Sunby Rocks: Rockin' With The Classic Stuff

Deep Purple's "Come Taste The Band" 35th Anniversary Edition

2010-10-30T19:41:00.003+02:00

There it is, at long last. And happily I want to say after a 2nd run - it's worth the invested pennies. What strikes the listener at first is - how raw this record sounds and what was flattered in the orignal mix. This is something you're surely gonna miss out of sight if you listen to the 1975 edition: Purple Mk IV had the rawest sound in studio since 'In Rock' days right on this very record. The way Tommy processes his sound out of his equipment results with an awesomely sharp sound edge when paired with Jon Lord's Hammond organ. It was well audible on the 2000's releases of the jamming sessions the band had when they brought Bolin over. Original "Come Taste..." sounded like another band when compared to it. The new installment shows back the same band that jammed their asses off in Pirate Studios and did an exciting, incredibly high flight without Blackers on board.

There was a bit of me that felt that the remixes disc is still a bit overloaded with frequencies. In the modern tech days it's easy to pack up the sound layers beyond the listening pleasure levels. Not necessarily here, it might be just me. And I admit I just fall under the spell of the punch that this material receives after the remixing treatment. Things like "Coming Home" (there was a cut of few bars in a middle Bolin's solo on the album - remix nicely restores this bit - it sounds cool), "I Need Love" (with more than a minute of recording reinstalled at the end, again great playing by Tommy) and especially "Love Child" (a powerful soundtank despite the synthesizer sound Lord used in the track, great riff) mixes act simply like a headkick. I wish this kind of sound was recreatable anyhow. You can now hear so many nuances of Tommy's sound now, this great, organic sonics of "Teaser" sessions instead of overpolished embronic sound state from the original. Plans for the instruments work very well now, are greatly shaped up, it almost feels like adding a third dimension to this music (if it's ever possible). The machine rumbles now like a monster, it not necessarily did that before. Some tracks receive the sections lost under the fadeouts and there's plenty of wonderfully frenetic guitar playing in it. At the end of the playing session you're bound to whew with impression. Often disclaimed from being a Purple milestone, but when I listen to these tracks - I'm bound to disagree even if it leaves me in minority. Some of these tracks are riffier and raunchier than most of the mediocre stuff that happened on the non stand-out albums. The songwriting is exceptionally exciting at times - take "Drifter" and "You Keep On Moving" alone. Even the most favourite albums after "In Rock" but prior to "Come..." sound overpolished to mettalic shine in comparison to this mindbombing, deep, hard sound. I should leave it here and say: "wonderful stuff" - it's like Raphaelian mosaic offdusted and restated to the full throttle glory.

It's a great shame that the potential this line-up had did not manage to get righfully converted to a bigger stack of inspiring material. It still sound ridiculous to me - this often mentioned affair with forcing Tommy to play the vintage stuff note for note. If it's true - whoever was responsible for this wish - should feel guilty for the structural damage done to this source of the brillant rock sound the Mk IV was. One doesn't need to guide an extremely talented guitarist over the note trails by hand or order. And the powders of course, were Tommy and Glenn clean - maybe the ensemble would carry on a couple of succesfull years more. I wouldn't mind that (or should I say I'd prefer this over early Whitesnake boogie/blues artistry). They had a grip on great sound but they lost on the substance and emotion demons. Could they be well kept at bay or out of sight - we would have some more sparkling magic, I believe.

I like it a bloody lot. There are Purple remasters that are a crapped up affair to me in comparison to the originals, but that one is a winner. I do not hesitate to reccomend it to you!

Time to rock again!

2010-10-30T19:31:00.002+02:00

Now that's what one could call a hiatus, huh? Let's not bother by reasons of it, it's time to do some writing again. 2010 was bizarrely quiet and unsupportive year in terms of especially live gigs, but now a purple autumn is coming up and sending at least a smile vibe along. What's in the wings?

Deep Purple live, tomorrow evening - no expectations of anything spectacular at all - if they fail to impress with refreshed approach to their live show, I'm signing off from visiting their gigs for good. I've been cheated to buy the ticket for the concert by the fake announcements of the new album coming in autumn 2010. Nothing's happened - it's just ricking the loyal fans out to buy another reheated greatest hits set. Yet a decade ago you did far more brillant than that, guys. What's next? No sex? That's the end of the role, we got no hope...

A decade after DP - a much more welcomed treat and possibly an event of the year - Jon Lord for the second time in the country with the Concerto For Group And Orchestra. It's being rumoured that He'll have the same backing band He'd have in Plock 2008 and that's a really bad news. Still Steve Balsamo and Kasia Laska should save the day nicely along with couple of surprises in the setlist...

So this is the giggin' horizon. And now to reviews, lad's and gents, some new stuff popped up this autumn...

Hints of prospects for 2010

2010-01-21T14:23:00.005+01:00

The old year has ended with really big culmination of musical goods gained to extend the knowledge and enjoy the new sounds. I guess that among the chosen stuff the last undiscovered Snowy White's album has received the biggesdt number of spins so far. It's not exactly because "That Certain Thing" is so extraordinary musically. The 1987 album is culled out and produced in somewhat pop glaze manner, where hints of plastic, synthy instrumentation with female choruses tend to try to appeal chart oriented listener. That's the disgusting news. On the other hand it proves that Snowy was always capable of coming with the good melodies encrafted with the blues rooted, tasteful and extremly melodic guitar playing, that reminds me of the Dire Straits style and hook. That clearly saves the day for this music format - somewhat specific to these years - that the record is shaped in. Kind of schizophrenic approach to hate and love the same music at the same time, but that's how it worked on me.

