  Vocals were scarce that evening, perhaps because Ian Gillan was suffering from a sore throat.  As such his vocals don’t come through as well, but they also often sound as if he’s singing into a tin can.  Though most everything else is well recorded enough, when the vocals do happen such as on “Black Night”, they are very rough and tumble.  Jon Lord was also known to be very hard on his Hammond, and like electric whip cracks you often hear the instrument yelping away in the background.

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The Stones cover “Paint It, Black” is mostly another excuse to jam on something.  11 minutes of equipment-destroying guitar, drums, bass and organ madness is a lot for anyone to digest.  If you dig drum solos, Ian Paice will keep you mesmerized for many minutes of straight high-velocity rhythmic instructional.  You’ll know it’s over when the other guys finally come back!  That’s nothing, though.  Half an hour of “Mandrake Root” awaits, one of the longest versions known.  Ian spends a lot of it screaming, but when it’s jam time you can hear him on the congas.  The first half of the jam is loose but at least structured.  Lord considered this his best keyboard work that had been captured so far.  Interestingly, part of this jam resembles a future song called “Highway Star”.  Then, the second half descends into pure madness.   Atonal noise, feedback and electric pain dominate these 10 minutes.  It is an endurance challenge to be sure.

It is not known for certain if any other songs were played that day, but because it was a festival it seems likely that Purple played for this hour and nothing more.  According to the only written account of the day, Purple won over the festival crowd by powering over them.  That much is clear from this recording.

3.5/5 stars

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REVIEW: Deep Purple – To the Rising Sun…in Tokyo (2 CD/1 DVD + Japanese bonus tracks)

The Deep Purple Project is a massive, ongoing series of in-depth reviews.  This is the last for now as we take a break, but Purple will return.  

DEEP PURPLE – To the Rising Sun…in Tokyo (2015 Edel 2 CD/1DVD set, Japanese CD with 2 bonus tracks)

Purple live releases have been in strong supply lately.  Last year, Purple released a matching set of double live albums, each with a complete DVD of the show in one package.  The first set, In Wacken, was reviewed yesterday.  Today, we look at In Tokyo.  In order to “get it all”, I added the Japanese 2 CD set with bonus tracks to my collection.  The bonus tracks are on the CD portion of the package.  As we did yesterday, we’ll get the bonus material out of the way first.

The two Japanese extras are instrumental versions of “Hell to Pay” and “Apres Vous”, newer songs from Now What?!  I am happy to report that these instrumentals are not live.  Since both songs are complete and live on the album proper, I was pleased to find these two are instrumental mixes of the studio cuts.  This makes sense, since the instrumental “Hell to Pay” is used as the main menu backing music on the live DVD.  As with any instrumental mix, it is interesting to pay attention to the musical interplay.  Since it’s Deep Purple we’re speaking about, it’s that much more enjoyable.

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Moving on to the live part of the set, the recorded intro of Holst’s “Mars: Bringer of War” has the Budokan crowd in Tokyo excited for the return of Deep Purple.  The band bravely opened with “Apres Vous”, the new cut from Now What?!  It works surprisingly well by setting a mood.  Ian Gillan keeps it from getting too serious by wearing one of those tuxedo-printed shirts.  I want one of those.

Gillan’s hoarse on “Into the Fire”, but overall he’s stronger than he was in Wacken.  The added grit makes the song tougher and closer to the 1969 original.  Also from way back then is “Hard Lovin’ Man”, a pairing that always works well.  Don Airey takes an extended Hammond solo, and the song gallops in a way that set the basis for Iron Maiden’s career.  Thrills and chills abound, but Morse is smiling so much that you know we’re all in for a good time.  What a contrast with the moody and unpredictable Ritchie Blackmore!  This breathtaking assault of a song absolutely needs to be played live.  It’s no surprise that they need to lay back with something slower after that.  “Strange Kind of Woman” does the trick with that unforgettable groove.  Morse pulls off a jazzy solo that just kills.  This is a far better version than the one in Wacken.  Speaking of women and strangeness, it’s odd that “Woman From Tokyo” wasn’t played this time.

“That was the end of the jazz part of the show,” says Ian.  Back to new songs, “Vincent Price” is rolled out next.  Brought to life on the stage, “Vincent Price” is heavier and chunky.  The spooky keyboards are intact and Gillan injects the song with extra terror.  Steve Morse is on a roll now, and it’s time for his solo.  It’s chopped up a bit compared to how they played it earlier in the year.  “Contact Lost” is still first, but this time that goes into “Uncommon Man”.  I love watching Steve Morse playing volume swells with his pinky on the knob, while hammering out a complex melody.  There are plenty of hand close-ups here.  Copy if you can!  (I can’t.)  When “Uncommon Man” begins, Ian Gillan whispers in Steve’s ear.  I like to think he just said, “That was incredible.”

“Uncommon Man” is powerful live, by the way.  Steve goes again with his playful “The Well-Dressed Guitar”.  The dexterity here is quite unbelievable, but you knew that already.  Once again I’m grateful for plenty of hand close-ups.  I have no prayer of being able to play this but I love to watch and see how it’s done, and just marvel.  During a break in the keyboard part, Don Airey claps and dances along; quite amusing!

