whitesnake

REVIEW: Whitesnake – Slip of the Tongue (6 CD/1 DVD 30th Anniversary box set)

WHITESNAKE – Slip of the Tongue (originally 1989, 2019 (6 CD/1 DVD 30th Anniversary Rhino box set)

There’s a theme you may have noticed every time we review a Whitesnake box set:  David does it right.

Here’s another one:  Coverdale cares.

Slip of the Tongue gets the super-deluxe treatment this time, the third of the “big three” to go that way.  This is the album that divided fans the most.  Replacing Vivian Campbell was none other than ex-David Lee Roth stringbender Steve Vai.

“What the hell would that sound like?” we all wondered.

Longtime Whitesnake fans felt it was a step too far into the world nebulously defined as “hair metal”.  Others loved the guitar mania inside, with Vai stretching out in ways different from his prior bands.  Not the “definitive” Vai record that they still wanted (and would get a year later), but certainly a platter they could sink their teeth into.  And it was a weird reason that Steve was playing on Slip of the Tongue at all.

As you’ll see from a feature on the included DVD (“A Look Back: Whitesnake Chronicles with DC and Adrian Vandenberg”), the album was written and thoroughly demoed with Adrian.  They wouldn’t need a guitarist until it was time to tour.  At this point, Adrian injured his wrist and was unable to finish.  Steve Vai and David Coverdale found that they got along famously and the seven-string wizard brought his unique and advanced stylings to the blues-based Whitesnake.

What the hell would it sound like?

It sounds absolutely mental.

With the benefit of now hearing all the demos that Adrian laid down, it’s obvious Steve Vai didn’t just pick up his guitar and play the parts.  It’s clear right from opener “Slip of the Tongue”.  Compare the album to Adrian’s demos on the other discs.  Vai changes one of the chord progressions to high-pitched harmonics, and, let’s face it, improves the song.  Elsewhere there are unique trick-filled runs and fills that add another dimension to the music.  If Whitesnake was always 3D rock, Vai upped it to 4.  The guitar work is blazingly busy, never cliche, and always to the advancement of the song.  With all respect to Adrian Vandenberg who wrote these great songs, Steve Vai was more than just icing on a cake.  Slip of the Tongue arguably sounds more a Vai album than Whitesnake, even though he didn’t write any of it.

The beauty of this set is that if you’re more into ‘Snake than alien love secrets, you can finally hear the purity of Adrian’s vision in the multitude of early demos included.

Unfortunately, if you’re familiar with the album you’ll hear something’s up by track 2.  “Kitten’s Got Claws”?  That song used to close side one.  What’s up?  The album running order has been tampered with, and so has “Kitten’s Got Claws”.  It’s now missing the Steve Vai “cat guitar symphony” that used to open it.  It could be a different remix altogether.  My advice is to hang on to your original Slip of the Tongue CD.  You’re probably going to still want to hear the album and song as they were.

This running order puts “Cheap An’ Nasty” third, a song that structurally resembles the ol’ Slide It In Whitesnake vibe.  Of course Vai’s space age squeals and solos modernized it.  Listen to that whammy bar insanity at the 2:00 mark!  Up next is “Now You’re Gone”, a classy rocker/ballad hybrid that has always been an album highlight.  The demos on the other discs allow us to hear how much this song was improved in the final touches.  That cool answering vocal in the chorus, and the hooks that Vai added, came much later.  Strangely, this box set puts the other ballad, “The Deeper the Love”, up next.  Keyboard overdubs made it a little too smooth around the edges, but a good song it remains.

The Zeppelinesque “Judgement Day” is a track that used to piss off some fans, who felt it was an abject rip off from “Kashmir”.  The Vai touch of sitar (replacing guitar in the early demos) probably aided and abetted this.  Regardless it succeeds in being the big rock epic of the album, and a favourite today.  Another strange choice in running order follows:  “Sailing Ships”, formerly the album closer.  It’s quite shocking to hear it in this slot.  Again, Vai replaced guitar with sitar, and David goes contemplative.  Then suddenly, it gets heavy and Steve takes it to the stratosphere.

“Wings of the Storm” used to open side two; now it’s after “Sailing Ships”.  Some tasty Tommy Aldridge double bass drums kick off this tornado of a tune.  Vai’s multitracks of madness and pick-scrapes of doom are something to behold.  Then it’s “Slow Poke Music”, a sleazy rocker like old ‘Snake.

The new version of Slip of the Tongue closes on “Fool for Your Loving”, a re-recording of an old classic from Ready An’ Willing.  The new version is an accelerated Vai vehicle, lightyears away from its origins.  Coverdale initially wrote it to give to B.B. King.  Vai is as far removed from B.B. King as you can imagine.  The original has the right vibe, laid back and urgent.  This one is just caffeinated.

The only album B-side “Sweet Lady Luck” is the first bonus track on Disc 1.  By now it is the least-rare B-side in the universe, having been reissued on a multitude of Whitesnake and Vai collections.  Valuable to have to complete the album, but easy to acquire.  It’s basically a second-tiered speed rocker with the guitar as the focus.  Other B-sides from this era were remixes, and they are included here as well.  The Chris Lord-Alge mix of “Now Your Gone” is the kind that most people won’t know the difference. Vai said that Lord-Alge could make the cymbals sound “like they have air in them.”  Then there’s the “Vai Voltage Mix” of “Fool for Your Loving”, which has completely different guitar tracks building an arrangement with way, way, way more emphasis on the instrument.  The rest of the disc is packed with four more alternate remixes:  “Slip of the Tongue”, “Cheap An’ Nasty”, “Judgement Day” and “Fool for Your Loving”.  These mixes have some bits and pieces different from the album cuts.  Vai fans will want the alternate solo to “Cheap An’ Nasty”, though it’s less whammy mad.