Now, we're much into the new year already. After the sheer craziness of the end of the 2009, where the gigs-of-the-interest schedule was simply outpouring with the events, the start of 2010 looks almost dead silent. Nothing really fancy, apart from the gigs of the truly excellent The Australian Pink Floyd Show gigs twice in the end of the January. It will be interesting and pretty exciting to attend two of the four Polish shows. As usual for the classic rock fan - I'm pretty much curious how the particular nights will differ one from each other. I hope they will! In the press releases of the TAPFS one can always read that they play Pink Floyd classics note for note. It's a shite statement, from what I've seen so far. The soloists play their asses off in every song taking chances to play in the right manner, using the same sound and equipment - still they play their own stuff. Good for them. I always stood on the position that if you want to solo fluently - you have to do your own stuff - even in the frame of the classic material. It's for the truly exeptional musican to achieve the balance. The Aussies are more than capable of doing this - so I'm more than thrilled with the option of seeing them twice in two weeks time.

While the live gig interest dogs lie sleeping - I can accomodate the finances to a possible cumulation later in the year. What remains now is to look out for the new releases planned for the period, in the area of our intersts. So far two neat chunks of new creations are announced.

First is evidently making the heart warm. "To Notice Such Things" is the new project of Jon Lord. Much of it's detailed description and discussion is featured on the Artist's site (http://jonlord.org). Sounds promising to those who are familiar with "Durham Concerto" and "Boom Of The Tingling Strings". As happy as I am with any new addition to his works catalogue, I still can't stop thinking about the long-gone promised blues / rock type record that is due to happen for years. Still the only teardryer for this ache are the albums of The Hoochie Coochie Men featuring extensive collaboration with the Maestro. More thoughts on Lord's new album will come as soon as I get my hands down on it!

The other big creampie announced for the midyear is the debut of another Black-is-my-name nicked group. Black Country consists of Derek Sherinan - kbd, Jason Bonham - dr. (and possibly backing vocals as his skills in the department are available!), Joe Bonamassa - gtr. and our very own Glenn Hughes - b., voc. The gentlemen themselves seem to be very excited by the propspect of creating new material together as is their producer Kevin Shirley. Press reports tend to overbust a bit the excitement about the project, but the level of creativity of Bonamassa and Hughes in last years can actually promise something groovy. In genre, stretched between the blues roots of Joe and Led Purple conotations of Jason and Glenn it might be really exciting portion of classic rock, if only the Messers will rely on the groove, melody and the space to improvise. While Joe doesn't stop his succesful drive on the road to glory and international acclaim and recognition (the new "Black Rock" album is about to hit the shops in the spring), Glenn probably abandons the work on his very own new solo album. If not - we'll get the double service as it was five years ago when the Iommi co-penned "Fused" and solo effort "Soul Mover" hit the market in one year, much to a enthusiastic response of the listeners.

A good start as for January!

A day of finds!

2009-12-20T13:11:00.004+01:00

Hello, anybody who's yet dropping in here to see if Sun has anything to say.... Well, it's been a while. Again. I do admit that consistency in keeping the whole business up is not my strong point. Life is a rich bitch, not always lets you keep up with ALL the things you'd like to keep up with.

Anyway I really do hope to do some updates. The season has been massive with events since Jon Lord's birthday. Just to name them: I've been to a concerts od Nick Simper and The Nasty Habits, Glenn Hughes (twice) in October, November was no worse with bills of mighty Gary Moore and Ufo and December was celebrated at the start with Ray Wilson's appearance with his Genesis Klassik project. All of the mentioned shows were top notch and deserve a mention on my dear rumblings platform.

I want to thank again Attic Rock for finding out loseless files of the radio brodcast of Thin Lizzy's appearance at the Hammersmith Odeon London, 27th Nov 1981. The concert features definite take on "Don't Believe A Word", where Lizzy proved that Snowy White could somehow surpass the shredding legacy of Moore and Robertson and simply played his ass off in the song making it an unique classic. This was mentioned here before and will be cherished forever as one of your's truly biggest sonic favourites ever recorded.

Meanwhile a shockbomb find has dropped in, scorched in the Ethernal Searching Grounds. Among many great Old Whistle Test appearances by artists in British TV - there was also a one that just dropped my jaw. Just check the line-up: Gary Moore - gtr., voc.; Phill Lynott - b., voc.; Scott Gorham - gtr.; Cozy Powell - dr.; Don Airey - k. And they blast out the tune aforementioned above as the single from the new Moore's record "Back On The Streets". To say they have a blast is a shameful understatement. This is a nuclear attack - slow introduction with Moore - Lynott shared vocals and a bluesy lead part by Gary, just to crank the amps at the end with a Gorham - Moore battle duel, where Gary is so into his parts that he breaks and almost wipes off one string from his Gibson. Needless to say Cozy and Don - by then possibly already a Rainbow members round it off with a superb backplay. Now that's what I call a whammy. Endless joys of one Lynott penned classic that almost never fails to impress.

Happy Birthday To The Maestro!