The Fireball oldie “The Mule” is always welcome out of the mothballs.  A drum workout, Ian Paice is given a chance to show that time has not lessened his abilities one iota.  It’s a busy drum song, and quickly descends into a mad solo.  At one point, the lights go out and Ian plays with glowing sticks, Sheila E style.  He gets to slow down a little on the Jon Lord tribute “Above and Beyond”.  Jon’s image behind them on the big screens of the Budokan, you can sense the emotion of the moment.  His successor Don Airey plays a Hammond tribute to Jon, before the band return to the sound of “Lazy”.  It’s just a seamless blur of one incredible piece of music after another.

“Hell to Pay” continues to prove its worth as a stage-ready, fun rocker.  You can tell that the formalities are over now, because Gillan has changed out of his tuxedo print shirt!  Don Airey dominates on the Hammond.  He gets a spotlight solo next, a chance to do his own thing.  Like his solo in Wacken, this includes a snippet of “Mr. Crowley”, a song that Don played on way back in 1980, and the ensuing Ozzy Osbourne tours.  His solo runs the gamut from tender piano, to classical passages, to spacey synth.  He quotes the melody of “Woman From Tokyo” which the crowd clearly appreciated.

It’s all business from here.  “Perfect Strangers”, as usual the only song from the 80’s, is as timeless as always.  Back to Machine Head for “Space Truckin'”, Roger Glover seems to be having a great time rocking it for the crowd in Japan.  Gillan’s sounding a bit knackered, but he’s still going for it.  No retreat, no surrender.  The classic riff, “Smoke on the Water” explodes in the Budokan, as we draw close to the end.  You can tell they still have fun playing this song, loose and never the same twice.  Two encores are still to be had:  the medley of “Green Onions”/”Hush”, and “Black Night”.  “Hush” is given a neat slinky jam section, because they’re Deep Purple and why the hell not?  After a brief Glover bass jam, “Black Night” commences as the final song of the night.  Gillan’s sounding tired, but that’s rock and roll.  They’re finally done, Roger lingering to make sure he’s thrown out every last pick.  That too is rock and roll.

These two sets were time consuming but very entertaining.  I think they are both worth having, but if you are not the Purple diehard that needs as much as you can consume, be aware that these are men in their late 60’s.  They are not spring chickens, so don’t expect To the Rising Sun…in Tokyo to be the equal of Made in Japan.

3.5/5 stars

REVIEW: Deep Purple – From the Setting Sun…in Wacken (2 CD/1DVD)

The Deep Purple Project must continue!  Their most recent live releases are next up.

DEEP PURPLE – From the Setting Sun…in Wacken (2015 Edel 2 CD/1DVD set)

“This record is the first of a double release,” says Roger Glover in the liner notes.  The second is called To the Rising Sun…in Tokyo which we’ll examine in a separate review (including the Japanese bonus tracks).  This nicely assembled three disc set has the entire show on both CD and DVD, a 2013 concert at the legendary Wacken Open Air festival.

Our friend of ours, Jessie David at 107.5 Dave Rocks, went to Wacken in 2015. “I can say that going to Wacken is truly life-changing. It is an experience like no other: Where every single person there is part of a family.” Roger Glover says the real stars of this show are the audience.

There is one small bonus feature on this DVD to get out of the way before we start the show.  It was surprising to see Deep Purple release a new music video in 2013!  “Vincent Price” was a fun music clip, featuring plenty of band shots.  The horror movie storyline is entertaining and make for a fun video.  Perhaps the actor in the video playing the titular character should also play Governor Tarkin in an upcoming Star Wars anthology film?  This video is not really appropriate for kids, so be forewarned!

Purple’s Wacken set was filmed and recorded for posterity quite well. I don’t know if I have ever seen Deep Purple captured so clearly.  Taking the stage in daylight, we begin with “Highway Star”.

Ian Gillan’s voice is quite thin; this is one of the poorest live Deep Purple releases as far as vocals go.  That’s unfortunate but at least they didnt’ “fix it in the mix” as they say.  Roger Glover seems to be having a blast, pulling faces and poses over on the bass station.  Bathed in the setting sun (hence the album title), the lighting is quite dramatic.  The old In Rock classic “Into the Fire”, rarely played, is up next.  Ian really struggles with his voice, having to affect a nasal tone, but he’s starting to warm up a bit now.  Hey; the man is 70 years old!  Then, directly into “Hard Lovin’ Man” from the same album, another rarely played smoker.  Ian’s on track now!  Organist Don Airey is brilliant on this.

Newish single “Vincent Price”, the same song as the music video, is next in the set.  Because of the spooky keyboards, it does not sound like any of the prior songs, which is great as the sun goes lower on the horizon.  I think new material works best sprinkled in the set at the right times, and that’s the approach Purple took here.  This corker moves directly into “Strange Kind of Woman” somehow, but this oldie is starting to sound a bit tired.  The first solo spot of the show is Steve Morse’s dual guitar solo, “Contact Lost” and “The Well-Dressed Guitar”.  This dramatic scene is a show highlight, as thousands of people wave their hands in the air to the music.  The two musical pieces are brilliant in composition and execution.  Another new single, “Hell to Pay” has to follow this smoke show.  The song always struck me as custom-written for the stage, and this appears to be true in Wacken.

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Don Airey’s keyboard spotlight on “Lazy” is impressive.  It’s hard to forget the man he replaced in Deep Purple (Jon Lord).  In many ways his solo is a tribute to Lord, as he plays a few cues that Jon wrote.  The band never seems to tire of playing it.  However they stall a bit on “Above and Beyond”, perhaps a song less well adapted to the stage.  “No One Came” on the other hand always kicks ass live.  With Don Airey on keyboards it has some new flavours to it, and then he gets a full-fledged keyboard solo of his own.  He plays all over the musical map, and even hints at “Mr. Crowley”, a song he used to play with Ozzy Osbourne.

