steve morse

#722: Christmas Mix 2006

GETTING MORE TALE #722: Christmas Mix 2006

It took some searching, but I finally found a copy!  This is the first Christmas mix CD I ever made, back in 2006.  I didn’t start making these until I had left the Record Store.  Nobody who works retail wants to listen to Christmas music outside of work.  Once I had been gone a year, my brain and soul were freed!

As discussed in the previous Christmas Mix article, after a few years I was running short on good songs to use, so I had to repeat a few from prior years.  Several tracks from the 2006 disc made a return appearance in 2010.

Repeaters included:

1. Hawksley Workman – “3 Generations”.  Truly an incredible, family-oriented song that is a highlight of Hawkley’s excellent Christmas album, Almost a Full Moon. The 2006 CD has lots of Hawksley songs.

2. Extreme – “Christmas Time Again”.  My sister always liked this one, which sounds like early Extreme – perhaps first album era.

3. The Beatles – “Christmas Time is Here Again”.  I leaned heavily on this one, though not a great song, just because it’s the Beatles and it’s a rarity you may not have heard.

4. Jon Bon Jovi – “Please Come Home for Christmas“.  Bon Jovi have done several Christmas songs, but Jon’s solo version of “Please Come Home for Christmas” is by far the best.  Let’s face it, this is a great tune!

5. Jim Cuddy – “New Year’s Eve”.  Another one I lean on because a song about New Year’s Eve is a nice change of pace.  Plus, it’s Jim Cuddy!

6. Ted Nugent – “Deck the Halls”.  I think every Christmas mix needs a kick in the nuts to keep things interesting.  Here’s the kick!

7. Bob & Doug McKenzie – “Twelve Days of Christmas”.  It can get a little tedious, as many joke songs are, but people know it and like it.

That’s not bad for repeat.  I’m sure Kiss have repeated more than just seven songs on their greatest hits CDs….


For creative types, the first thing you try something is often the best.  Maybe that’s the case with my line of Christmas mixes.  This first instalment is a great listen, even if you hate Christmas music and everything to do with it.  Check out the amazing songs you would have heard in 2006!

“Linus & Lucy” isn’t a Christmas song at all, but it works because Charlie Brown is associated with Christmas.  Wynton and Ellis Marsalis did an entire album dedicated to the music of Charlie Brown (Joe Cool’s Blues), but “Linus & Lucy” is the most instantly memorable.  And now, all of a sudden, you’re a kid again watching the Charlie Brown Christmas special.

Hawsley Workman’s first appearance here is “First Snow of the Year”, a song that is much too happy for a song about snow!  It’s homey, upbeat and jovial.  Keeping things upbeat, I went for the Brian Setzer Orchestra next.  “Jingle Bells” mixes the big band style with jaw-dropping guitar as only Setzer can do.  I then chose to cool things out with “The First Nowell” by the sublime Eric Johnson.  His acoustic/electric instrumental contains just as much original music as it does traditional.  It’s wonderful.

There was a time when Queen’s “Thank God It’s Christmas” was a rarity.  Now you hear it on the radio.  When I first had it, it was on a bonus CD within a Queen Classics/Greatest Hits box set.   (The “Green Cover”.)   Since just about everybody likes Queen (then and now) including it is a slam dunk.  It’s 80s Queen but that’s OK, isn’t it?

I used a lot of instrumental music on these Christmas mixes, which tended to come from Merry Axemas 1 and 2.  “Joy to the World” by Steve Morse is a beautiful rendition, much like the Eric Johnson track, though Steve’s is entirely electric.  Then it’s Joe Perry’s Hawaiian guitar version of Elvis’ “Blue Christmas”.  You may recall that I put Elvis’ version on my 2010 CD.  Joe’s version is cool because it’s different, though not as popular around our dinner table.

Trans-Siberian Orchestra is, honestly, a band I don’t get.  Look, I’m a huge Savatage fan.  Massive Savatage fan.  I’ve been a fan since I was 15.  Trans-Siberian began as a spinoff of Savatage, and I was absolutely shocked when little old men and ladies would come in to the Record Store asking for them!  Trans-Siberian isn’t as “metal” as Savatage, but the bombast is all there.  They’re popular though, so I put as much Trans-Siberian on here as I could handle.  “A Star to Follow” is a pretty gothic version of “God Rest Ye Merry Gentlemen”.  Much better is “A Mad Russian’s Revenge”, an interpretation of Tchaikovsky.  I also threw on “The Silent Nutcracker” because it is a simple acoustic guitar instrumental, not at all like the other TSO tracks.

