ANTHRAX – Live from Sonisphere Festival 2010 (picture disc EP, Record Store Day exclusive)
I don’t get these Record Store Day exclusives, honestly. I saw this thing for a reasonable price on Amazon and bought it without even knowing it was some kind of “exclusive”. I sure didn’t buy it at a record store, but I won’t turn this into a Record Store Day rant.
This is a very nice looking picture disc. I wouldn’t recommend playing it too often, you know how quickly a picture disc can wear out. If you’re lucky enough to own the Big Four Live CD box set, you won’t need to play this. I don’t have that very limited set, but these two Anthrax performances make me want it! “Medusa”, an oldie from the Anthrax days of yore (Spreading the Disease), is just as powerful as ever. Belladonna’s voice has changed, but not enough to matter. The song has been tuned down, but that really only makes it heavier.
“Only”, the first single from the John Bush era of the band, is on the other side. This is one of the best Anthrax songs ever, in my opinion. Joey certainly turns a more than able performance. He sounds at home, and I quite enjoy his version, especially when he starts shrieking before the guitar solo.
I loved this single, and I was surprised how awesome Joey sounded. I really lost track of Anthrax after the We’ve Come For You All period and haven’t been too excited about all the rotating singers since then. However since Joey’s been back (for hopefully the rest of the band’s life) I’ve been a lot more interested, and that’s why I bought this. I didn’t know how good he would sound on the Bush-era stuff, and “Medusa” smokes with furious intensity too.
BON JOVI – Livin’ On A Prayer(1987 Polygram double 12″ single)
For the second time this week comes a record that I acquired via T-Rev. This time, some friends of his were selling off some old vinyl, and he knew I’d be interested in this one. Indeed! From the juggernaut mid-80’s smash hit Slippery When Wet comes “Livin’ On A Prayer”, possibly the best known Bon Jovi hit. Previously, I owned this single on cassette, but we all know how permanent the music on a cassette can be. I was seeking what I call a “hard copy” — something more permanent like vinyl. T-Rev delivered!
There are six tracks total, with two on the first record. What a pair! “Livin’ On A Prayer” is a song I have nothing bad to say about. It’s hard to talk about a song such as this, which I probably hear daily, via the radio. Trying to look past the intense familiarity, I hear some great dark keyboards and a still-great talk box guitar part. It’s a still a great song, achieving musical heights that Bon Jovi would seldom scale.
Even better though is “Borderline”. This song is so hard to find, that I don’t even own it on a CD. It’s not on the (domestic) version of Bon Jovi’s 100,000,000 Bon Jovi Fans Can’t Be Wrong box set (though it is on the Japanese). This is an undiscovered Bon Jovi gem, deep into that Slippery sound and keyboard-heavy. It easily could have been on the album; hell it could be a single in its own right. Songs like this are long-time favourites of Bon Jovi fans in the know.
The second record commences with a Bon Jovi semi-hit, “In and Out of Love” from 7800° Fahrenheit. I used to like this song when I was young. Even though it’s one of Jon and Richie’s hardest rockers, it doesn’t really appeal to me anymore. The words are laughably bad: “You wanted me to meet your what? Your daddy is who? Hey, just how old are you anyway? Oh, no…” Thankfully you can’t keep Sambora down, and Richie nails a cool, memorable guitar solo.
The coup de grâce is the final side, all rare live tracks recorded in Japan on the 7800° tour. These are some of my favourite Bon Jovi live recordings, and once again, I’ve never seen them on any kind of CD. All three tracks are from Bon Jovi’s first album: the single “Runaway”, “Breakout”, and “Shot Through the Heart”.