2009-06-09T11:03:00.002+02:00

This day can't go unnoticed! Mr. Jon Lord - doubtlessly the greatest Influence of yours truly, is 68 today. A number of years that indicates a year when Deep Purple was formed, mind you. An extraordinarie of rock and a man called by some a "Jimi Hendrix of Hammond organ". Talented soloist and composer. Truly genuine, warm and friendly personality, a man of overwhelming charm and flashing wittiness. And to me the Last Of The Gentlemen among the greats of rock, most of the fellow musicans could learn from him of how to behave in talk and towards the casual or specific interlocutor. An amazng persona in almost every aspect.

With over a half of the century of being active musically, his input was spread over a wide range of musical genres that he excelled at. While his enormous input of keyboard work defined the Deep Purple's milestone position in rock history, The Jubilee was equally succesful in playing blues or composing classical pieces, often arranged for orchestra. His session works also reached the area of composing film music. Many facets of the unique talent, so much of musical joy and prospects to be proud of.

The God of Rock in my book, Lord Of The Keys. Happy Birthday Jon, life wouldn't be the same if your genius was not around.

Blackout or hiatus - call it what you like

2009-06-09T10:14:00.002+02:00

It's a massive moment to make at least a bit of update in my papers. There's been more than plenty things in life that just bailed me out of the reviewing routines. I hope to make up for it continuously. Certainly among the subjects to deal with are the below things:

- the amazing Snowy White Blues Project's concert in Poznan on May 10th,

- final thoughts on "The Devil You Know" by Heaven And Hell

- Chickenfoot's debut CD - a truly pleasant new record by a strong line-up of four legendary rock business names

- Childline Rocks 2009 - Hughes & Lord reunion

- new UFO album "The Visitor" - amazing piece of the good old-fashioned rock

and honestly speaking I do fancy giving a word or two on Debbie Harry's "Necessary Evil" that I did enjoy a lot, even though it is not necessarily classic rock... Stay tuned anyway folks... Plenty of goodies are bound to come!

Deep Purple, Wroclaw, PL - May 1st, 2009 - Concert Review

2009-05-03T10:22:00.003+02:00

DEEP PURPLE
Live at the Mars' Fields, Wroclaw, May 1st, 2009

Set List:

Highwat Star
Things I Never Said
Wrong Man
Strange Kind Of Woman
Rapture Of The Deep
Fireball
Contact Lost - Steve Morse Solo
Sometimes I Feel Like Screaming
Well Dressed Guitar
Wring That Neck
The Battle Rages On
Don Airey Solo - Perfect Strangers
Space Truckin'
Smoke On The Water

Southern Rock Wobble - Hush - Paice Solo
Glover Solo - Black Night

Well, I must admit that as far as I do not support Mk VIII in their approach to the live shows, I certainly enjoyed going to their gig in my hometown. I went with no expectations to be surprised or thrilled at all, which is in a way typical when you go to the tribute band concert. And this is certainly The Best Tribute Band in the world that you ever can go to see. So it was quite much fun. Good to listen, lovely to sing and jump around to the beloved songs. Capable of making the die hard Purple conservative enjoying himself for a moment.

I decided to group my observations in the plus (+) and minus (-) - easier to put it down this way.

[+]

- Rapture Of The Deep - this always reminds me of a"Stargazer" a bit and live it really sways. Great live staple off the last album.

- Wring That Neck had a little extended bit of Airey - Morse duel in the middle, probably to help Gillan to catch more breath as his voice was struggling. I guess they learned the trick during Sunflower Jam, can't be sure 'cause I only have read the reviews. Nothing stunning craftwise, but it was a nice bit reminding of a good times 10-11 years before, when they used to mess around the songs a minute or two

- The Battle Rages On - slowed down in pace to the typicall takes, it became a monsterous crawler. Amazing, ripping into the ground, truly hypnotic. The biggest highlight of the show. Stunning.

- Don Airey's solo spot - wonderful, even if totally predictible. Lovely portion of the spacey moog, a lot of Chopin bits on the coloured piano, some boogie, national anthem and no Star Wars (yeah!!!). Just perfect, appreciated by the crowd and yours truly.

- Smoke... - the ending with Airey having a solo - nice reminder of the best Purple live album.

- Black Night - this is always exciting when the 10 000 + throats sing it around. A showcase track for Glover and Morse, a lot of good playing and bits of improv - Steve even threw in a chorus from Queen's We Will Rock You - it took a few bars for the crowd to recognize it. Plus a great audience - Steve duel for the very end

- spontaneous reaction of the crowd; typically those who drop in to Purple concerts ocassionally were stuned with what they saw and heard

[-]

- Ian Gillan's voice, mid song banter and stage antics - below any standards as for him. He did his best to hide the bad throat day, but it was obvious that he will suffer on this four nights in a row string. Perhaps the days of saving the voice are over. All in all, this is just another 'The Best Of Tour'. The banter forumula is 'play one -> repeat' CD programme, some of the stage moves show that his libido might be very unfulfilled. Not a very inspiring shape of the legend really

- Don Airey's solos in-songs: no improvising, just copying Lord's parts from records. In the context of Purple prased live formula this is the hardest crime. Sound of the Hammond was, especially at the start, very thin, but luckilly got improved as the set went on.

- the selection of material from the Morse's era was apalling. If "Things I Never Said", "Contact Lost" and "Wrong Man" are the most representative tunes for the 15 years period of Steve's tenure - then passing on the condolences to the band is really worth a tought.

- "Sometimes I Feel Like Screaming" still suffers from the slaughtered ending. Even a single version from 1996 single had a better arrangement. Shame.