Of course, “Sweet Lady Luck” wasn’t the only song that didn’t make the album.  In old vintage interviews, Coverdale teased the names of additional tracks we didn’t get to hear:  “Parking Ticket”, “Kill for the Cut”, and “Burning Heart”.  They’ve been safely buried in Coverdale’s vault, until now.  Additionally, it turns out that Whitesnake also re-recorded a couple more of their old songs:  “Ain’t Gonna Cry No More” and “We Wish You Well”.  They’re all here in different forms on the demo discs.

Perhaps “Kill for the Cut” would have been one dirty song too many for the album.  It ain’t half bad, and has a unique little bumpin’ riff.  “Parking Ticket” had potential too.  Rudy Sarzo gave it a pulse that might have taken it on the radio.  The 1989 monitor mix would have been perfect for B-side release.  Why did Cov have to hold out on us all these years?  “Burning Heart” was a special song, a re-recording of an old Vandenberg track that David really loved.  Unfortunately the monitor mix is is only a skeleton of what could have been a sensational Whitesnake ballad.  “Ain’t Gonna Cry No More” is heavily modernized, with keyboards sounding like they were trying to recapture “Here I Go Again” (which they were).  “We Wish You Well” is more contemplative, with piano as the focus.

All of this previously unheard material is scattered over several discs.  “Evolutions” (Disc 3) is a familiar concept to fans of these box sets.  Demos from various stages of completion are spliced together into one cohesive track.   You will be able to hear the songs “evolve” as the band worked on them.  Every track from the album plus “Sweet Lady Luck”, “Parking Ticket” and “Kill for the Cut” can be heard this way.  Disc 4 is a collection of monitor mixes with all the album songs and all the unreleased ones too.  These discs are the ones that allow us to really hear the album the way it would have been if Adrian didn’t hurt his wrist.  We would have got an album that sounded a lot more like Whitesnake.  It was audibly different even if familiar.

Perhaps the best disc in the entire set is “A Trip to Granny’s House:  Session Tapes, Wheezy Interludes & Jams”.  It’s just as loose as it sounds.  Enjoy the funk of “Death Disco”, the funkiest David’s been since Come Taste the Band.  If you’ve always wanted to hear David sing “Tie a Yellow Ribbon ‘Round the Old Oak Tree”, now you finally can!  There’s a lot of goofing off in some of these tracks, but also a lot of rock.  It’s live off the floor as they rehearse the songs, as a four piece band with Adrian.  Not all the final lyrics or solos are set, but the songs are so raw and fresh.  Some of the jams show a side of Whitesnake we rarely got to see.  Kind of Purple-y in the way they just could take off and rip some blues.

 

Given all the rich audio extras, it’s OK if one of the CDs is a little impoverished.  That would be disc 2, “The Wagging Tongue Edition”.  This is a reproduction of an old promo CD, featuring the album Slip of the Tongue with a Dirty David interview interspersed.  This was meant for radio premieres.  It has the entire album in the correct order, but because it’s faded in and out of interviews, it’s really not a substitute for a proper copy of the original album.  At least the vintage 1989 interviews are interesting.  It saves collectors from buying a copy on Discogs.  (Coverdale claims “Judgement Day” was originally titled “Up Yours Robert”.  Ooft.)

There’s another disappointment here and it’s difficult to forgive.  In 2011, Whitesnake released the long awaited Live at Donington as a 2 CD/1 DVD package.  This brilliant performance finally gave us a permanent record of Whitesnake live with Vai.  In our previous dedicated review, we had this to say:

Musically, it’s a wild ride. It’s not the Steve Vai show. Adrian gets just as many solos, and his are still spine-tingling if more conventional. It is loaded with ‘Snake hits, leaning heavily on the three Geffen albums. In fact there is only one pre-Slide It In song included: The Bobby “Blue” Bland cover “Ain’t No Love in the Heart of the City”.  And, since it is also the pre-grunge era, there are plenty of solos, which today seems excessive.  Aldridge does his drum solo at the end of “Still Of The Night”. Vandenberg gets his “Adagio for Strato”/”Flying Dutchman Boogie”. Most excitingly, Steve Vai performs two songs from his then-brand new (and top 40!) album Passion And Warfare: “For The Love Of God” and “The Audience Is Listening”, with Aldridge on drums. Coverdale even introduces him as “Mr. Passion and Warfare!” so I imagine there was no sour grapes that Vai’s album was doing so well. And lemme tell ya folks — the audience WAS listening, and going nuts too!

Unfortunately, to save a little bit of plastic, this set was reduced to a single CD for its inclusion here.  The Vai and Adrian solos were cut, though Tommy’s drum solo in “Still of the Night” is retained.  To cut the guitar solos in such a guitar focused boxed set is not only unwise but unforgivable.  Fans who don’t have Live at Donington are going to want to shell out again just to get the solos.  Fortunately, the whole show is uncut on the included DVD.

The DVD has plenty of added value; it’s not just a reissue of Live at Donington.  You’ll get the three music videos from the album (“Now You’re Gone”, “The Deeper the Love” and “Fool for Your Loving”).  There’s even a brand new clip for “Sweet Lady Luck” cobbled together from existing video. Then, you can go deeper into the album. The aforementioned sitdown with David and Adrian is really enlightening.  Another behind the scenes feature narrated by David is fantastic for those who love to watch a band create in the studio.  Coverdale’s not a bad guitarist himself.

These Whitesnake box sets also include ample extras on paper.  There’s quite a nice miniature reformatted tour program with the majority of cool photos.  A large Slip of the Tongue poster can adorn your wall, or remain safely folded up in this box.  Finally, there is a 60 page hardcover booklet.  This is a treasure trove of press clippings, magazine covers, single artwork, and more.  Lyrics and credits wrap it all up in a nice little package.

Because we know that David puts so much into these box sets, it’s that much more heartbreaking that this one is so slightly imperfect.  The shuffled running order and lack of guitar kittens on “Kitten’s Got Claws” is a problem.  The truncated live album is another.  It means I have to hang onto old CDs that I was hoping to phase out of my collection in favour of this sleek set.  Alas, I’ll keep them as they are my preferred listening experience.