“Runaway” sounds amazing, and I think this song is underrated. It’s played a bit faster than the album version, and the vocal harmonies of Jon and Richie are young and fresh. “Breakout” is not especially notable, though hearing first-album Bon Jovi played live is a rare treat. Then, a surprise, as the band break into Cher’s “Bang Bang (My Baby Shot Me Down)” as a segue into “Shot Through the Heart”. The “Bang Bang” segment is an absolute treat, once again showing off those young voices, accompanied only by some David Bryan keyboards. This intro overshadows the song itself, though it is still one of those great Bon Jovi deep cuts. It’s a dark broken-hearted hard rocker with some smokin’ Sambora axe.
At roughly 32 minutes, I don’t know whether this is a single or an EP.* All I know is, it’s longer than Diver Down.
5/5 stars. An absolute must for any Bon Jovi fan with a turntable.
* It’s an EP, according to the spine, which I only noticed while taking these photos.
OZZY OSBOURNE – Ultimate Live Ozzy(1986 CBS picture 12″ record)
T-Rev bought this for me a year or two ago, God knows where he found it! All I know is that one day I got a text from him saying, “Mikey, Ultimate Live Ozzy picture disc, do you need it?” I obviously said yes, I didn’t care what it was exactly. I figured it was probably live cuts from The Ultimate Ozzy home video release. I know that Ozzy picture discs go for crazy amounts of money at record shows, and this one was affordably priced.
Picture discs don’t sound the best, and this one even has a label on the front warning the consumer of this fact. Unfortunately my plastic sleeve isn’t in the greatest shape, although the record is absolutely perfect. I love the way the turntable spindle sticks out of Ozzy’s tongue on one side. The other side has a picture of Ozzy and guitarist Jake E. Lee with the girl from The Ultimate Sin album cover. Jake’s taking a bite out of her bum.
Here’s the weird thing. Even though the label clearly states these are live versions from Kansas City in 1986 (the Ultimate Ozzy video shoot), there are no live songs. There are three tracks per side, and both sides are identical. They contain the studio versions of “The Ultimate Sin”, “Never Know Why”, and “Thank God for the Bomb”. The studio versions — not live versions! Somebody screwed up somewhere; you have to assume one side was meant to have the live tracks, and the other the studio counterparts. Information is scarce, except that there are multiple reports of the same issue for this picture disc on the web.
Thankfully, the three missing live tracks are on the Prince of Darkness box set. It’s always nice to get some live Ozzy stuff with Jake E. Lee, since it’s so rare to find. Randy Castillo (R.I.P.) is on drums, and like him or not, he has a signature style that he utilized with Ozzy. I enjoy his drumming. The live versions are more keyboard heavy than the studio counterparts. I enjoy Jake’s echoey guitar intro to “Thank God for the Bomb” which sounds cool live.
I’d love to know if these three live tracks were actually released on vinyl at all in 1986. Prince of Darkness was released in 2005; that’s a long time to wait to finally get the tracks in an audio format! I do have the Ultimate Ozzy video on VHS, but it has never been released on an official DVD. Knowing of Ozzy’s loathing for this period, I wonder if it ever will be. I doubt it. It’s too bad, because some have a fondness for The Ultimate Sin and its songs.
If this picture disc had contained the live tracks it was supposed to, I’d give it 4/5 stars. However, for a screwup this colossal:
0/5 stars. At least it looks cool.
Final note: When originally released, this disc came with postcards and a poster. I have neither.
“Keep on rockin, keep on rockin’, to this metal tonight!” The first of two Anvil reviews this week!
ANVIL – This is Thirteen (16 track vinyl edition, 2009 VH1 Classic Records)
I won’t go into the whole Anvil story — see the movie (Anvil! The Story of Anvil), and then get this album if you haven’t already. Don’t get this album because you feel sorry for Anvil and want to help them on their quest for stardom; buy this album because it is one seriously heavy piece of metal greatness. It’s amazing that thirty years on, a band can come up with something as strong or stronger than their classics.