***

Overall impression? A decent show, if only you can go for it leaving any expectations for being thrilled, excited or surprised in your home. Or if they just stumple upon your city - when they're near - you could go, see them and have some fun. Would I recommend anybody going to see them to score the musical and spiritually exhilarating expirience? By any means no. These days are over now. Could be fun for the casul audience, but nothing really to brag about in front of the long-time followers.

Don Kirshner Rock Show - great vault of rare rock concerts

2009-04-28T12:25:00.006+02:00

Running around, crumbling and digging the endless fields of the Hunting Grounds, one might get exposed to some new awesome music gems. Over the years an achievement of the music programmes in the foreign tv schedules could have been a blessing in therms of showing up the performers, who - in 21st century ended with the significant lack of the dvd release with archieve footages that could show the next generation what their live act was in their heyday.

I got to find two items that quite have blown my mind superlatively speaking.

Bad Co is the first live act. I have a post on Paul Rodgers in the working right now, but the way it has developed got insistively separate to this issue.

Anyway, there was in the mid 70's the institution of Don Kirshner In Concert programme that has managed to get three amazing acts to play and thus got preserved a very valuable live materials. 1975 seson saw classic Black Sabbath line-up promoting 'Sabotage' album in the show and it nicely fills at least a bit of the gap between the recorded 1974 California Jam appearance and the London 1978 show from the last tour to feature Ozzy Osbourne on the Sabbath mike stand in the 70's.

The other very neat appearance is coming from Uriah Heep, who have a very little of live material preserved form the 2nd half of 70's. The line-up with the magnificent John Wetton playing bass and singing bass vocals is consequently receiving rough comments from Ken Hensley, but the existing bits prove the man wrong. The Heep could have been shattered by the personal differences, with the late David Byron and Hensley already being deep in the murky waters, still the remaining evidences show their musicanship at the top pf their game way across 1975 and 1976. "Shady Lady" footage itself is a killer, with a frenetic ending, displaying a wild solo on slide guitar from Hensley - and - more interestingly - Byron stepping in to his Hammond stack to provide backing sound layer with wild organ sound.

Nevertheless the axis of my post was to be Bad Company. They performed at Kirschner's show in 1974, while promoting their wildly succesful, self-titled debut. And what a show they give. If there should be any examples of the "full flow" tilted live show given, then it is one of these. Rodgers was at his peak then, with his all-over-the-stage shaman-like appeal: thunder of long black hair, mike stand flying around, wild, roaring voice, soaring with rock power but still extraordinarily rooted in blues. In couple of track he has the plugged Fender guitar round his neck, assisting Mick Ralphs nicely in the double layered, harmonic solo for the song "Can't Get Enough". While the song is played everywhere almost to death, here anyway this reendition is highly enjoyable. When Paul doesn't play the guitar - the instrument swings around his hips - and the overall effect is incredibly seductive! It feels almost impossible to sit still and watch while they thunder through the solid portion of the "Bad Company" album enriched by the stunning take of Free classic song "The Stealer", with the nicely re-shifted key tone to expose soaring vocals from Rodgers. Amazing stuff, enormously enjoyable and recomendable for everyone who likes rock and blues and would like to get sweeped by the swaying wave. Your feet won't stand still while seeing this one - it will instantly make you wanna groove. Extremely precious sort of influence these days!

Early signs of anticipation for the autumn in the mid spring? Read why....

2009-04-23T11:14:00.003+02:00

Fantastic news for my country rock fans start to circulate in the secret circles.

Right yesterday I was messaged that there might be a Glenn Hughes concert in my hometown in mid autumn. I got extremely excited with the news, which was a surprise to my-very-self. Seeing the man eught years ago in Warsaw was certainly one of the times of my life. Glenn has pulled out an awesome concert in spite of being iinfected with a heavy cold, having 39*C degree fever. His voice was top notch and the show had couple of highlights, with Trapeze epic track "Medusa" as a standout - heavy and ripping to pieces. One of the finest moments I've ever had during the rock concerts attended, absolutely unforgettable.

I am not sure if the autumn gigs are linked to promotion of the new material by Glenn, but a nice bunch of his favourites and classics from the entire career spawning now over four decades of an outstanding musical output will bemore than welcome.

There is another one that birdies are, now yet very secretly, humming about - the Heaven And Hell list of European appearances to promote the new album for this year is not yet closed. They might get closer than we here expect them to.

This year's autumn season might come nicely packed with awesome new concert expiriences, for which we all should keep fingers tightly crossed!

Old as hell but still sweet as wine: Deep Purple's 41th Birthday today!

2009-04-20T14:34:00.002+02:00

I failed to write some more up-built essay on the person of the just-so Ritchie Blackmore on time and as for now the idea must get shelved due to the hecticness of other sides of life. It's, however, impossible not to at least mention the fact that Deep Purple is having it's 41st Birthday today.

Having played a gig in Taastrup, Denmark on the April 20th, 1968 the line-up of Jon Lord, Ritchie Blackmore, Ian Paice, Nick Simper and Rod Evans did their first gig under the name believed to be the best of the series of other band name suggestions (like, for instance, Concrete God).

For the next four decades the Purple ensemble would not only spawn the world wide career, winning them listeners and followers all over the globe, but - to even a bigger achievement - they would've laid the indestructable basis for the shape of heavy melodic rock, which is now considered and labelled by many as a classic rock. It has to be said also that the Purple is a main root for an awesome geneological tree of musicans, bands and projects - reaching possibly a three figure number - "ranging from rock to roll", with it's way via the most of the styles and musical flavours that one could be thinking of, including couple of very exotic ones in comparison to rock music.