Otherwise, in every other way, this box set delivers.  It makes a lovely display next to its brethren and it justifies its cost.

4.5/5 stars

MORE Slip of the Tongue?

Just Listening to…Whitesnake: Slip of the Tongue (30th Anniversary)

Sit down Sykes fans, because I’m a Vai kid and this is “my” Whitesnake.  The fact that this lineup existed at all is miraculous.  The most creative guitarist of all time joining one of the most successful commercial rock bands at the peak of their popularity?  Recipe for, at the very least, interesting history.  And absolutely perfect box set fodder.

So here we are buying Slip of the Tongue for at least the third time, and finally getting it (mostly) right.  At a quick glance, it appears the only detriment to buying this box set is that you will not get the complete Live at Donington concert on CD.  In order to fit the whole thing on one CD (disc 6), they axed all the solos.  Let’s face it folks.  When your band includes Steve Vai, you don’t cut the solos.  You’ll have to shell out for the original triple disc Donington set to get them on CD.  The good news is that the whole Donington concert is still here on video, on a fully-packed DVD (disc 7).  (The DVD also includes a detailed interview with David Coverdale and Adrian Vandenberg, touching on Adrian’s mysterious 1989 wrist injury.)

The running order of the songs on Slip of the Tongue, the 30th anniversary remaster, has been slightly shuffled.  It’s strange and off-putting enough that I’m keeping my old copy of the album, so I can still listen to it the familiar way.  “Sailing Ships” isn’t the last song?  “Fool For Your Loving” is.  The bonus track versions included, with alternate solos and guitar fills, are stunning additions.  Then there’s an entire CD, the “Wagging Tongue” edition, with the songs in the correct order but interviews with David interspersed.  This is a reproduction of a vintage 1989 promo CD, for contemporary perspective.   Disc 3, the “Evolutions” CD, is a favourite.  The “Evolutions” series of tracks, now a Whitesnake reissue trademark, mixes early demos with later demos and and even later versions, so you can hear the tracks evolve as you listen.  It’s deconstruction and reconstruction in one.  Importantly, you finally get to hear what the album would have sounded like before Steve Vai came in to record it.  Disc 4 includes 16 monitor mixes, including some superior rarities.  Finally, after 30 years of waiting and teasing, we get the unreleased tunes “Parking Ticket”, “Kill for the Cut”, and “Burning Heart” (originally by Vandenberg).  We also get “Ain’t Gonna Cry No More” and “We Wish You Well”.  Verdict?  Worth the wait.  Oh, so worth the wait!  There’s no reason some couldn’t have been released as B-sides in 1989, and they should have!  “Parking Ticket” has a neat Van Hagar-like, and could have been a summer hit.

Disc 5 is “A Trip to Granny’s House”, actually the name of a rehearsal studio they used.  These funny tapes, “Wheezy Interludes & Jams”, are informal fun.  A highlight is the funky “Death Disco”, not unlike some of the stuff Purple were doing with Tommy Bolin towards the end.  These tracks predate Steve Vai’s involvement, so you’ll get the purity of Adrian’s original playing.

I look forward to investing more time with this box set.  Let us hope that David continues to empty the vaults.  Next up: Restless Heart?

REVIEW: Whitesnake – Flesh & Blood (2019 Japanese import)

WHITESNAKE – Flesh & Blood (2019 Cynjas Japanese import CD)

So you got the new Whitesnake.  Think you got all the songs just because you got the deluxe version on CD or iTunes?  Naw!  Think again!  Once again, it’s Japan with the hardest to find bonus tracks.

To be fair, it’s a give and take.  While Japan often gets their own exclusive songs, they also miss out on others.  In North America, we got a deluxe edition with “Can’t Do Right For Doing Wrong”, “If I Can’t Have You”, and three remixes of album tracks.  The Japanese CD has none of those, but instead has its own exclusive remix.

The ballad “After All” is surely one of the highlights on Flesh & Blood.  As a simple, fairly unadorned acoustic love song, it’s right in the wheelhouse of more recent “unzipped” ‘Snake.  Well, the Japanese bonus remix is even more stripped down.  The “Unzipped” mix is the same recording, just with less stuff in the mix — no electric guitars, no keyboards.  An insignificant difference?  Absolutely.  But with an acoustic song this fucking good, you may enjoy the purity of the unembellished version.  Up to you really, but if you’re the kind of collector that needs “all the tracks”, then you do need this, don’t you?

“I don’t care about bonus tracks,” you say.  “Just tell me if the album is any good!”

Check out our track by track review for full details, but in short:  fuck yes!

Flesh & Blood is being described by enthusiastic fans as “the best album since Slip of the Tongue.  They are probably correct in that declaration.  It’s stunningly good:  diverse, well written and well played.  It draws from a broader palette of sound than many of the past albums, and even dips back into the 1970s on “Can’t Do Right For Doing Wrong” (which isn’t on the Japanese CD).  There are no songs to skip through, and while not all are equally strong, none suck.  It has a high ratio of songs that could become future classics, like “Gonna Be Alright”, “Good To See You Again”, and “Sands of Time”.  So yes, to answer your questions, it’s a bloody good album no matter what version you can afford.

The domestic CD is the best buy for its songs-per-dollar value (18 tracks on the deluxe), over the Japanese (14 tracks).  Rating this purely as an album with its bonus track, it’s still a solid:

4.5/5 stars.  Could be the album of the year.

#754: High Steaks at Huron Lake

GETTING MORE TALE #754: High Steaks at Huron Lake

A lot changed in 10 months.

We haven’t been to the lake since last July.  Then Jen’s mom got sick and we spent the rest of the summer driving to and from Toronto, and in hospitals.  Then before we knew it, she was gone.