Surely some of the credit must go to veteran knob-twister Chris Tsangarides (Judas Priest, Thin Lizzy, Bruce Dickinson) who produced This Is Thirteen. Tsangarides, if you’ve heard his past productions, gets a simply great sound and performance out of bands. In particular, heavy bands like Anvil. Everything here sounds great — the drums are pounding, clear and heavy and the guitars are shredding and crisp. Excellent sounding record! (NOTE: Tsangarades has been ill recently, and we wish him nothing but the best.)
The songs? Well, originally there were 13 songs…this is Anvil’s 13th album, get it? However, some extras were added to this vinyl edition (more on that later). The core 13 songs are pretty damn strong. I would say heavier than the “classic three” Anvil records, but every bit as catchy and memorable. The riffs are the kind that bore their way through the skull into your brain. And Lips plays almost all the guitars here — clearly, he is not only a talented frontman, but also an underrated shredder. No one will mistake Lips for Alex Skolnick, but he’s like a more talented Nigel Tufnel — and I mean that in the nicest way — style wise. (Former lead guitarist Ivan Hurd also appears on a handful on tracks.)
Bordering on thrash metal at times, and sinking to Sabbathy lows at others, This Is Thirteen gives you a variety of metal to sink your teeth into. Check out the title track “This is Thirteen” for some seriously heavy doom. Sounds like something on Sabbath’s Dehumanizer CD, even lyrically. I’m sure Dio would approve. Then skip ahead to something fast and heavy like “Shoulda Woulda Coulda”. This Is Thirteen has a little of everything!
Highlights for this listener included the title track, the apocalyptic “Bombs Away”, “Burning Bridges”, “Feed The Greed”, “Room #9” and the three bonus tracks.
I love when bands put bonus tracks on vinyl. It makes the metal geek in me scream in joy. Here there are three:
14. “Thumb Hang” – a song Lips & Robb wrote in highschool, about the Spanish Inquisition. Finally recorded 30 years later, it’s actually a pretty decent song!
15. “Metal On Metal” – re-recorded for that heavier sound, but don’t worry, it’s not modernized at all. It’s a straight remake, just better sounding.
16. “666” – same deal. The great thing about these re-records is that it allows new Anvil fans to get their two best known songs along with the new album. Pretty genius if you asked me!*
My only gripe? Occassionally Lips’ voice can be a little grating. I have the same issue when I listen to Megadeth for a couple hours on end. I just can’t listen to Mustaine’s voice for too long in a row. Lips’ voice isn’t as grating to me, but too much Anvil and I need to play something else.
4/5 stars
* These three songs were later re-released on the 2011 Anvil compilation Monument of Metal.
Dear friends, my budget is low, but my resolve has never been stronger!
Tomorrow (April 13) is the Toronto Musical Collectibles Record & CD Sale; T-Rev & I will once again be joined by Wes and newcomer Doug (?). Last year was a tremendous success for me. I am really hoping that the guy who sold me the Japanese imports will be back this year. They were by far my best score at any record show in my over 20 years of attending them!
I still remember the circumstances surrounding me originally getting this on CD. As recounted in an earlier Record Store Tale, Tom and I were at a party. We were listening to some sHeavy, and Tom mentioned the Brant Bjork solo album as another must-have. Being a fan of Brant Bjork’s drumming from Fu Manchu, I ordered it without hearing a single track. Tom attempted to describe it by calling it “a cross between Fu Manchu and surf rock.” Interesting.
10 years later, when Bjork reissued it on vinyl, he added the UFO-centric Blue Oyster Cult cover bonus track, “Take Me Away”. Automatic re-buy. It doesn’t really sound like the rest of the album, but who cares? It’s Brant Bjork covering Blue Oyster Cult. But that’s not the only reason to re-buy Jalamanta.
What a beautiful record! The first thing you’ll notice is the new cover. All black with the Brant Bjork skull embossed. Beautiful. Open it up to get at the booklet with all new photos. The booklet truly is a work of art. Remember when you used to buy an LP, and you’d sit down in front of your stereo staring at the pictures, trying to make out every little detail until the record was done? Brant Bjork takes us back to that time.