Being what it is now, a Deep Purple eighth line-up, once being described by a randomly listener as "a well oiled machine, an institution allowing to gain it's current members a considerable amount of money to be added to their retirement fees they do desire" (two of the members will turn 65 next year) - it is more a tribute band to themselves than a rock band that still desire to develop and strenghthen the musical borders. Nevertheless they almost flawlessly (and to the enthusiasm of wide audiences) manage to keep up their legacy alive, playing long strings of concerts all over the world. Although these days it's hard to find the substantial elements of the stage craft that made them famous and critically acclaimed over the 70's, 80's and 90's - they still wake up a rock and roll spirit among their large fanbase and for just that they deserve an undisputed credit.

When he's 64...

2009-04-14T23:17:00.002+02:00

Just a quick mention to make on time with it today: The Beatles' tune "When I'm 64" must be a Tune Of The Day today for Ritchie Blackmore, who's turning exactly this age on the current April 14th.

Best birthday wishes then to the man who has definitely shaped my guitar / rock 'n' roll taste for whole of my time. Some more rumblings on the legendary persona of TMIB tomorrow.

Have Your Say [1]

2009-04-10T12:32:00.004+02:00

Sometimes it's hard for me not to laugh my ass off. You come across somebody's quote and it just makes you laugh (or proves you don't have a humour sense at all ;-) ). Either way I thought it can be fun to introduce some of the bits 'n pieces I've seen here and there.

This one comes from Wikipedia vault's as lately I wanted to get to know a bit more about Diamond Dave Lee Roth's career. There goes:

"In 1995, Roth devised and performed an adult lounge act, largely in Las Vegas casinos, with a brass band that featured Nile Rodgers, Edgar Winter, and members of the Miami Sound Machine. It also featured several exotic dancers, who in Roth's words were "so sweet, I bet they shit sugar!" "

Thanks to Wiki for a bit of fun.

Jon Lord on the cathedral organ of Lichfield, yesss!!!

2009-04-07T13:44:00.003+02:00

Now this is what I call *a news*!!! :-)

According to www.deep-purple.net:

>>Jon Lord is lined up for the Lichfield Festival on July 17th 2009. The full programme for this year's event will be released in April. Early tickets are available for members of the festival association, and for the rest of us on April 17th. The best way to get more information is to check the dedicated festival web site. Lichfield is just north of Birmingham.

According to the Lichfield festival director's blog, Jon Lord visited Lichfield on March 31st to have a go on the cathedral organ in preparation for his performance.... "Now, having heard a bit of what the cathedral organ can do, he's gone off to plan how best to use it in his event." (Hopefully not as a shelf)<<

After 45 years of his illustrous career he's finally given a chance to play the instrument compatible with His Lord's Genius. How excellent. I'm sure it will be absolutely amazing to hear Jon commanding this type of the instrument. WOW! Can you imagine the cathedral halls rousing with the bars of "Perfect Strangers"!? :-)

Reviews From The Vaults Re-claimed, pt. 3 - Jon Lord live in Plock, Poland, 2008

2009-04-06T19:56:00.004+02:00

I have promised this archive review to a newly met Purple Soul - Andy, that's for you Mate, enjoy.

Jon Lord with the Band and Plock Symphonic Orchestra.
Opening Of The X Plock Summer Music Festival
The Old Market Square,
Plock, Mazovia, Poland
July 6th, 2008

Let's put things straight: Jon Lord is The Ultimate Maestro for your Reviewer, allright? It's no one else but him who made me fell in love with Deep Purple some 14 years ago and he endepthtened my mutual love for Hammond organ and keyboards. That's why it took me a while to get over the thunderous emotions witnessed over the July's Sunday.

What it was really - a true dream coming real. It was never easy to get Ritchie B. for a chat but it was neither easy to be honoured to express warmness of the heart and grattitude for the wonderful music to the fairly unavailable Sir Jon. On that lovely day the early arrival to the Market Square granted us for the effort of early coming in to the event's place. We could participate in the general rehearsal. Most of the evening material was tried, the listeners could catch a glimpse of what was to be a magical evening. Masterful sound, and a brillant form of Mr. Lord - looking happy, healthy and in jolly, very friendly spirit towards his career followers.

As the rehearsal ame to the end we were able to invite Jon to the edge of the stage, where he signed plenty of releases he took part in over the four decades.

It was a bit intuitial, but we also managed to get our Maestro to the back of the stage where he did a short photo session with the bunch of the fan friends. Holding his 'magic fingers' hand and sharing a big smile to the lense of the camera with Jon will undoubtly be one of the happiest moments yours truly ever have winessed. We had to release the Hero for a meal and some rest and while then we secured the front row places to have the closest possible contact with what was to happen on stage.

It was great to see many of the good old Purple Convention friends around, who made it easier to stand the slowlt ticking time while the eagerness for the event to start arose.

Right before the concert started there was once again a little glimpse of rehearsal and at the 7 pm the Organiser took the stage to introduce the event (too lenghtily in taste of many). As the impatience of the audience went heavily tested - it all acumulated into a thunderous welcoming of the Lord's ensemble. The rock section band consisted of young session musicans and was crowned with two fabulous voices of Kasha (Catherine) Laska and Yatzek (Jack) Kotlarski who took the vocal duties in Jon's material. The orchestra was condcted by Misha Damev, a Swiss director who worked lately with Jon on his symphonic projects. While the pressure was breaking youngs bones at the first stage, Misha conducted the Symphonics with the amusing fire.