“Perfect Strangers” is usually the only song from the 1980’s that Deep Purple still play.  The drama builds as we get closer to the end of the show.  It is dark out now in Wacken but the crowd still bounce along to the music.  I have long felt that “Perfect Strangers” works very well with Steve Morse on guitar, and that was true in Wacken in 2015.  Then we’re off “Space Truckin'”, another song boasting many jawdropping musical moments.

The biggest surprise is the appearance of a wisened Uli Jon Roth on “Smoke on the Water”.  He and Steve Morse have a blast playing off each other.  Think of it:  Two of the most unique and  incredible guitarists in the world on one stage, playing back and forth.  I say this often in my Deep Purple reviews, but what more could you want?  Uli’s solo is pure magic.  He is a force of nature, but so is Steve Morse.  If Uli is wind, then Morse is fire.

Encore time:  Purple started playing “Green Onions” as a prelude to “Hush” a couple years ago.  This is one of the most magical moments in the set.  The energy is palpable.  “Black Night”, which also has a brief segue into Zeppelin’s “How Many More Times”, is the final tune of the night, an otherwise standard take with amazing playing regardless.

It’s a fair bet that Purple won over Wacken in 2013.  Pick up this live set for a taste.

3.5/5 stars

REVIEW: Deep Purple – The Gemini Suite – Live (1970/93)

The Deep Purple Project goes on with a flashback to 1970.

Scan_20160212DEEP PURPLE and the orchestra of the LIGHT MUSIC SOCIETY – The Gemini Suite – Live (recorded in 1970, released 1993 EMI)
Conducted by Malcolm Arnold

Jon Lord’s Concerto for Group and Orchestra put Deep Purple on the map.  An original concerto in three movements written specifically for an orchestra and a rock group together had never been accomplished before.  Headlines and offers to bring the Concerto over to America helped cement Deep Purple’s name in the public consciousness.  The only problem was, public perception was that this was a band who always played with orchestras.  They were not:  Deep Purple wanted to be a heavy rock band.  They did not want to be cornered into playing with orchestras for their career.  There may also have been some internal friction because Lord was being singled out as the band’s leader in the press.  Ritchie Blackmore and Ian Gillan were united in their insistence that the orchestral work cease.  Worse, some in the band suggested that Lord was using the Concerto as a potential launch pad to other projects.  These were accusations of petty youthful jealousy of course, but it led to Lord announcing his intention to leave Deep Purple.

Scan_20160212 (3)Management arranged a sit-down and peace was kept.  They collectively agreed that the way forward was with rock music, not classical hybrids.  There was just one catch, which was that Jon Lord had already been contracted to write a second classical/rock piece for Deep Purple to perform.  This project had to go forward, it was too late to do otherwise, but the band insisted that it was publicized as little as possible.  The new piece was played live by the band, but a Deep Purple album release of the final product, the Gemini Suite, would not happen until 1993!  Instead, Jon Lord recorded and released a studio version of it with other guests and musicians.

Perhaps to assuage some bruised egos, Lord decided to compose his next work around the five members of Deep Purple.  Each movement had time for a member of Deep Purple to shine on his own.  The first goes to Ritchie Blackmore.  The year was 1970, and Deep Purple were working on the Fireball LP.  The quiet moment in Blackmore’s movement is tonally similar to Ritchie’s solo in Purple’s “Fools”.   According to the liner notes, this is one of the last occasions that Ritchie played a Gibson on stage.  Jon Lord goes next with an organ piece (though on the back cover it’s incorrectly listed as the vocal movement).  There are some very cool atonal parts here.  You have to admire the man for his ambition and vision, but as technically brilliant as this is, it doesn’t have the level of impact of the Concerto nor is it as well recorded.  The are fewer memorable themes and instrumental moments, and the end result is that these two movements take some patience to absorb.

It was noted that Ian Gillan had not written the lyrics to his movement until the night of the show.  The lyrics are not really important; what counts is that you’ve never heard Ian Gillan sing like this before.  With an exaggerated falsetto, and an unusual psychedelic melody, Ian really knocked it out of the park.  Halfway through, this gives way to standard Gillan howling.   It’s hard to make out all the words, but this is Ian Gillan in peak voice, totally in control and at the top of his game, backed by a friggin’ orchestra.  What more do you want?  This vocal movement is the highlight of the entire Gemini Suite.  Roger Glover goes next with his bass spotlight.  It’s about as interesting as you imagine a bass spotlight to be, but the orchestra plays it busy in the background.  There’s some great oboe on this movement, which ends on a sudden, awkward note.

Ian Paice goes last.  With military precision, Paice marches forward, leading the orchestra and percussion section.  They answer his drums in interesting ways, making this movement another solid highlight.  The crowd clearly loved it.  Then, there is a long finale (10 minutes) with everybody playing together.  It attempts to tie together the previous movements, but without memorable themes, this is difficult.  The Suite lacks cohesion overall.  There are some absolutely mindblowing moments of musical precision and dexterity, as well as rock thrills (most of them concentrated in the finale).  It is probably well enough that they did not release an LP of this at the time, for it would most definitely have lived in the shadow of its superior predecessor.