The cover page is what appears to be an awesomely greasy Mexican meal, and then the final page is the empty plate — a satisfied customer. Just like with this LP. You can really get stuffed on the grooves and tones contained herein. There are plenty of low-key, incessantly grooving instruments. The music is simple, repetitive, but effective. It’s not heavy, but it feels weighty nonetheless.
The lyrics are included. Here’s an example, from “Automatic Fantastic”:
The man shakes me down, that’s why I’m broke. Rich man’s got all the green but it ain’t the kind you smoke. So we turn up the rock, and we roll it slow. We’re always flying high, and the ride is always low.
Musically, if you haven’t heard this album before, I don’t really know how to describe the songs. Bjork plays almost everything himself, and the vibe is laid back. He sings on every song but “Toot” which is handled by Mario Lalli (Fatso Jetson). He’s chosen to mix his vocals way back and emphasize the unadorned guitars and drums. The mix is spare, quiet at times, loud at others, but always trippy. Imagine driving down a deserted highway on a hot summer night with the windows down. This is the soundtrack to that ride.
This is one of those album that sounds like it was just meant to be heard on 180 gram vinyl. There’s no sound like it in the world. I noticed a heck of a lot more bass, the bassline on “Lets Get Chinese Eyes” being particularly sublime. This album just sounds stunning now.
5/5 stars
“Lazy Bones” – 1:29
“Automatic Fantastic” – 6:59
“Cobra Jab” – 3:18
“Too Many Chiefs…Not Enough Indians” – 3:44
“Sun Brother” – 4:45
“Lets Get Chinese Eyes” – 4:45
“Toot” – 5:58
“Defender of the Oleander” – 7:53
“The Low Desert Punk” – 5:20
“Waiting for a Coconut to Drop” – 4:17
“Her Brown Blood” – 4:16
“Indio” – 4:15
“Take Me Away” – 5:35 (Blue Öyster Cult cover) vinyl only bonus track
Now that Pyromania, Hysteria, Slang and Adrenalize have been remastered and reissued with bonus tracks, it is High ‘N’ Dry that needs to be given the deluxe treatment next. The fact that Adrenalize has been given an elaborate deluxe edition, but High ‘n’ Dry hasn’t even been remastered yet, is injustice. Any time I listen to High ‘n’ Dry, I leave with one conclusion: This is Def Leppard’s best album. And not only that, it’s just one of the best by any hard rock band, period.
For High ‘n’ Dry, my g-to version is my vinyl US pressing. The CD is still in my collection, because it includes two songs not on the original LP: 1984 Remixes of “Bringin’ On The Heartbreak” and “Me and My Wine” (the versions that were used for the music videos). So that’s cool, good enough reason to own the CD, but the LP has one more gimmick that you can’t get on CD. The final track on side two, “No No No”, ends in an infinite loop of Joe screaming “NO!” I love vinyl gimmicks. I also love that the vinyl has inner sleeve photos that you don’t get on CD (even if one appears to be Rick Allen’s genitals covered in whipped cream).
This is one solid LP. Def Leppard teamed up with Mutt Lange for the first time and his influence is palpable. Def Leppard had been heavy before, but now they were channeling a serious AC/DC vibe. Mutt had just produced a little album called Back In Black. Surely it was no coincidence that High ‘n’ Dry has similar riffy and sonic qualities? Def Leppard’s edge had yet to be blunted in their search for hits. Instead, it had been sharpened. On Through the Night could have been better, more tightly focused. High ‘n’ Dry is as focused as a laser beam. Aside from one guitar-driven power ballad (“Bringin’ On the Heartbreak”) every song seeks only to scorch.