One of Marillion’s very best Christmas tunes is “I Saw Three Ships”, so for my debut Christmas mix, I used nothing but the best Marillion.  This is from 2001’s A Very Barry Christmas.  There is something special and unique about this band.  “I Saw Three Ships” is both true to the song, yet intrinsically Marillion.

Hawksley’s third appearance is a hat trick of perfect celebratory pop.  “Claire Fontaine” isn’t particularly seasonal, though it’s from his Christmas CD.  It’s about a girl who makes lovely decorative paper.  There’s a line about “going home for Christmas” but otherwise there is little connection.  Claire could use her paper to wrap gifts, though Hawksley uses it for writing.  “Your sheets are very smooth, I like to rub my pen across them.”  This was a selfish inclusion.  I just love this song.

“Ring Out Solstice Bells” is also a selfish inclusion, because although it is a brilliant track, nobody I knew actually liked Jethro Tull.  In fact some, like Mrs. LeBrain, are quite anti-Tull.  So who was this song for?  Me!  And I stand beneath the Christmas tree, doing my best Ian Anderson single-leg stand.

Lo, what is this I hear?  More Hawksley?  Yes, Hawksley Workman had four tracks on my Christmas CD.  That is a full one-half of his original album!  I chose “Common Cold” for the last Hawksley.  Nobody gets through the holidays without getting sick, not in my family anyway!  (Last year I had the flu.)  “Nearly OD, on Vitamin C, you’re standing in a lineup with a gift just for me.”

The disc ended with a slew of tracks I’d use again.  Cuddy, Nugent, and Bob & Doug closed the CD.  A joke song makes a good closer sometimes, so that’s why I re-used Bob & Doug in the exact same position on 2010’s CD!

I like this CD, but I today I would axe the first two Trans-Siberian tracks.  I don’t think I’d change anything else.  In fact I’m quite thrilled to hear “Linus & Lucy” again for the first time in ages.  (I’ll have to give the whole Wynton & Ellis CD a spin again.)  Hawksley is always a delight, and I used his very best Christmas songs here.  And that Jethro Tull song is brilliant; I don’t care what cynics say.

I’ll give myself a solid:

4/5 stars

 

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REVIEW: Deep Purple – The InFinite Live Recordings Vol. 1 (2017)

DEEP PURPLE – The InFinite Live Recordings Vol. 1 (2017 Ear Music)

The all-time kings of the live album have finally released…another live album!  It’s boldly titled The InFinite Live Recordings Vol. 1, implying that another live set isn’t far off.  The gimmick this time (aside from being 100% live with no overdubs, which is now the Purple norm) is that The InFinite Live Recordings Vol. 1 is only available on vinyl, or by re-buying InFinite in its new “Gold” European edition reissue.  If you’d prefer avoiding the double-dip, then the only way to enjoy The InFinite Live Recordings Vol. 1 is by spinning the triple 180 gram LP set.

So let’s do that.

This album is the complete Deep Purple set from Hellfest 2017 (June 16 2017 in Clisson, France).  The always fearless band opened with the brand new “Time for Bedlam” single.  The intro and outro are dicey (weird vocal sound effects) but then Deep Purple suddenly plows straight into “Fireball”.  Somehow Ian Paice transforms into his younger self and there is nothing lost.  Going back even further in time, it’s “Bloodsucker” from Deep Purple In Rock.

The oldies, like “Strange Kind of Woman” and “Lazy”, are more or less just filler.  Even though they’re always different, you’ve heard them so many times while the newer songs are fresh meat.  “Uncommon Man” is long and exploratory, while “The Surprising” and “Birds of Prey” are more than welcome on the live stage.  In particular, “Uncommon Man” and “The Surprising” are showcases for Deep Purple’s progressive side, sometimes taken for granted.  Both must be considered among the greatest Morse-era Purple songs.  Both stun the senses, live.

While there was a live version of “Hell to Pay” (from Sweden) on the fairly recent single “Johnny’s Band”, another one in the context of the set is cool because it naturally introduces Don Airey’s keyboard solo (listen for a hint of “Mr. Crowley”).  And that solo segues into “Perfect Strangers” after you place the third LP on the platter.

The usual suspects close out the set:  “Space Truckin'”, “Smoke on the Water”, “Hush” (with a detour into the “Peter Gunn” theme) and “Black Night”.  The reason Deep Purple get away with playing generous amounts of new material is because, without fail, they always deliver the Machine Head hits.