3/5 stars

Look at that backstage photo.  Looks like nobody wanted to be there that night, particularly Ian Gillan.

REVIEW: Deep Purple – The Soundboard Series – Australasian Tour 2001 (12 CD box set)

The Deep Purple Project continues!  Here is one big solid chunk of rock majesty.

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DEEP PURPLE – The Soundboard Series – Australasian Tour 2001 (2001 Thames 12 CD box set)

One day in spring of 2002, I wandered into Encore Records in Kitchener.  I spied this lovely box o’ rock up front in their glass case, where they stored similarly awesome boxes of rock.

“What’s that?!” I asked, and was promptly handed 12 CDs of live Purple.  A quick glance, and “I’ll take it.”  Only a short while before, I bought yet another 12 CD live Deep Purple box set.  When I first noticed this box under the glass, I was hoping it was just a reissue of the same thing; something I already had that I could safely pass on.   It only took one close look to realize that this was a whole other animal completely.  Rather than a collection of bootlegs from the 80’s and up, like the one I had, this box chronicled Deep Purple’s 2001 tour of Australia, Hong Kong and Japan.  What special concerts those must have been.  Read on and you’ll discover why.

Each concert presented in this box is complete, and mixed from the 8-track soundboard DAT tapes.  No audience recordings in this bad boy, which is a good thing, since Purple were touring with numerous extra musicians and accoutrements that require sonic clarity.  Of the six concerts included, four are largely the same.  A lot of Ian Gillan’s song intros are the same from night to night, and the setlists are by and large the same.  Of course where Deep Purple are concerned, that means very little.  Their solos are never the same, and each performance is its own experience.  Steve Morse has never really repeated himself night after night, nor did Jon Lord.

There are some cool surprises in the sets.  One of the best tracks, and one of the most rarely played, is “Mary Long” from Who Do We Think We Are.  This rhythmic monster goes down smashingly well, and it’s a wonder that Purple never tried it any earlier.  There are some true buried gems on those early Purple albums, especially Fireball and Who Do We Think We Are, that were never given a fair shake in their day.  Deep Purple today are able to have more fun with their setlists than they were in the 70’s.  Another such track is “No One Came”, one of the strangest songs in the catalogue.  It benefits greatly from a three piece horn section (the Side Door Johnny’s).  There are versions with horns on some other live albums as well, such as Live at the Olympia ’96, so while horns are not unheard of in Deep Purple, they are rare.  “No One Came” and “Fools” (both from Fireball) are quite a treat any time you get to hear them live, which you didn’t get to do in the 70’s.  They also play the classic B-side “When a Blind Man Cries”, a blues that deserves the spotlight.

Of course Deep Purple always play new material, but what’s really surprising is that they only played one song from their last studio album (1998’s Abandon), and only one time, during the first four concerts!  At the first show, in Melbourne, they played “’69”.  Then it was dropped and the set slightly shuffled.  “Smoke on the Water” was moved from the middle to the second half of the set.  Speaking of “Smoke”, fans familiar with the Steve Morse version of Deep Purple are aware that he really likes to have fun with the intro.  He teases out several classic rock riffs, all instantly recognizable, as he tries to remember which riff is the one he’s supposed to be playing (or so it seems).  AC/DC’s “Back in Black” is the one that really stands out, and it’s remarkable how well it works with Deep Purple.  There are lots more, including “Whole Lotta Love”, “Heartbreaker” and “Stairway to Heaven”, that one normally does not associate with Deep Purple!    Other favourite riffs include “Sweet Home Alabama”, “Little Wing”, and even a Van Halen inspired version of “You Really Got Me”, but the one that surprised me the most was “To Be With You”, by Mr. Big.  Don’t forget, Mr. Big are absolutely huge in Japan, so when they played that little bit in Tokyo, I’m sure everybody knew it.

Also of note, Jimmy Barnes came out for “Highway Star” and “Smoke on the Water” for a couple Australian shows.  Sharp-minded readers will remember that Barnes was one of many singers who auditioned for Deep Purple in the late 80’s before they hired on Joe Lynn Turner.  He seems to have a blast screaming his way through “Highway Star”!  Must be like a dream come true.  Gillan’s in great voice too, by the way!

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For more thrills with special guests, we must go to the last two shows, in Japan.  Australia surely had a treat with the Side Door Johnny’s and Jimmy Barnes, but what Japan got was even better.  Fresh off their well-received Live at the Royal Albert Hall album from 2000, conductor Paul Mann joined Purple for two nights in Tokyo.  That meant a full performance of the legendary and almost never performed Concerto for Group and Orchestra, all three movements.  Mann and the New Japan Select Orchestra joined Purple on a number of their songs as well, including “Watching the Sky” from Abandon, but it was only played on the first night.  All that said, there was no greater thrill than the presence of Ronnie James Dio.  As he did on the Albert Hall album, Ronnie sang lead on two songs from the Purple solo catalogue.  He performs Roger Glover’s “Sitting in a Dream” and the delightfully bouncy hippy anthem “Love is All”.  Ian Gillan, meanwhile takes the lead on Jon Lord’s “Pictured Within”.   Dio also returns for “Smoke on the Water”, trading with Gillan, but what’s really special is that Purple actually performed two Dio songs at these shows.  Though Dio and Purple are two very different bands, Purple adapt and do great versions of “Fever Dreams” and “Rainbow in the Dark”.  The drum and keyboard parts are the most different, but nobody’s complaining!  It’s great that they did “Fever Dreams” from Dio’s Magica, a great album that deserved the recognition.  “Fever Dreams” is one of Dio’s best tunes from the latter period.