Although there is not one single throw-away or filler track on High ‘n’ Dry, everybody has their favourites, Mine: The melancholy vibe of “Lady Strange” and “Mirror, Mirror (Look Into My Eyes)”. The pedal-to-the-metal hard rock of “High ‘N’ Dry (Saturday Night)”, “Another Hit And Run”, and the instrumental “Switch 625”. And my personal favourite song, “You Got Me Runnin'”. I don’t know why that is so, but that’s the one right there that puts fuel in my tank.
Unlike the band that Def Leppard has become today, this album was all about the hot riffs and the Joe Elliott screams! Hard to believe it’s the same band. But, of course, today they have two different guitar players, so the meat of this band is also not the same. Having said that, the band acquitted themselves nicely on the recent live album Viva! Hysteria.
Every Leppard fan should own High ‘n’ Dry. Everybody who’s ever liked a Def Leppard song needs to check out High ‘n’ Dry. Actually, anyone who breathes should check this album out at least once. It’s on my desert island list for sure.
RECORD STORE TALES Part 279: Record Store Gallery Deux
I found another whack of old photos going back to the record store days. Allow me to take you on a guided tour!
Gallery #1: This would have been 2002. The tragus was the most painful piercing I experienced. It was the only time that somebody said, “he’s turning white, get him some juice to drink.” The piercer was my friend Lois who works at Stigmata in Guelph. She was apprenticing, with me as a test subject. She even gave me the labret stud that they pierced it with, so the experience was free! Note that Marillion shirt, and my then-sveldt shape!
Gallery #2: A variety of sushi and fancy dinners with our Niagara Falls store owner Lemon Kurri Klopek, Guinness’ Book alumnus Sweet Pepper Klopek, the British piercer Sarge, and the mysterious man known only as Mr. Lebowski.
I look like a goth Leprechaun.
Gallery #3: New arrivals! My birthday 2004! The Paul Stanley interview picture disc was from a friend in York, England named Kim. The Marillion singles were a birthday gift from a guy in France named Charly. And the Marillion Marbles deluxe edition was a gift for me, from me, that happened to arrive at the right time!
Last Words: I love that this photo gallery contains three completely different facial hair styles: A simple goatee, my Ian Paice mutton chops, and finally a full beard. Cool!
Slippery When Wet sold 28 million copies and went to #1 in over half a dozen countries, including Canada. The easy way to follow that might have been creating a carbon copy album, a sequel to follow it. Bravely, Bon Jovi chose not to do that. Their ambition was running high. The next album (tentatively titled Sons of Beaches after a line in the song “99 In the Shade”), was intended to be a double. The record company ixnay’d that due to the cost, but Bon Jovi had written and recorded plenty of good songs. The proof of this is that some of the best, including the B-side “Love Is War”, didn’t make the final single disc album.
New Jersey is not a carbon copy of Slippery nor any other Bon Jovi record. It’s more raw, more rock and roll, with bluesy elements added. There are dueling solos, long song structures, live jams and even a song in mono! Bon Jovi’s three main musicians (Richie Sambora, David Bryan, Tico Torres) performed and recorded some of their best playing on this album. Indeed, if New Jersey had come out under a different band name I don’t think many people would have recognized it as Bon Jovi. I think it remains one of their highest achievements, if not the very highest. Clocking in at almost an hour, it was a long varied album even if it wasn’t a double.
Slippery began with a long, ominous opening and New Jersey maintained that. “Lay Your Hands On Me” begins with drums and chants, but soon morphs into a top-ten (US) soul-rock single. The guitar is muscular and song is about as heavy as Bon Jovi get. “Bad Medicine” follows; the first single and one of the more pop-rock oriented songs. On the last album, Jon claimed he had a “Social Disease”, this time he needs a shot of “Bad Medicine”. I don’t think “Bad Medicine” is one of their best songs (I felt it was “just another Bon Jovi song” back then) but it sure had legs. It’s still a concert highlight today. I do prefer the album version to the single version with its playful, “Wait a minute, wait a minute, I’m not done!” false ending.