As part of the healing process, Jen and I have been aching to get back to the cottage.  Her mom loved it here, and she never made it again, though she really wanted to. We’d drive up with her mom in the back seat reading a book.  Every once in a while, I’d look in the mirror and see her, eyes closed, snoozing in the back.  Or so it appeared.

“Jen, look.  Your mom’s sleeping.”

Then suddenly before Jen could see, Mum’s eyes would open.  “I can hear you Michael and I’m not sleeping.  I’m resting my eyes.”

We’d laugh.

Finally we were going back. We packed our bags for the lake, and I spent an hour or so loading music onto a flash drive for the ride.  Specially curated of course, and including the newest hits like Flesh & Blood by Whitesnake.  I have so many flash drives, however, that I made the mistake of loading the one with the little Autobot symbol.  I should have thrown out that flash drive a long time ago.  It works on a computer but not in the car, not since it fell in a puddle a while ago.  We were forced to listen to another random flash drive that I had in the car, which turned out to be serendipitous.

The only album on this specific flash drive was Alice Cooper’s A Paranormal Evening at the Olympia Paris.  Our first concert together happened to be Alice Cooper, so at least it was something we’d enjoy.  “Hurricane” Nita Strauss is phenomenal on it, so I was really tuned into the guitar playing.  Jen was just rocking out and singing along.

But things sure do change in a mere 10 months, the last time I was driving those particular roads.  There is a new Tim Hortons, a few improved roadways, and some traffic lights where there were none before.

By the time Alice Cooper informed us that school was indeed out for summer, we were past Lucknow and well into the windfarms.  That meant the lake was close.  Again we laughed.  Jen’s mom hated those windfarms.  “A Liberal financial disaster,” she called them.  We tried to count the windmills on the way up and it’s all but impossible.

Finally we arrived at the cottage and smelled that country air.  A mix of pine, rain and earth.  I was napping within hours of arrival!  I knocked out good.

We always arrive at the lake prepared to entertain ourselves.  With a killer wi-fi connection (welcome to cottage life 2019) I was showing my dad scenes from Infinity War within minutes.  I also copied that faulty Autobot flash drive over to a fresh one and tossed out the original.  Won’t be making that mistake again, but recovered the Whitesnake album in the process!

I didn’t have much in terms of goals, except to relax and not let anything stress me out.  One thing I was looking forward to was cooking, so I did up a couple steaks, hot dogs, and fish for the family.  I wanted to try a couple new things this time.  First, I wanted to do one of the steaks on a wood fire instead of the barbecue.  We have not done them like that in over 25 years, but the smokiness of a real fire can add its own character to a good steak and make it perfect.  That’s what happened this time.  The steak cooked over the fire was the superior steak for flavour.  I did it to a rare, which was something else I love.  I did the fish over the wood fire too (using maple and cedar).  I chose a nice fatty piece of salmon, and a cheaper but larger fillet of Lake Huron trout; both darker fish.  I tried something different for them.  I laid down a bed of lemon slices onto the grill, and then cooked the fish on top of the lemons.  For seasoning I only used salt, pepper and a roasted garlic olive oil.  The result was a juicy, perfect fish that took longer to cook than normal but acquired all that lemony goodness right into the skin. I added more salt as I went, then I finished them directly over the flames to get the crispy skin.  Surprisingly, the lake trout was the superior tasting fish.  I’m usually a salmon guy but I haven’t eaten a trout since I was a little kid.

We had a birthday party and cake for my dad, now young at 81.  You know what my dad enjoyed more than any of that stuff?  Going to a car dealership on a Sunday and help me pick out my next vehicle.  I won’t reveal what I’ve chosen until I buy the car — stay tuned.  We took my dad’s new car there, and he showed me all the latest gadgets that I’ll be getting too. I was impressed to see that he had three USB ports!  I plugged my flash drive into one of them and treated him to some music.  Max the Axe – “Next Plane to Vegas”.

“This is my friend Uncle Meat singing,” I told him.

He listened for a bit and said, “Your friend Uncle Meat can sing.”  High praise from him!

The weather wasn’t the greatest, but we slept with the windows open and the lake air coming in — the best way to get a great rest.  And rest we did.  We ate some good cooking and came home with bellies full.  Best of all, I have some ideas for the next cookout.

The May long weekend is the official ushering in of summertime.  Welcome, summer 2019 – we’ve been expecting you!

REVIEW: Whitesnake – Flesh & Blood (2019 deluxe)

WHITESNAKE – Flesh & Blood (2019 Frontiers CD/DVD deluxe edition)

What’s the year again?  You’ll want to check, because David Coverdale just released the best Whitesnake album since the 1980s.  Swollen with fresh song ideas, this ‘Snake has more bite.  Maybe it’s the unleashing of Reb Beach or the new contributions of Joel Hoekstra.  Whatever the cause, Flesh & Blood is sheer nirvana for fans of classic hard rock and technical guitar playing.  The album is evidence that this could be the best lineup David’s had since Steve Vai.  For guitar geeks, there are lead break credits for each song, a-la Judas Priest.

“Good to See You Again” is an ideal opener and you could hear it working that way live.  David then assures you it’s “Gonna Be Alright”, on a slick number with a darker vibe and major hooks — almost more 90s Queensryche than Whitesnake, but with a good time in mind.  “Shut Up & Kiss Me”, the lead single, shows that David isn’t afraid to get sleazy even in his senior years.  It’s good time party rock, expertly delivered.  A clear choice for single.

Going heavy, “Hey You (You Make Me Rock)” grooves like the ‘Snake you remember.  The soloing here will make you wet your pants.  “But it’s not John Sykes!” scream the unbelievers.  Well, check out “Always & Forever” for a hint of that Thin Lizzy regality.  It’ll bring you back to the days of Jailbreak but with David instead of Phillip.  Then comes the first ballad: “When I Think of You (Color Me Blue)”  Reminiscent of “The Deeper the Love”?  There are many who love ballads — more power to ’em!  This is a good one.  Things get greasier on “Trouble is Your Middle Name”.  Pedal to the metal — not sure where David is getting the fuel from, but it’s potent.