These live recordings were produced by Bob Ezrin, so you can count on great audio.  Why should you choose this over the numerous other Deep Purple live albums from the Morse era?  Because it is always a pleasure hearing new songs on the concert stage.  Deep Purple have remained consistent over the decades and each live album offers a brief snapshot of a set you might never hear again.

4/5 stars

REVIEW: Merry Axemas – A Guitar Christmas – Various Artists (1997)

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MERRY AXEMAS A Guitar Christmas (1997 Sony)

Do you have a favourite Christmas album? Perhaps you need some Merry Axemas in your life.  The first one, in particular.

I used to have an annual tradition of making a Christmas mix CD.  I dropped it because after a while I ran out of good Christmas tracks. Something from Merry Axemas used to make the list every year.  Not only are there great traditional songs, but also the finest guitar slingers in the world.  For an album of (mostly) instrumentals, this one really rings the bells.

Louisiana blues rocker Kenny Wayne Shepherd gets things started with “Rudolph the Red-Nosed Reindeer”.  Anyone on board with the blues should enjoy the solid jamming going on here!  This isn’t for grandma.  This is for guitar maniacs!  Progressive stylist Eric Johnson has a beautiful “First Nowell”, on a classical and electric guitars with accompaniment.  Grandma won’t mind this one at all, in fact she might want a copy for herself.  The wizard of the wires, Jeff Beck, then presents his slide guitar version of “Amazing Grace” complete with choir.  A different mix of elements, but not too hard to digest.


Not the version from this CD, which is instrumental

The Brian Setzer Orchestra comes out swingin’ with their instrumental “Jingle Bells”.  If you ever needed reminding how awesome the former Stray Cat is on six strings, then check this out.  Brian keeps it all accessible while simultaneously blowing off your nuts.  The big band is icing on the cake.  Joe Satriani is next up to the plate with an adventurous “Silent Night/Holy Night Jam”.  This one is strictly for guitar-heads and players, as it’s more a Joe showpiece than anything else.  Picture Joe circa Flying in a Blue Dream and you’re in the right place, but not very Christmas-y.  This is the only song that has never made one of my annual Christmas mix CDs.  Steve Morse’s “Joy to the World” is far more successful as far as the Christmas theme goes.  Steve does do it his way, but at least you can tell which carol you’re listening to.  If anyone can capture angelic Christmas guitar tones, it is Steve Morse.

How big can these names get?  Try Steve Vai on for size.  You might recall “Christmas Time is Here” from the classic Charlie Brown Christmas special.  Vince Guaraldi made it popular for all ages, and Steve does a playful take on it, using his guitar like a voice.  And the names keep getting bigger.  Heard of Joe Perry before?  The Aerosmith guitar hero does Elvis Presley’s “Blue Christmas” as a Hawiian guitar instrumental which suddenly goes surf rock.  Rush’s Alex Lifeson then brings “The Little Drummer Boy”, with a low-key and quiet instrumental.

“‘O Holy Night”, performed by Richie Sambora formerly of Bon Jovi, swings and just barely misses.  It just doesn’t have that Christmas feel.  The Japanese guitarist Hotei has the final track, John Lennon’s “Happy Xmas (War is Over)”, which is actually a traditional that Lennon and Yoko Ono wrote lyrics to.  He goes a little over the edge partway through, but it mostly maintains the right feel.

Here’s the great thing about Merry Axemas.  Even if you don’t care for Christmas music, there is usually a need for it around, once a year.  Merry Axemas, with some modest editing, could suit your needs.  Don’t celebrate Christmas?  No problem — if you’re a fan of these players (particularly Morse, Vai, Perry, and Johnson) then you’ll want to hear what they did with these tracks.

4/5 stars

 

 

 

 

 

 

REVIEW: Deep Purple – Abandon (1998)

DEEP PURPLE – Abandon (1998 BMG)

19 years ago, Deep Purple released their final studio album with Jon Lord.  We didn’t know that at the time of course.  Jon’s departure happened a few years later, when touring wore him down.  He capped it off properly with a Purple tour of live performances of the Concerto for Group and Orchestra.  However, there is always a certain sense of…incompletion.  Lord’s last studio album wasn’t the kind you want to go out on.

Purple had a huge comeback with the masterpiece Purpendicular in 1996.  It was a beautiful, quirky and intelligent record.  Its followup Abandon was an effort to “get heavy”, but with hindsight even the band admitted it missed the mark.  Sure, it was heavier with more riffs, but Steve Morse isn’t particularly a riffy player.  Abandon lacked the feeling, and the level of songwriting was not there.