“Born To Be My Baby” was written acoustically and intended to be “the hit”. I think it’s just fine electrically, which is how it was recorded. I got this one as a single in a cardboard sleeve with post cards (see below), and I prefer it to “Bad Medicine” by a fair deal. The “na na na, na na na” vocal part is catchy as hell and the song rocks hard enough for the dudes. The ballad and single “Living In Sin” follows. It too was a huge hit, helped by a black & white video with some blonde-haired male model that looked like Mike Tramp, for the ladies.
Side one’s closer was the heartfelt epic “Blood On Blood”, which was not a single, but still gets played live today. Once again, Jon has managed to capture the essence of his young adulthood, growing up in Sayreville, New Jersey. Jon, “Danny” and “Bobby” are three friends who went through everything together. But with the years and miles between them, Jon lets them know that if he got that call, he’d be right by their sides. Lyrically, it’s this kind of thing that was Jon’s bread and butter, and it also resulted in a great song musically. “Blood On Blood” is one of the band’s proudest achievements.
If “Blood On Blood” was not enough musicality for ya, then “Homebound Train” is Bon Jovi at their most impressive. A 5-minute blues-rock workout, “Homebound Train” is one of those tracks that laymen just won’t believe is Bon Jovi. The band laid down some harmonica and guitar solos backed by some serious groove, something not often associated with Bon Jovi. “Homebound Train” would have to be among the band’s best tracks, and it serves to open a killer side of vinyl.
“Wild Is the Wind” might be considered a ballad, I think it’s more an anthem. If you can’t stop singing along to it, congratulations, you have a pulse! The chorus is brain-explodingly good. “Ride Cowboy Ride” follows, which is a brief instrumental in mono. Although it’s intentionally just an intro to the next song, on its own it’s an enjoyable listen – in fact it made my own mix tapes on its own a few times. “Ride Cowboy Ride” serves to introduce another cowboy anthem, “Stick To Your Guns”. The title reflects the positive affirmations of the lyrics, but this is just another standout song. Any one of these songs could have been singles.
A massive single, “I’ll Be There For You”, slows the side down a bit by being so soft. I’m sure there are those out there who don’t hate this song. Musically it’s fine, but the lyrics…I just can’t handle the lyrics. “When you breathe, I wanna be the air for you.” What does that even mean?
“99 In the Shade” contains the lyric that almost named the album: “I see those Sons of Beaches out there living it up, in the surf and the sand, yeah that life ain’t so tough.” This would be the weakest song on the album. It’s a standard Bon Jovi boogie, nothing wrong with it, but it pales compared to the rest of the songs on the record. Having said that if it were on Bon Jovi’s latest, it would be one of the best songs…
A personal favourite is last: “Love For Sale”, recorded live “during one hell of a party”. This drunken jam is among the most magical musical moments on any Bon Jovi album. Consider that it was the 1980’s, and the band just came off the ultra-sleek Slippery When Wet. They threw down a drunken, smoking acoustic blues jam to close the album? Yeah, man – cool! I’m down. It’s hilarious and fun, not to mention Richie just smokes on that six-string. Tico’s on the brushes and Jon sounds blasted.
And that’s New Jersey, an album the band had to be proud of. It went #1 all over the place, and multi-platinum in the US. It’s a curious mix of rootsy hard rock quality, and pop melody. It’s certainly among the best examples of such a mixture.
4.5/5 stars
BONUS GALLERY! “Born To Be My Baby” 45 rpm single!
I believe this baby was about $2.99 at Zellers in 1988. It came with postcards which I obviously kept.