Halfway through now, it’s the title track “Flesh & Blood” sounding a lot like Slip of the Tongue era ‘Snake.  Think something like “Slow Poke Music”.  It leads perfectly into “Well I Never”, soulful but dark and heavy.  Amazing stuff.  Another ballad, “Heart of Stone”, brings to mind the glory of Coverdale-Page.  This is heavy stuff for a ballad, loaded with integrity and delivered expertly by the master.  Then it’s the bluesy boogie of “Get Up”, a song clearly designed to get asses shaking, and air guitars a-picking.  One more ballad:  “After All” is pleasantly acoustic, and an
appropriate respite from electric shreddery.

The final song of the main 13 track songlist is an epic:  “Sands of Time”.  David explored Arabic sounds before on “Judgement Day”, and this is another foray into the exotic.  Something about those scales automatically make a song huge in scope.  “Sands of Time” is really impressive, and Reb & Joel compliment it with the perfect solos.

There are two bonus tracks on the deluxe CD.  The first is a callback to early Whitesnake.  “Can’t Do Right for Doing Wrong” sounds like the kind of blues David was playing in the 1970s.  It’s sheer delight hearing him revert to pure bluesy ‘Snake.  Lastly it’s “If I Can’t Have You”, a good if unremarkable song after all this epic madness.

Is that all?  Of course not; David Coverdale is known for giving value to the fans.  There’s a DVD with different mixes and videos too.  This disc sounds huge.  The bass — woah!  First:  “Shut Up & Kiss Me”, the video “classic Jag” version.  Because David is driving the Jaguar from “Here I Go Again”, obviously.  It’s Whitesnake on a small stage, in a club, up close and personal.  Unsurprisingly the “Club Mix” of the same is just the video without the Jag.

Three remixes are presented in hi-res.  “Shut Up & Kiss Me” is the “video mix”; nice to have a clean audio version of that.  To hear the differences will require further investigation (clapping at the end aside).  An impressive “X-tended mix” of “Gonna Be Alright” is pretty cool.  Last is a “radio mix” of “Sands of Time”, which is strangely longer than the album version.  Unusual for a radio mix.  All the remixes are slightly longer.

Japanese customers got one exclusive bonus track, an “Unzipped” mix of “After All”.  It doesn’t have any of the other bonuses.  That CD is in the mail and when it arrives we’ll review it too.

Finally, the DVD contains a 15 minute “behind the scenes” of the making of the album.  David reveals that The Purple Album was intended to be his last.  The passion returned and he followed it.  Sounds like beautiful women are still inspiring to him.  As far as the album goes, you’ll notice the background vocals are quite thick.  David says that all the Whitesnake members…all but Tommy Aldridge anyway…are capable lead vocalists in their own right.  All six band members get their chance to speak.

This is an album you’ll be enjoying all summer.  Dig it.

4.5/5 stars

VHS Archives #63: David Coverdale tour bus interview 1987

You can tell they’re on a tour bus, because you can hear the rumble of the road.

David talks about perspective, and also takes a rare shot at the “ever popular, ever famous” Deep Purples….

I like to tell this story a lot; you may have heard it before.  When Whitesnake played Toronto on the 1987 tour, my buddy Rob Vuckovich held up a sign that said “PLAY PURPLE”.  David reportedly acknowledged the sign by saying, “We’ll be playing none of that!”

Check out David on the bus in 1987.

VHS Archives #19: Steve Vai talks to Much (1990)

A really revealing interview:  MuchMusic didn’t have a chance to speak to Steve Vai before this, because David Lee Roth would not pass on any press requests.  Hear that story and more.

Seven strings? It’s here. Walking onstage to a crowd chanting “Yngwie! Yngwie! Yngwie!”? It’s here. Astral projection? Right here!

Just Listening to…Whitesnake – Unzipped (Deluxe)

Just Listening to…Whitesnake – Unzipped
Acoustic Adventures – Unplugged in the Studio and Live on Stage 1997-2015

I thought this was going to be a boring listen.  5 CDs and a DVD of acoustic Whitesnake?  The same songs over and over?  It sounds pretty dull on paper, but in practice it’s another story.  So far, Unzipped has been a blast!

It turns out, a lot of my favourite Whitesnake songs are acoustic.  “Sailing Ships” is a fine example.  When David Coverdale is in a philosophical mood and busts out the acoustic guitar, he has the ability to make magic happen.  (But damn, he sure does like to re-use lyrics and imagery.  “Circle ’round the sun” again!)  Other tunes, such as and “Summer Rain” are less intellectual, but still leave a lasting impression.  Then you have acoustic arrangements of old familiar songs.  Whitesnake, Deep Purple, and even Coverdale-Page are revisited, and not just the hits.  These are songs to warmly enjoy when in a laid back mood.

The discs also include a remixed and expanded version of the first acoustic live Whitesnake album, Starkers in Tokyo.  The differences are audible; the album finally comes alive.  As a bonus, there is a off the cuff version of David’s solo song “Only My Soul” done a-cappella.  There is also a disc of “unreleased acoustic demo ideas”.  They are very raw — one track even begins with David calling it a “very rough idea”.  Some are written on the piano.  It’s hard to say if any of these ideas could have been made into hits, but they’re not bad.  Points must be awarded for the best song title:  “Another Lick While the Missus is Busy in the Kitchen”, a swampy blues riff.

Man, this one’s gonna take a long time to review!

For a fully detailed review, check out this one by John Snow!

 

 

REVIEW: Whitesnake – 1987 (30th Anniversary Edition box set)

WHITESNAKE – 1987 (30th Anniversary Edition Rhino box set)

Back when I reviewed the original “Deluxe” edition of Whitesnake’s 1987, I said, “Great album, but this reissue could have been so much better.”  And so here we are.

Let’s get right down to it.  You already know the story of Whitesnake 1987 or you wouldn’t be here.