It was lovely to hear the 'Concerto For Group And Orchestra' for the second time in the country (1st time was the last night with the orchestra during Purple late 2000 'Concerto' tour) - this time in complete shape. What I can say is: you'd tell that Deep Purple plays this piece with far more confident feel and swing. But any session musicans who can handle this difficult material that well - they must be bowed and applauded for the effort. Bar the drummer sadly, who's thick cut bashing was out of place and the drums solos were dreadful. Nevertheless the overall feeling remained strongly positive. Jon did a huge work to conduct the youngs with the 'body language', while Damev and orchestra thundered through like a dream. One could not pass noting the Jon's Hammond solos in each Movement that were beatifully controlled and sharp driven as well.

That definitely was the hardest part of the show to come through for all of the performers. As the evening continued the atmosphere loosened a bit although most of the reflective material from 'Pictured Within' and 'Beyond The Notes' was still demanding a dose of concentration from the audience. The balance of the contlemplation mood and the listenability was well kept however. Kudos have to go to the young vocalists who did an adorable job - Kasia shone in 'One From The Meadow' and 'Wait A While' and for many she was beating off Sam Brown's originals. She had a much more audible freedom in phrasing while using as lovely scale as Sam. And Jacek did a much more soulfull voicing in 'Pictured Within' than Miller Anderson did, but his vocal line integrated with the sonic picture beatifully.

Anyway it looked like it was the material from Jon's piece de resistance, 1976's 'Sarabande', that was the most enjoyable for the audience. "Pavane" has gained an enormous dose of feeling thanks to slight rearranging of the instrumental approach to it. The timy drum tinks along with the change of the tempo accents gave it a bit of slow swingy jazz feel - alltogether it sounded like a new composition - utterly charming. I personally have enjoyed "Gigue" the most - absolutely storming version with the fabulous guitar and organ parts and the fanatic (in a positive sense) orchestral backing. Oh, forget the drum extravaganza - it was close to destroy the monumento completely, but the finale did save the day for this classic. "Sarabande" and "Bouree" are the classics to themselves - the only pity for these two is the ommision of the improvised solo parts in each of the two. The latter did well the function of a thunderous gig finale - it worked like a voodoo ritual on Misha Damev, who at the end was flowing with his conductor's body over the orchestra. Amazingly intense and moving at the same time. Most of the audience were on their feet in that moment roaringly applouding the evening's Hero.

But that was not OVER yet. Now take a time to imagine that some space capsule takes you back to 1970. What can a Purple fan dream of in such circumstances? Intuitively you can tell... First three notes on the Hammond blasted everybody's mind and next ten minutes were absolutely unreal. It will remain a mystery to me how the hell has Jon done that - it must be his mutual magic. It was not 'Child In Time' done by Mr. Lord, three session men, two singers and the orchhestra. They all came perfectly united in the piece, making the result unarguably the most powerful reendiotion of this anthem that has ever happened in at least past 25 years . The combo of female-male unisoned voices handled Gillan's part flawlessly, the young guitarist caught a flaring fire in his fingers and his solo was a nuke, blitzing with Blackmore - Satriani feel. All this spinned by a monsterous Hammond sound with Jon blistering fingerwork, and a wide smile on Lord's face, every second. The crowd has been thrown to their knees and the farewell with Jon Lord was long and emotional. I did what I could to describe this to you, but honestly speaking this isn't expressible at all. A hypersensual, mind-smashing expirience.

I made a remark to Jon during the rehearsal that whenever I watch him on the 'Live Encounters' (it was a second to debut of the Morse line-up show in Poland) doing a solo on the piano with Chopin bits in it - it always makes me cry with bits of the real tears. (Frederic Chopin is regarded as a Poland's most famous composer in country's history, so citing him as a tribute to the land and the nation is usually moving for the audience). Jon then said to me: 'If so - then I'll try to make you cry tonight'. Those who were with me in front of the stage after 'Child...' - they saw the tears in my eyes - believe it or not - it's up to you.

You kept your promise Jon, I thank you for that gift from the bottom of the fan heart and soul. It will take a day after the whole life BEFORE I FORGET this day and it wonders.

(C) (P) Sunredsun

Set:

1. Concerto For Group And Orchestra: First movement (Moderato - Allegro)
2. Concerto For Group And Orchestra: Second movement (Andante)
3. Concerto For Group And Orchestra: Third movement (Vivace - Presto)
4. Jon's Welcome
5. Sarabande
6. Pavane
7. One From The Meadow (dedicated to Sam Brown, who's undergoing the throat surgery) - Kasia Laska on vocals
8. The Telemann's Experiment
9. Wait A While - Kasia Laska on vocals
10. Pictured Within - Jacek Kotlarski on vocals
11. Gigue
12. ovation I and flowers for Jon and Misha
13. Bouree
14. ovation II
15. Child In Time

California Jam, The 35th Anniversary

2009-04-06T13:35:00.003+02:00

It's today. The big, outdoor festival that spanned the performances of many top bands at the time and went to a significant place in the history of the big rock' n' roll . The most remembered concerts come from Black Sabbath; Emerson, Lake & Palmer and finally Deep Purple.