“Wring that Neck” and “Pictures of Home” were brought out of mothballs for the Tokyo concerts.  “Wring that Neck” is a jazzy version with the horns coming in strong, just like it was on the Albert Hall CD.  Undoubtedly though, the centerpiece is the Concerto itself.  Even though it put Purple on the map in 1969, it wasn’t particularly well liked by the members of the band (Jon Lord aside, obviously, since it was his creation.)  With Steve Morse in the band instead of Ritchie Blackmore, feelings softened and ideas like resurrecting the Concerto were possible.  The music however was lost.  It took Dutch composer Marco de Goeij years to re-create it, but once Lord helped him finish, it could be performed once again.  It’s incredible to think that they were able to take it to Japan and play it for those lucky fans, both nights.  You can absolutely tell the difference from the London version.  It’s fortunate that it was recorded so well (not perfect but damn well good enough!), and released for you to be able to own forever.

There is no point in breaking this down for a disc-by-disc rating.  If the box set could be faulted for anything, it is that there is so much repeat between the first four concerts.  For me, box sets tend to work best in the car.  I put this on a flash drive and took about three weeks to listen to the whole thing in sequence.  In that environment, I don’t bore of the songs.  Instead I enjoyed the slight differences.  “Oh, this is a little different than the way they introduced it, when I heard it a couple days ago.”  Obviously, only a true Deep Purple lover needs to own this.  But every Deep Purple lover should own it.

Discs 1 & 2 – Melbourne, March 9 2001

Discs 3 & 4 – Wollongong, March 13 2001

Discs 5 & 6 – Newcastle, March 14 2001

Discs 7 & 8 – Hong Kong, March 20 2001

Discs 9 & 10 – Tokyo, March 24 2001

Discs 11 & 12 – Tokyo, March 25 2001

4/5 stars

REVIEW: Deep Purple – Live at Montreux 1996 (2006)

The Deep Purple Project continues, from Blackmore to Morse!

Scan_20160128DEEP PURPLE – Live at Montreux 1996 (2006 Eagle)

One of the lovely things about collecting Deep Purple is how much the setlists change over the years.  “Fireball” was rarely played with Blackmore in the band, but with Morse, it opened much of the Purpendicular tour.  It did in Montreux in ’96.  Ian Gillan sounds ragged, but Ian Paice on the double bass drums kicks as much ass as he did in 1971.  This version lacks some of the fire (pardon the pun) of past renditions, mostly because Gillan sounds like he’s struggling a bit.  Roger Glover takes a slightly extended fuzz bass solo, always a treat, but it is Jon Lord on the keys who sets the place alight.  As it often does, “Fireball” ends with a brief snip of “Into the Fire” from In Rock.  Apropos, no?

“Vavoom: Ted the Mechanic” is one of Purple’s greatest triumphs of the Steve Morse era.  Typically for Ian Gillan, it’s about a character he met in a bar.  Followers of the choppy riffing that Steve Morse is known for will dig it, as the rest of us wonder just how the hell he does it.  “Ted the Mechanic” is just fun, so get up and dance.  You won’t have the chance to dance on “Pictures of Home”, one of the heaviest tracks from Machine Head.  Ian can’t hit the screams, but the band is on point.  Listen to Ian Paice swing!  Morse has no trouble welding one of his trademark solos onto this classic.  Another golden oldie, the single “Black Night” is reliable.  Morse and Paice are securely in the drivers seat, but there is no way a modern rendition of “Black Night” will have the adrenaline of the Made in Japan B-side version.  Just sayin’ — and that’s not a knock on Deep Purple today.  Just an observation.  Morse actually takes a very nice jazzy guitar solo that’s a little more laid back.

“Woman From Tokyo” continues the hit parade.  It’s never been Deep Purple’s most remarkable song, but you’d probably miss it if it were not in the setlist.  Gillan’s voice is shredded, probably from givin’ ‘er all night the day before!  I don’t necessarily mean on stage.  A Deep Purple collector will appreciate a live CD with the singer a little more rough than usual, but certainly a first time buyer wouldn’t.  The hit parade comes to a momentary halt, with some deep cuts.  “No One Came” is a treat.  It’s almost spoken word, so it doesn’t matter that Ian was having voice issues.  In fact they enhance the song.  It’s hard to find a live version of “No One Came” without the horn section they sometimes used.  This is the way I remember hearing it when I saw them in Toronto.  Raw, heavy, bouncy, slightly funky and fucking cool!  “When a Blind Man Cries”, the blues B-side of “Never Before”, is the next rare track.  They started playing this one when Morse joined the band, and what is remarkable is how the song is transformed by his hands.  He does not play like Ritchie Blackmore, yet both guys did amazing versions of this song.  Morse plays it spacey, with volume swells and heavenly tones.  The solo is unique to this version, and it’s one of a kind.  This extended take features a long Jon Lord keyboard intro.

Before they got back to playing the greatest hits, Purple performed the newbie “Hey Cisco”.  According to another live set I have (The 12 CD Soundboard Series which you will be reading about soon), it’s a song about Clayton Moore, who played the Lone Ranger.  An elderly Moore was legally barred from doing public appearances as the Lone Ranger, which Ian Gillan was quite upset about, but he couldn’t find the right words to go with “Lone Ranger”!  He changed the character to the Cisco Kid, but the story is the same.  “Can’t open no more supermarkets.”