The main feature is the 2017 remaster of 1987, which actually sounds pretty great.  In this day and age, if you’re seeking the warmth of a vintage vinyl experience, you can go and have that experience for far less money than this box set costs.  For a compact disc, this might be as good as we’ve gotten so far.  If you look at the Audacity waveforms below, you can see the 2017 remaster (top) has roughly the same levels as a previous one from Whitesnake Gold.

I’m still hanging on to my original UK version of 1987, but for compact disc, this is probably it.


David Coverdale wanted to adapt Whitesnake to the 1980s with this album, and this lineup with John Sykes, Neil Murray, and new drummer Aynsley Dunbar was certainly able to deliver.  The album was always loud, especially compared to their 70s output.  Sykes provided the squeals that the kids wanted.  David was back in top voice.  The album they delivered is legendary for how it changed Whitesnake’s fortunes.

The running order on this box set is not the original UK or US, but the combined running order as used on the previous 20th anniversary edition.

“Still of the Night” blows the doors in, a tornado in the night, mighty and sexy too.  Whitesnake had never been this aggressive before, but “Give Me All Your Love” lulls the listener back to something easier to digest on first listen.  “Give Me All Your Love” was a successful single because it’s melodic pop rock with guitars.  But then the band scorch again with “Bad Boys”, top speed right into your daughter’s headphones!  Whether it was Aynsley Dunbar or just the songs that they wrote, the pace is high gear.

“Is This Love”, a song that David was writing with Tina Turner in mind, was another massive hit.   John Kolodner (John Kolodner) insisted that they keep it for themselves, and he was right as he often was.  For a big 80s ballad, “Is This Love” really was perfect.  It tends to work better in a stripped back arrangement, since the original is so specifically tailored to that era.  Still, Sykes’ solo on it has to be one of his best.

Speaking of hits, “Here I Go Again” is the one that Sykes didn’t want to do, and look what happened.  That humble pie probably tasted no good to Sykes when he found himself fired by Coverdale after the album was completed.  His replacement, Adrian Vandenberg (Vandenberg) actually played the guitar solo, so dissatisfied was Coverdale with the one Sykes produced.  “Here I Go Again” was of course a minor hit from Saints & Sinners, but deserving of a second shot in America with production more suited to their tastes.  Don Airey on keyboards; though Whitesnake did without an official keyboardist this time.

“Straight For the Heart” is a great also-ran that perhaps could have been another single if they kept trottin’ them out instead of stopping at four.  High speed but with incredible hooks, it’s impossible not to like.  “Looking For Love” is the second ballad, but actually originally unreleased in the US.  It’s toned down from the style of “Is This Love”, and Neil Murray’s bass is pronounced.  He was a huge part of the groove on this album, if you really settle in and listen to the rhythm section.  His bass has a certain “bop” to it.  “Children of the Night” returns the tempo to allegro and the lyrics to dirty.  I can’t imagine too many fathers of the 80s wanted their daughters to go to the Whitesnake concert if they heard David cooing, “Don’t run for cover, I’m gonna show you what I’ve learned, just come a little closer, come on an’ get your fingers burned.” Another UK exclusive, “You’re Gonna Break My Heart Again” cools it down slightly, but that Sykes riff is hot like a torch!

“Crying in the Rain” is held back to second-last in this running order, even though it opened the US album.  Another re-recording, “Crying in the Rain” was suggested by Kolodner because he knew Sykes could give it that massive blues rock sound that it had in the live setting.  Again, he was right.  “Crying in the Rain” is massive — perhaps the most sheerly heavy piece of rock that Whitesnake ever dug up.  Finally the CD closes with the last ballad, “Don’t Turn Away”, which closed the US version.  It’s a fine song indeed, and a really good vibe on which to end Whitesnake 1987.


The second CD in this set is called Snakeskin Boots:  Live on Tour 1987-1988.  Presumably, these are recordings from throughout the tour, assembled into a CD-length running order.  The “boots” in the title implies bootleg quality, but it certainly sounds better than that.  Soundboards maybe?

The studio lineup of Whitesnake dissolved and David got Vandenberg in, followed by Vivian Campbell (Dio) and the rhythm section of Rudy Sarzo and Tommy Aldridge (Ozzy Osbourne).  This new lineup was not based in the whiskey blues of the old band(s), but in the flashy stylings of the 1980s.  Vivian and Vandenberg were both capable of shredding your brain.  That’s generally how they do it on these recordings.  Opening with “Bad Boys”, the manic tempo is maintained while the guitars reach for the stratosphere.

Sounds like it was a hell of a show, rolling into the groove of “Slide it In” and “Slow An’ Easy”, and the good news is the 1987 band can play the 1984 songs too.  David Coverdale is the ringmaster, the veteran, confident and in prime voice.  All the songs are from either 1987 or Slide it In, with only one exception:  the slow blues “Ain’t No Love in the Heart of the City” from the original 1978 Snakebite EP.  Sounds like Vivian Campbell accompanying David on this slow, classy blues.  No Deep Purple in the set; but my old pal Rob Vuckovich once said he went to the Toronto show on this tour bearing a flag that said “PLAY PURPLE”.  He also claimed David acknowledged it by saying, “We’re not playing any of that!”

“Here I Go Again” comes early on the CD, fourth in line, and it’s excellent.  “Guilty of Love” is a nice surprise, and “Love Ain’t No Stranger” is more than welcome at the party.  “Is This Love” is well received, and works well in the live setting without too much extra production.  Adrian can’t top the Sykes solo, though he gets within very close range.  Vivian and Adrian get a feature solo with a keyboard backdrop, and it’s quite good — more like an instrumental than just a solo.  It leads into a brutally heavy “Crying in the Rain”; Tommy Aldridge literally beats the shit out of it!  The CD closes on “Give Me All Your Love” with David substituting the word “baby” in the opening line with “Tawny”!

There’s little question.  For most fans, the major draw of this box set will be this live CD.  If that is you, you will not be disappointed by Snakeskin Boots.