Lead track “Any Fule Kno That” works on a heavy groove, and it’s one of the songs that does click.  There are two particularly memorable songs on Abandon:  “Any Fule Kno That” and the laid back “Fingers to the Bone”.  “Fingers” is based on a celtic Steve Morse guitar lick, with a passionate Ian Gillan vocal on top.  Almost up there with them is “Seventh Heaven”, which could be the heaviest Purple song ever.  Paicey’s drums are relentless.  You can also count “Bludsucker” among the best material, but it’s a re-recording of “Bloodsucker” from In Rock.  Unfortunately this serves to underline how many years have passed, in regards to the vocal cords of Mr. Gillan.

All the other tunes have something to them of interest, but just not enough.  “Almost Human” for example has a nice shuffle beat.  “’69” has cool lyrics and a hell of a tempo.  There is a killer slow blues called “Don’t Make Me Happy” that just needs a better chorus.  The magic sauce just isn’t there.  Few of these songs were played live, and when they were, they tended to have more life than the album.

One must wonder, if the lacklustre Abandon is the reason Deep Purple haven’t self produced an album since.  Every record since then was either produced with Michael Bradford or Bob Ezrin.  Every record since has been better overall.  Something about Abandon just doesn’t hit the bar.  Maybe it’s the oddly obtrusive double-tracked vocals.  Whatever the cause, it’s hard to recommend Abandon when there are so many awesome Purple albums to enjoy ahead of it.

3/5 stars

REVIEW: Deep Purple – “Johnny’s Band” (2017 single)

DEEP PURPLE – “Johnny’s Band” (2017 Edel single)

2017 is the year of Purple. Witness: We have not just their awesome new album InFinite, but also a new live album included with the deluxe box set version.  There is a Classic Rock magazine CD called Limitless including an exclusive version of “Black Night”.  There have been two CD singles (“Time for Bedlam” and “All I Got is You“) each with their own exclusives.  Now, Deep Purple have released their third single from InFinite, called “Johnny’s Band”.  More exclusives abound, making this quite a fun year for Deep Purple fans and collectors.  Have you been keeping up?

If you bought InFinite (and you should, what are you waiting for?), then you know “Johnny’s Band” is one of the most instantly catchy songs on it.  Upbeat and danceable, “Johnny’s Band” is a hoot.  Gillan’s lyrics are witty and honest, and did you notice the musical segue into “Louie Louie”?  “Johnny’s Band” is a much more obvious single than the first two they released, so let’s be glad that somebody thought Deep Purple needed three singles for InFinite.  The lyrics tell the story of a band who hit it big, fell down hard, but keep slogging away in the bars anyway.  In the end, Gillan gives it a positive conclusion.  It is, after all, all about the music.

But hey, it’s Johnny’s Band,
Playing all those wonderful songs,
Making the rounds with that old fashioned sound,
And here we are singing along.

Perhaps there’s a little slice of life in there.

Track 2 is an unreleased studio jam.  “In & Out Jam” focuses on a low key guitar riff as its base, but spreads in other musical directions from there.  The bottom line is this:  Steve Morse, Don Airey, Roger Glover and Ian Paice jamming together is always going to produce something of value.  “In & Out Jam” isn’t a song and probably wasn’t likely to ever become one, but these are ideas from the best brains in rock and enough to make the musician in you weep in sorrowful inadequacy.

Live tracks from Gaelve, Sweden finish off this single.   There are now three different live versions of “Strange Kind of Woman” released this year.  My Deep Purple folder has 27 different versions of “Strange Kind of Woman”!  How much is too much?  Who cares.  “The Mule” is played far more rarely, but there is still another version of it on the deluxe boxed InFinite set.  It’s a thunderous showcase for drummer Ian Paice, who is still one of the greats at age 69.  The years take their toll on everyone, but Paicey does not sound 69 years old here!

The last of the live songs is the newest, “Hell to Pay” from 2013’s Now What?!  This is only the third live version of the song ever released.  It’s a short blast of guitar and keyboard mania, with a chorus on top.  Its most interesting feature is the organ solo in the middle, something you don’t hear on many singles (which “Hell to Pay” was).

Purple are currently on tour with Alice Cooper.  Both artists have put out remarkably strong albums in 2017.  Will wonders never cease?

4/5 stars

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)

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