DEEP PURPLE – Perfect Strangers Live (2013 Eagle Vision 2LP/2CD/1DVD deluxe edition)
Perfect Strangers Live, a new 2013 release of a 1984 recording in Sydney, proves many things but one of them is this: The proverbial “vaults” must be an endless place where this band is concerned. Year after year newly released archival recordings hit the shelves, all worthy of your hard-earned music budget dollars. Perfect Strangers Live is available in multiple formats, but I chose to go with the deluxe 180 gram vinyl set, complete with 2 CD and single DVD versions included. I bought this via the Deep Purple Appreciation Society, who I especially appreciated this time. I ordered the set and it got lost in the mail. After contacting Ann directly she posted another one right off to me which arrived safely to my delight.
It’s a beautiful beast of a package. The heavy vinyl gives the set real heft, but it’s also a triple gatefold sleeve as well. If you loved the reunion era of Deep Purple Mk II then some version of this set will be an obvious must for you. You can buy it separately as a 2 CD set, a DVD, a 3 disc set, or go hogwild like I did with the vinyl deluxe set. Hell if you’re really nuts for the band there’s a 3 LP, 2 CD Japanese version with extra goodies. As to the version I own, the only disappointment comes in the way the CDs and DVD are housed in the set. I hate spending a lot of money on a package that will absolutely scratch your CDs. No matter how careful you are, something will get scratched and that’s a bummer. So I ripped the CDs and put them away for good.
The music contained within is 100% worth your money and probably the best documentation of this era of Deep Purple. There are other collections out there, most notably the 1985 recording In the Absence of Pink (Knebworth). There was also the Highway Stars bootleg contained within the Bootleg Series box set. This one tops the rest sonically. The recording and mix are excellent. You could easily mistake it sonically for a modern recording. Everything is audible, including Gillan’s oft-buried congas.
Speaking of Gillan, the man was in absolutely stunning shape. I don’t know why the band used backing tapes (quite obviously) during the screams on “Child In Time”. Gillan’s live screams didn’t need the boost. Somehow he keeps it going all the way to the 12 minute closer “Smoke on the Water”. Gillan had just finished his stint with Black Sabbath, but he sounds infinitely better here than on any live recording I’ve heard with Black Sabbath.
It’s hard to pick a single MVP on Perfect Strangers Live, such is the dynamic of Deep Purple when firing on all five cylinders. Certainly Ritchie Blackmore is a delight, projecting intensity and playfulness at every turn. During “Strange Kind of Woman”, Blackmore treats the Australians to “Waltzing Matilda”. On “Under the Gun”, he’s mesmerizing as he tortures his Fender. Ritchie’s solo that closes a 15 minute “Space Truckin'” is among the most electrifying moments you will hear. Jon Lord is as wonderful as ever on that same song, and of course “Child In Time”. Not to go without mention are Glover and Paice. Ian Paice is the little engine that would not quit; Roger Glover the anchor.
Also important to mention are the “new” songs. Deep Purple played more than half of their new LP including both singles: “Knockin’ On Your Back Door”, “Perfect Strangers”, “Nobody’s Home”, “Under the Gun” and “A Gypsy’s Kiss” (preceded by a bluesy Blackmore jam). Purple rarely played so much off Perfect Strangers at one time, and some of these versions are just scorching! “Nobody’s Home”, possibly “Under the Gun” too, are superior to the album versions…even when Gillan forgets the words. (That’s kind of my favourite part.)
As for the DVD, it too looks and sounds amazing. I don’t know what else is out there video-wise from this period but I haven’t seen anything better than this. You know Blackmore and cameras, he’s often got his side to the camera, or he turns away just as they turn to him. That’s the man in black, that’s the enigma. It’s a great DVD, although Lord and Paice are often buried behind their instruments. Lord goes from keyboard to keyboard, extracting different sounds.
The cherry on top is a 20+ minute tour documentary. It’s a rare look at a time when Deep Purple was more or less getting along as well as they ever would!
I haven’t played the vinyl. I haven’t decided if I will. Let me know if you care enough for me to review the vinyl, and I’ll consider it as a possibility. I’ll be honest, after struggling to get the records back in the sleeve after taking the photos for this review, I’m not eager to take them out again.
mikeladano.com 