Disc three in this monolith of a box set is the 87 Evolutions.  This is an interesting concept but not one that you will be craving to have a listen regularly.  This disc is intended for deeper study.  These tracks are the album’s songs in various stage of demoing.  “Still of the Night” for example starts as a living room demo, with David slapping his knees for drums, and only the most basic of lyrics.  Then this demo fades seamlessly into a more advanced full band arrangement, with the lyrics still unfinished.  There’s a funky middle solo section here that is more jam than song, but a blast to hear.

That is the kind of thing you can expect to hear on 87 Evolutions.  No need to spoil what you should enjoy discovering yourself.  This is for the hardcore of hardcore fans, those that want every squeal that ever came from Sykes’ axe.  You are gonna get it.  Incidentally, I think I prefer David’s original, rough slow bluesy version of “Give Me All Your Love” to the glossy pop song it became.

This disc ends with a “Ruff Mix” of the completed “Crying in the Rain” from Little Mountain studios.  All the parts are in place, the mix just needed that modern bombast that David was aiming for.


The fourth and final CD, 87 Versions, is a collection of alternate remixes released on various singles, and brand new remixes as well.  These are really cool bonuses.  The 2017 mix of “Still of the Night” has a really dry sound, allowing you to really hear the spaces between the instruments.  A lot of these remixes have a different balance of instruments, so you will hear different things yourself.  There are two remixes of “Give Me All Your Love” on this CD:  the 2017 with the original Sykes solo, and the highly coveted alternate with “new” solo by Vivian Campbell.  There are also two remixes of “Here I Go Again”, including the old “Radio Mix” with a completely different group of musicians and a much more pop arrangement.

Among these remixes is something called the 1987 Versions:  Japan Mini-Album, proving that Japan always get the best stuff.  This apparent EP contains the B-sides and bonus tracks that you couldn’t get on the album.  “Standing in the Shadows” was another song re-recorded for 1987, though left as a B-side.  “Looking For Love” and “You’re Gonna Break My Heart Again” are also included, since back then you could only get them in the UK.  “Need Your Love So Bad” was a previous Whitesnake B-side, remixed in 1987 for a new B-side!  It’s an absolutely stunning ballad, quiet with only keyboard accompaniment.

With all these tracks included, pretty much every track associated with the 1987 album and singles is covered.


Whitesnake: The Videos is the fifth disc, a DVD.  It’s really just an add-on, nothing substantial (like a 5.1 mix).  First on the menu:  “More Fourplay”, the classic MTV videos that set the world on fire in 1987.  Some behind the scenes footage too.  MTV was a huge part of this band’s success (hopefully Tawny gets paid a royalty from this reissue?).  These glossy videos are…well, they didn’t age as well as the album did.  Why does Rudy always lick his bass?  You just gotta laugh at “Here I Go Again”; the pretentious image of the three guys (Viv, Adrian, Rudy) playing keyboards passionately side by side…utterly silly.  But yet iconic.  “Is This Love” has the band playing on evening rooftops, Rudy wielding a double-neck bass.  Why?  Doesn’t matter; in 1987 we thought it was awesome.  “Give Me All Your Love” is a notable video, being a “live on stage” type, but also with the brand new guitar solo cut by Vivian.  For his solo, Viv chose to play on the wang bar a bit too much, but at least David let him do one.  It remains Vivian’s only studio appearance with Whitesnake, ever.  Unannounced but cool just the same, “Love Ain’t No Stranger” (from Slide It In) is used in whole as the end credit song for the “More Fourplay” segment.

Next up is a 28 minute documentary about the making of the album.  David has clear recollections and is always a delight to listen to. (Some vintage Coverdale interview footage is actually from a MuchMusic piece with Denise Donlon.) Interestingly, he claims that the “Still of the Night” riff is one that he found in his mother’s attic, that he wrote back in the tail of Deep Purple.  “Still of the Night” could have been a Purple song, but it took John Sykes to make it what it became.  We then move on to the assembly of the touring lineup, dubbed the “United Nations of Rock”.  Tommy and Rudy are also interviewed in vintage clips, with Tommy proudly proclaiming that they want to bring musicality back to rock and roll.

The “Purplesnake Video Jam” (whut?) video of “Here I Go Again” is basically a brand new music video using alternate footage from the time.  The mix is similar to the old single mix, but spruced up.  Finally there is the “’87 Tour Bootleg”, and woah!  It’s pro-shot multi-camera footage.  You only get half of “Crying in the Rain”, and all of “Still of the Night”.  Why not more?  Is this a tease for some kind of upcoming DVD?  The footage reveals a band of their time, but a good band.  Not the best Whitesnake lineup ever (Sykes gets that), but a good lineup with something special together.  They were tight, they could all play their nuts off, and present a high energy 80s stageshow, especially Rudy.  By the end of “Still of the Night”, David is actually dodging panties being thrown at his head.  I kid you not.


As per usual, any box set worth its own respect is packed with added stuff usually made of paper.  In this case, a nice hard cover booklet, a smaller softcover lyric book, and a poster.  Posters have to be the biggest waste of money in a set like this.  Who’s going to hang it?  I’m probably never even to unfold mine once.

Now that you have all the details, you should be able to decide if this box set needs to be in your collection.  It needed to be in mine.  And guess what — Slide it In is next!

5/5 stars

#719: Mystery Disc

GETTING MORE TALE #719: Mystery Disc

Cleaning out Jen’s mom’s house after she passed away was very emotional work.  Nobody’s been living there since July.  One day she got up and broke her hip.  We didn’t know it yet but the cancer was in her bones.  She never came home again.  When we started working on the house in September, everything was more or less how she left it.