“Speed King” is always a blast.  Jon and Steve have a beautiful play-off together.  Predictably the set ends with “Smoke on the Water”.   I’m quite fond of Steve Morse versions of this song.   Since it’s a tune they’ve played 3 billion times, it’s loose and free.   Later on, Steve started teasing out classic rock riffs such as “Whole Lotta Love” and “Crosstown Traffic” before “Smoke”, but not on this CD.  Interestingly, Gillan flubs the words!  “When it all was over, h-h-how could I refuse?  Swiss time was runnin’ out, see if we would lose the blues.”

The CD is slightly edited.   Played that night, but not on the disc, was “Cascades: I’m Not Your Lover Now”.  I’m sure between-song banter has also been edited.  Ian is known for his humorous song intros, and there aren’t many here.  Instead of the unedited show, they tossed on two bonus tracks from a 2000 Montreux show.  These are the incredible “Sometimes I Feel Like Screaming”, and the rarely played “Fools” from Fireball.  These are both long bombers, a combined 16+ minutes of bonus music.  Ian was in smoother voice in 2000, and this live version of “Screaming” has to be one of the best.  Then: “Fools”, one of the most impressive Deep Purple deep cuts.  Long, progressive and heavy, “Fools” represents Deep Purple at their very best.  Both Ians are in prime shape, with Paice winning the MVP award for his menacingly perfect rhythms.

3.5/5 stars

REVIEW: Deep Purple – The House of Blue Light (1987)

The Deep Purple Project continues!  Join me for the next week (plus?) and see more rock majesty than you can shake a purple stick at!

Scan_20160129 (4)DEEP PURPLE – The House of Blue Light (1987 Polygram)

The Deep Purple reunion was the success beyond what anybody hoped for.  The band had revitalized after many acrimonious years apart.  They were fresh and rejuvenated, and the resultant album Perfect Strangers was the proof.   If the live recordings are anything to go by, then the tour was also dynamite.   Obviously the next thing to do would have to be a second reunion album.

According to Ian Gillan’s autobiography Child in Time, things went south very fast.  He found Ritchie Blackmore increasingly difficult to work with, refusing even to record guitar for one song.  Gillan admits he was no treat either, so it was the band that suffered.  Ian compared Deep Purple to a beautiful meal, a plate full of gourmet perfection — that’s Roger Glover, Ian Paice and Jon Lord.  Ian and Ritchie were the fork and knife on either side.

The House of Blue Light (title taken from Little Richard via Purple’s own “Speed King”) was not a fun album for anyone to make.  Some hold it in high esteem today, such as renowned writer Martin Popoff, who rated it 10/10 in Riff Kills Man (as he did Perfect Strangers).  While I believe Perfect Strangers is easily a 10, I don’t find The House of Blue Light to be its equal.  The band may agree; none of its songs have been performed live since this tour.  That also just could be residual hard feelings.

There is no mistaking the organ of Jon Lord on “Bad Attitude”.  What an opening statement this is.  Just as strong as the best songs on Strangers, “Bad Attitude” rules.  It’s all about the spaces between, but Ritchie ensures there is a catchy trademark Deep Purple riff involved.  His solos are exotic delight.  Even in 1987, Purple weren’t afraid to load their single down with solos!  Jon Lord’s synths are perhaps more prominent than they were in ’84.  This is not a bad thing, because Jon Lord makes synth sound good.  Synth and electronics take center stage on “The Unwritten Law”, powerful both because of and in spite of it.  The pulse and beats give it a dramatic chase-like feel.  Its drum outro is very reminiscent of “Chasing Shadows” from album #3 in 1969!  It’s also the only Ian Paice co-write.  In the 80’s, instead of splitting the writing credits five ways as they always had, Purple changed to awarding individual credits (and royalties).  This led to petty squabbles and infighting.

“Call of the Wild” was a single and (pretty terrible) music video, and didn’t really make much of an impact.  Too bad.  It’s one of Purple’s more pop songs, but that’s just fine by me.  Purple have occasionally forayed into commercial songwriting, but have always done so with class.  This one sounds like a Rainbow song circa the Joe Lynn Turner years.  “Mad Dog” blows away all three of the previous songs.  With a killer, choppy Blackmore riff right up front, it sounds vintage.  Gillan gets to play some bluesy harmonica on “Black & White”, a good mid-paced groove but not an outstanding one.  Something like this needs a timeless Blackmore solo to drive it home, but the fire fails to light.

There’s a natural split between side one and side two, which still comes across on CD.  “Hard Lovin’ Woman” (supposedly a sequel to “Hard Lovin’ Man” from In Rock) is one of the few songs that was played live, probably because of its energy.  It has the pace of an old-school Purple rocker, but not the timelessness.  It’s largely forgettable and really only notable because it’s on the live album Nobody’s Perfect.  Back to regal sounding Deep Purple, “The Spanish Archer” could really have been something had they bothered to play it in concert.  It has a drama to it that is one of Purple’s strengths, but a lot of its strength is sapped by 80’s production values.  Glover’s bass doesn’t have enough meat to it, and there is a hint of electronic effects on the drums.