Sabbs were doing their routine show promoting the highly acclaimed "Sabbath Bloody Sabbath" LP. I've seen a bits of the footage and it's still hard for me to accept Tony Iommi's WITHOUT the usual mustache. A completely diferent man, looking without his typicall metal bite. Still they were playing good.

ELP - I also seem to remember seeing their footage once. In terms of a scale of the "pump and circumstance" involved up from some point it got really difficult to stand. As I was almost completely unaware of their catalogue by then - the only thing I remember was Carl Palmer ringing his bell set to emphasize the effect while Keith Emerson was receiving a heavy rotation, his body was stabilized to the furniture - axis-spinning piano. Complete maddness. Up to now I am not able to understand how can one provide any reasonable sounds in position like this.

And Deep Purple - the (in)famous flamers for the great finale. As it was a bit more than a quarter of the year from Mk III scenic debut, so the material was still in the stage of development. The concert itself was very good, but the feeling of excess finally took upon Blackmore. I can clearly understand him, I would tell the word or two myself if some stupid idiot would ride upon me with this camera stack every five minutes... The more you enjoy and concentrate on your music, the better you play, it's always been like this.

It is still a big enjoyment to see the Masters cooking, even after the years and being used to it (yes there were times when it was one of the very few live videos portraiting Deep Purple in action and I do remember these days!). 'Burn' is - as ever - a sensational opener, although it heavily suffers from lack of the front filming angle that could properly show Ritchie's hand during the masterful solo. Coverdale, still seeming a bit uncomfortable in the frontman's position manages to put a massive performance. 'Mistreated' is lovingly passionate, the whole band lets it rip, Blackmore's approach to the solo with the use of volume bar only is simply awesome, one of those most precious musical moments luckily captured on the film. And thre whole reendition with a rousing finale is monumental. Not long after Lord steals the idea of interploating 'Lazy' from Blackmore and puts it as a part of his monsterous introduction to "You Fool No One". It's again one of these moments that is simply unique, justyfying the endless praise to the art of improvisation, which he atops here to the delight of the audience. The review of most spitfiring guitar techniques by Blackers is carried later on and while the dramaturgy of the concert collapses during 'The Mule' and the first part of 'Space Truckin' - things get pretty heavy at the very end. And it's not only because it was the time of the peak for Lord's interest in stage experiments with Moog and synth pad sounds in his keyboard setting.

The bridge conducted by Blackmore to buid the tension between the quiet passage and the fierce part of his improvisation is lovingly enriched by 'Greensleeves' played on the volume bar again and from then on there is no mercy... As it was later described by Jon Lord reviving his sight of the amps exploding on the other side of the stage: "It looked like Ritchie was dancing forwards, he's not; he was BLOWN forwards by the force of the explosion... (...) Frightening". By that moment the hatered camera stack was already demolished by the bashes of his Fender guitar, of which he destroyed a couple on the night. As the remains of the blown equipment were kicked and pushed downstage, the close of the improvisation vehicle was chaotic, yet apcalypitic. The rapid flee of the guitarist to the helicopter right after leaving the stage was obvious in the context of almost guaranteed inprisonment for the stage behaviour and damages done.

Strangely enough it doesn't seem strange to me at all that after 35 years the flying Keith Emmerson is barely remembered for his 'stack-me-to-the-piano' stint, while Blackmore's tour de force is remembered as the one of the biggest stage affairs not only in the Purple career, but in history of the large festival events in general.

Surely it's worth to give these sounds a spin on the anniversary today!

Snowy White is coming to town [notes] (yesss :-) )

2009-04-06T07:55:00.009+02:00

Now this is awesome news, at least in terms of musical adventures on the horizon.

I live in a country significantly different to the south and western neighbours. If you want to see a performer who is regarded in well accustomed listeners circles, but does only club appearances - you must go to Czech Republic, Slovakia or Germany. No easy way. This year even Heaven And Hell is not doing a gig in Poland this summer, despite having a new release in the pipe. Reasons? Probably the one and only Tommy Djubinsky was too depressed that in 2007 two gigs in big halls of Warsaw and Katowice sold in range of only 50% - 66%. And it's not that Black Sabbath is disregarded here. The Dio line-up is one of the most acclaimed classic bands around. It's just the price of the tickets that was keeping many from attendance, because - who would ever tell??? - the organiser has to earn, you know. Screw the promotion, downdrain the chance to make people go to the concert. No pockets filled, no sleeping on the money - no invitation. How charming.

This is not the back of the post, however. Still if you dig a bit around - you'll find that highly acclaimed performers do drop in to Polish clubs with a bit of luck and good will. Budgie and Nazareth are doing lengthy raids this spring and summer. And one more damn fine visitor.

Snowy White.

The name that, when clicked in mind is linked with the Pink Floyd and Thin Lizzy camps. The earliest effort was to participate in "Animals" recording sessions in late 1976, providing a part in unleleased take of "Pigs On The Wing, pt. 3". Later on Snowy was invited to help the band in the live promotion of the record, being a member of the tour line-up of the band. The cooperation resulted in being invited to record the guitar parts on Richard Wright's solo debut LP "Wet Dream" in early 1978. Some of the parts are truly extraordinary, especially in "Cat Cruise", "Drop From The Top" and "Funky Deux". The link with the Pink Floyd camp continued as the band promoted "The Wall" album over the several concerts 1980 in 1981. Meanwhile Phill Lynott called for assistance having a vacat in his guitar duet while Gary Moore left him again and the stepping in of Midge Ure did not last.