Her music collection was small with a few gems.  One disc that I kept was Cat Stevens’ Icon.  I had to take it for “If You Want to Sing Out, Sing Out.”  As told in Getting More Tale #702, that song seemed to make a connection with me when she was sick.  One day we went to see her in the hospital, and she was unconscious.  No longer able to communicate.  That song was stuck in my head for reasons I can’t explain.  I like to think she was sending me a message.  Not to be sad.  It would have been like her to say that to me.  I get tears in my eyes thinking about her lying there dying, and that song playing on repeat in my head.  I had the song played at her funeral.  It just seemed like such a “mum” song, even though I have no memories of us ever listening to it together.  When I found out that she actually owned that song, I got the chills again.  Finding Cat Stevens made my heart swell.

We also found a number of CD-Rs that I made, but had no labels or covers.  For today’s chapter I’m focusing on one specifically.  I can’t figure out why I made it, or who I made it for, or what it was doing at Jen’s mom’s house!

It is a lightscribe CD, and burned into the top is the old background from my website.  It’s a photo of some model guitars and guitar picks.  The 15 song track listing is most bizarre and I can’t figure out what I was doing!

Track 1:  Craig Fee saying “LeBraaaain”.  This dates the CD to 2012 at the earliest.  I liked to introduce my CDs with something amusing, so this works.

Tracks 2-4:  “Whiskey in the Jar”.  The first is Metallica’s studio cover from Garage Inc.  The second is Thin Lizzy’s take from 1972.  Last is a live Metallica version, possibly from the CD single.  That’s a lot of whiskey – 15 solid minutes worth.  Listening back, the Metallica live version absolutely kills their studio cut.  Yeah-hah!

Track 5:  Steve Earle – “Home to Houston”.  This track is from Steve’s political 2004 album The Revolution Starts Now.  I haven’t played that album in years and I don’t remember this song.  Why it stuck out enough to put it on this mystery disc, I haven’t a clue.  Good tune, but I don’t know it anymore!

Track 6:  Jeff Bridges & Colin Ferrel – “Fallin’ & Flyin'” from the 2010 soundtrack Crazy Heart.  Now, memories are starting to form.  I can remember driving around with Jen and her mom, listening to this song in my car.  Did I make this CD for her mom?  If so, why the Metallica?

Track 7:  Johnny Cash – “The Man Comes Around”.  One of the greatest Cash songs, from the best American album in my opinion.  Goosebumps, still to this day.  Jen and I love Cash and had him played at our wedding.

Track 8:  Me doing a song intro!  The backing track sounds like Motorhead’s acoustic version of “Ace of Spades” with the main lick looped and no vocals.  I made this for a past Sausagefest countdown!  The track I’m introducing:  “Renegade” by Styx!  I mention that it was covered by Daughtry and then add sound effects of Nicko McBrain burping and farting.  I have to admit it’s a pretty great (and funny) intro!  It was #30 on the 2013 countdown.  From that I can now assume I made this CD the same year.  Which is strange because I wasn’t really making mix CDs anymore in 2013.

Track 9 is a personal favourite, “Rock An’ Roll Angels” from Whitesnake’s 1982 album Saints & Sinners.  I’ve always been into rock and roll songs with boogie woogie piano. I have loved this song for three decades.  Then Track 10, another Whitesnake classic:  “Slow An’ Easy” from the landmark classic Slide It In.  That’s another personal fave, because of the slide riff.  It’s incredible and I spent many hours as a teenager playing air slide to it.  Not to mention air drums!  Cozy Powell was so fucking cool.

Then more slide!  Track 11:  The Black Crowes – “Twice as Hard”.  I was clearly trying to make the CD flow.  Indeed I used to spend hours shuffling track order until I had it “just right”.  With all this slide business going on, I wonder if the next song is going to be some “Travelling Riverside Blues”?

Nope!  A total surprise to me, Track 12 is The Tragically Hip!  “50 Mission Cap” is Jen’s favourite, for reasons you’ll understand.

Bill Barilko disappeared that summer,
He was on a fishing trip.
The last goal he ever scored,
Won the Leafs the cup.
They didn’t win another till nineteen sixty two,
The year he was discovered.
I stole this from a hockey card,
I keep tucked up under.

I think the lyrics are brilliant because they tell two stories at once.  First, they tell the true tale of Toronto Maple Leaf Bill Barilko, who tragically died in a plane crash in a remote part of Quebec.  Nobody knew what happened to him until his body was found 11 years later.  The second tale is that of a young Gord Downie who read about it on the back of a hockey card.

Track 13 is another surprise:  “The Boys are Back in Town” by Bon Jovi!  Don’t scoff, this is actually a really good Thin Lizzy cover from their New Jersey period.  Lyrically, Jon and Phil Lynott were on similar wavelengths.  This is exactly the kind of tune that Jon was writing.  “Wild in the Streets” is Bon Jovi trying to re-write “The Boys are Back in Town”.

Track 14:  “Big Foot” from Chickenfoot III.  Gotta be one of my favourite car tunes.  “Got Houses Of The Holy on the box, got it all cranked up cause, yeah! That shit rocks!”  What a groove — you can’t help but stomp along.  Joe Satriani has a way with a riff.

I had a guess that Track 15 was going to be all of side one of 2112.  The track time was over 20 minutes, so I had an inkling it was either that or side two of Abbey Road.  I’ve ended mix CDs with 20 minute epics before, and I think it works.  The Beatles did it!  Granted, the 2112 epic was a side one, but it still functions perfectly in the closing position.  Try it yourself!

Listening to this mystery disc has been enjoyable, but my reasoning still escapes me.  It’s such a bizarre mix, with the front loaded threesome of “Whiskey in the Jar”.  From there it starts to make a little more sense.  But how it did it end up at “mum’s” house?

My best theory is that I made it as a gift for Jen’s Uncle Rick, and it never got mailed.  He lived in Texas at the time — maybe that’s why I included “Home to Houston”.  Rick is also a Whitesnake fan, and a Toronto Maple Leafs fan.  I’m just not sure.

How would you rate this mix CD if you were the recipient?  I think I’d give it a solid:

4/5 stars