Onto “Strangeways”, the only long song (7:35).  Its vibe is very much in tune with “Hungry Daze” from the previous album.  The lyrics are unusually topical for Gillan and Glover.  “Have you seen the headlines?  Princess engaged.  Three million out of work, but that’s on the second page.”  Its length is taken up by some of Ritchie’s most subtle playing, but if you listen carefully, you can hear Ian Gillan on the congas.  Just like old times.  “Mitzi Dupri” is the one that Blackmore refused to record.  The guitar you hear on the album track is taken from the original demo.  Once Ian came up with the lyrics, Blackmore proclaimed he did not like it and would not participate in recording it for the record.  I think he found the words a bit dirty.  Closing the record is “Dead or Alive”, speedy Purple in the classic fashion.  If only the production of this album were a bit tougher, that song would be mercilessly heavy.

The House of Blue Light is not the equal of its predecessor.  Given some better production and perhaps one or two different songs, it could have been.  Someone in Purple (I think it was Glover) said that every other Purple album was “difficult”.  Perhaps there’s a smidgen to truth to that, because The House of Blue Light does not sound like the same confident band that recorded Perfect Strangers.

3.5/5 stars

REVIEW: Deep Purple – Copenhagen 1972 (2013)

Scan_20160103DEEP PURPLE – Copenhagen 1972 (2013 Edel)

How many live albums are there from the Machine Head tour in ’72?  I lost count, and I don’t really care.  I’ll buy ’em all!  Copenhagen 1972 represents Purple at their best, in their prime, playing their best songs.  The difference is (there always is a difference) is that this is a particularly pummelling Purple potluck.  As awesome as they were in ’72, it’s rare to hear them play as ferociously as you will here!  This set was previously released by Sonic Zoom as Live in Denmark ’72 in 2002, but technology is constantly improving and it has been given a subtle sonic upgrade.  With restored master tapes, the 2013 release is the definitive one, not to mention it has four bonus tracks over the previous Live in Denmark ’72.  These Sonic Zoom discs seem to be re-released periodically, but these versions from the Deep Purple (Overseas) Live Series are in all cases the ones to own.

“We got the telly here tonight, so we got to be good.”  That explains how this show was recorded so well.  The clown prince Ian Gillan is a dry unorthodox frontman when it comes to banter, and that’s why we love him so.  “Highway Star” herein is one of the best versions of the song you will ever find.  The non-album single “Strange Kind of Woman” follows, extended with Blackmore and Gillan’s interplay.  Behind them, a constant presence, is the growl of Jon Lord’s Hammond.  What a beast!  Lord always tended to improvise on his intro to “Child In Time”, lending it different flavours every time it was played.  The Copenhagen ’72 version has its own personality.  There is a delightful quieter middle section where Jon gets to have some jazzy fun.  Drummer Ian Paice gets his moment on “The Mule”, one of Purple’s most progressive rock moments from 1971’s Fireball.  Paice, being outstanding through the whole concert, dominates this one into submission.  It is remarkable how well recorded these drums are.  Glover’s bass too, which has a shining spot in the mix.  “Lazy” smokes just as hot, but it is “Space Truckin'” that has the honour of being stretched out for over 20 minutes.  With the many live versions of “Space Truckin'” out there, I wonder how many sheer hours of this song that I own?  This one is unique in its own right.

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The show continues on CD 2, with “a little bit of fun” called “Fireball”.  With an extended intro I haven’t heard anywhere else before, this version of “Fireball” kills it.  It’s immediately followed by “Lucille” which was a periodic Deep Purple encore back then.  Simply incendiary, over the top, and blazing fast.  The last song of the show is the old single “Black Night”:  that’s right, no “Smoke on the Water”!  I guess they just didn’t play it that night.  Machine Head wouldn’t be out for another three weeks.

CD 2 has four bonus tracks on top of this.  The aforementioned “Smoke” along with more versions of “Strange Kind of Woman” and “Space Truckin'” are included, from New York in ’73.  This version of “Strange Kind of Woman” is unusually funky; more like the Deep Purple Mk III that would emerge in 1974.  “Smoke” is still fresh, but “Space Truckin'” surprises by being only half the length of the version on CD 1.  It’s interesting to hear how the songs evolve from year to year.

The final bonus track is a brief 1971 interview done in Australia.  There is not much here; it’s just an add-on.  It’s fun to hear them talking about the forthcoming new album, Machine Head.

4/5 stars

REVIEW: Deep Purple – Live in Stockholm 1970 (2 CD/1 DVD)

EPIC REVIEW TIME!

DEEP PURPLE – Live in Stockholm 1970 (2014 Edel, 2 CD 1 DVD set)

This is the second time I’ve bought this live album.  Hopefully, this edition from the Official Deep Purple (Overseas) Live Series, with its bonus tracks and DVD represents the last time I need to shell out.  The first was a cheap looking 2 CD set called Live and Rare (1992).  There was also a more official version called Scandinavian Nights.  They’re all pretty much the same, a set of early long long bombers by Deep Purple recorded for radio in 1970.  This remixed (from the master tapes) edition has the set list restored to the correct order, and two bonus tracks from Paris the same year.  It also has a Jon Lord interview and a DVD for a TV special called Doing Their Thing.

The TV broadcast weirdly begins right in the middle of “Speed King”.  Full colour and in stereo, this is some fantastic footage.   It’s shot and edited for excitement.  Ritchie Blackmore assaults his weapon, but with precision.  For a guy who is so technically capable, it’s amazing how physical and visual he gets.  “Child in Time” gives Ian Gillan a chance to both sing and scream.  Strangely there are two small bored looking boys in the audience, right by Roger Glover, and they couldn’t look any less thrilled to be at this taping.  Who are they?  Why are they there?   Who knows!  This is the full unedited “Child in Time” complete with solos.

You get ample closeups on Jon, Ritchie and Roger and it’s amazing to see them play so fast, so perfectly.  You can study Jon’s hands and try to figure out what he’s doing.  Ian Paice is in the back, tiny frame creating a huge sound.  The instrumental “Wring that Neck” is soloriffic, and Blackmore is surprisingly friendly with the cameras.  This is very rare for the man in black.  The audience politely clap at his playful solo, and he keeps them guessing to the end.  A rare delight, to see him in such a good mood on stage.  The final track on the DVD is “Mandrake Root”, another song that was really only in the set for them to jam to.   They are in sync, and being able to watch Deep Purple at their peak jamming in this clarity, well that’s really something.  Too bad most of the songs are edited down.

As for the 2 CD set, it has always been a bit of a slog to get to the end.   There are two tracks at 30 minutes a piece.  There is one at 18.  There are three in the 10-12 minute range.  Of all the Deep Purple live albums out there, Stockholm is probably the one that requires the most patience.  This is, however, my first time hearing it freshly mixed and restored for today.

Set commencing with “Speed King” again, this time it’s the full-on 12 minute jam.  Barely hanging together, Purple blast it out with extra heavy energy.  Gillan sounds as if he’s about to burst a blood vessel in his neck.  The audio has more depth than previously releases, but Ian’s voice sounds a bit too low in the mix.  “Do you know what a Speed King is?  A Speed King is somebody who sing at a hundred miles an hour,” sings Ian, not really enlightening us.  “Everybody’s a Speed King when you wanna be,” he adds, confusing things more.  Things quiet down, turn jazzy, and then explode once more.  Not the greatest version of “Speed King” ever recorded, but definitely one of the most frantic.

“Into the Fire” is a rare shot of brevity.   Assailing the skull nonetheless, after “Into the Fire” the band take it back a bit with “Child in Time”.  This full-on 18 minute version is far longer than the better known one from Made in Japan.  The cool thing about Purple is that no two versions of any song are exactly the same, and if you’ve heard “Child in Time” before…you still haven’t heard the 18 minute version from Stockholm.  With all due respect to the Japan version, this one has its own diamonds of brilliance.  How the hell do they keep playing with that rapidity?

Better pee now, because a jazzy “Wring that Neck” is next, over 30 minutes.  Loaded with playing that’ll stop your heart, but not as interesting as the definitive version on Concerto for Group and Orchestra.  This contains a showcase for Jon Lord’s keyboard solos.  Ritchie’s playing is always sublime, and so is Jon’s, but…30 minutes…that’s a lot of jamming.  Like too much crème brûlée.  Ritchie again plays with the audience, teasing out melodies from songs such as “Jingle Bells” and “I’m Looking Over a Four Leaf Clover”. If that wasn’t enough, Deep Purple’s 10 minute cover of the Stones’ “Paint it, Black” is really just an excuse for a long drum solo by Ian Paice!  Gillan took off, making the song an instrumental, which they only stick to for a minute before letting Paice go nuts.

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Flip over to CD 2, and get ready for another 30 minute long bomber.  “A thing you can jump around to,” says Ian.  It’s “Mandrake Root” and it’s bouncy.  This is a well-known version of the song, and it even appears on Deep Purple comprehensive box set Listen, Learn, Read On in its complete length.  You can clearly hear Gillan on the congas during the long instrumental break.  You can also hear them quoting the Kinks’ “You Really Got Me Now”.  This jam generates more interest than “Wring that Neck”, but it’s still a chore to finish.  And you get to hear “Mandrake Root” and “Wring that Neck” three times each in this package.

The final song (of a mere seven!) for Stockholm is a reasonably brief one:  “Black Night”.  After so much jammin’ it’s nice to have a single, with a set structure, and more than just occasional lead vocals!  It raises the energy a bit after a very draining concert set.  But you’d better refuel with some coffee, because you’re not finished yet.

The two bonus tracks from Paris sound as if they were recorded in a smaller venue.  They are sonically superior to the Stockholm recordings, but damn, I am all jammed out!  Thankfully, this version of “Wring that Neck” is delightful and unique.  It’s hotter and way, way jazzier.  Blackmore also teases out a bit of a preview of a forthcoming song.  You can hear a teeny bit of the guitar melody to 1971’s “The Mule” in his solo.  He even plays a bit of “God Saves the Queen”, in Paris!  Then on to “Mandrake Root” again, 14 minutes this time, half the length of the last one.  Jon’s solo is incredible, but aren’t they all?  This one has some nice rhythmic choppy bits that are so fun to air-keyboard along to.  The track eventually descends into chaos and noise, as all good Deep Purple jams do.

Finally we have the 1971 Jon Lord interview.  This 11 minute track discusses how Jon joined the band, the early days, the Concerto, and In Rock. The title is misleading however, since the track also contains a few bits with Ian Gillan.  Fun stuff but ultimately nothing here that the fan doesn’t already know.

3/5 stars, simply because I know from experience that this set won’t get much repeat play in your home.

3.5/5 stars when you take the bonus DVD into consideration.