Snowy accepted the offer and got to record "Chinatown" with Thin Lizzy. He got sort of mixed reception from the fans (since being a calmer player than the sorts of guitar extraordinaries like Moore or Robertson), but his effort of going along with Scott Gorham was significant. In 1981 the unsuccesful "Renegade" followed and although the album failed to impress, the band was still a considerable live force. One of their finest moments was the new reendition of a classic hit "Don't Believe a Word". Lynott has used the slow, melancholic alternate version of the classic, where Snowy had a minute to show his amazing bluesman abilities, right after the song was scoring a turn to the classic, driving arrangement with White firing on all cylinders. The band got barely better musically ever after.

Snowy went parted ways with Lizzy in mid-1982 and started a succesful solo career with a hit 'Bird Of Paradise'. I don't like the song much, since it reminds me of Dire Straits' "Brothers In Arms" (soul intention would be to ask Snowy if Mark Knopfler has plagiarised his composition, basing on Snowy's single). Some parts of the mentioned songs and chord progressions are shamelessly similar.

Over the 80's the colaborations of White with David Gilmour and Roger Waters continued. When Waters became active touring from 1999 on - White was an important member of his touring band, sharing the guitar duties with Dave Kilminster (also known for his collaborations with Ken Hensley in 90's). Meanwhile the market saw Snowy White releasing new material under his own logos of 'Snowy White and The White Flames' and 'The Snowy White Blues Agency'. Famous names of Max Middleton (former Jeff Beck cooperator) and Peter Green can be mentioned among his guests and bandmates from the time.

Consistently active in recording and performing, impressive both in studio and on stage Snowy starts promoting the new album of his new 'Snowy White Blues Project' outfit which is due for release on April 20th. Polish concert of the guitarist is planned on May 10th in "Blue Note" club, Poznan. I hope to be there to meet the legend.

Waiting for the devil continues, the anticipation grows

2009-04-02T19:20:00.006+02:00

Bad news about the "The Devil You Know" album for the area is that the Europe seems still well secured from the rage of the forthcoming Heaven And Hell release. There is no company responsible for the release of the CD confirmed yet (though Roadrunner Records is being rumoured). The result is that it's not yet available in my country's internet stores, which is a bit frustrating. There luckily is some good news though, the reviews are starting to drop in, so to make Gustavo's mouth drool even more for this - I put a link to the detailed track-by-track analysis of what's about to come.

http://www.metalhammer.co.uk/news/track-by-track-heaven-and-hell-the-devil-you-know/

If you don't feel convinced about reading the long story - don't get misled - here are the best bits that nearly caused that I pissed myself laughing:

"Then the riff kicks in… when we played this in the office everyone spun round and was like ‘fuck!’ Just a huge foot-stomping head-banging juggernaught (...). And as for the solo, Tony is shredding like a fucking madman – this is undoubtedly the Sabbath guitarist at his face-melting best."

"And the main solo AGAIN is a fucking stormer! It’s like Tony Iommi is being wanked off on MDMA. A proper headbanger!"

"And just as if to say, ‘don’t fuck with me’, one more time, Tony Iommi rips faces off with some beautifully smooth soloing."

Still it's the conclusion that seems to matter:

"A truly awesome achievement for the band who invented the genre nearly 40 years ago, to come back and deliver what will surely become one of the heavy releases of the year."

That may make you think that the chhances that you should and actually will enjoy the premiere material are arising to almost certified level. Good. Will help me to wait to the first run through the material no earlier than after the day of it's release!

Award of 'Discovery Of The Month, March 2009' - 'Badge' by Cream, Royal Albert Hall, 2005

2009-03-30T14:51:00.007+02:00

This thinktank is somewhat different in mood to the previous post... :)

It's good to be in firm friendship with people who - in some areas - share your musical tastes. You have something to discuss and enjoy together. Still, it's awesome even more when your friends are keen in other musical areas than you. This creates a space for you to be introduced to the new territories.

I've have had my musical tastes defined pretty sharply for 20 years now, being a devoted classic rock field explorer for about 16 years. I have a wide knowledge of my favourite areas, but my tastes never go strictly along with the critically aclaimed paths. Some performers take me a hell of time to get accustomed to. I guess Pink Floyd (with underlined influence of David Gilmour) is a brillant example to the thesis. I mean, in 2006 I was 27 and up to then I've never heard "The Dark Side Of The Moon" in it's entirety, although I already knew the Waters-less CDs by the band and liked them a lot. I sunk into the Floyd void relatively late and - typically - on my own rules of picking up my favourite staples.

And just about two weeks ago I got exposed to a kind of similar happenings. While having a good, relaxing time at my friends' place in Cracow - the reunion Cream DVD from2005, shot during the Royal Albert Hall 4-nighter, was put on. I was pretty much stuck in awe, I have to say!

I remember that when I've first heard the rumours that Clapton, Baker and Bruce shall re-unite, I thought 'Naah, old stiff museum expo's - it won't do them any good'. At the time of the gigs no good sounding bootlegs were around so my intrest in the case got diluted. And now I got to see and hear it in style - and I was amazed!

Bruce and Baker's playing was completely opposing their quite frightening old men appeal. They did really good job throughout. And it was Clapton that won my attention the most. I very much liked his playing - the bluesy but aggressive tone and nicely laid back improvisations. The balance between enjoying the live play and discipline (not dragging the songs to overlength) was well kept, maybe with exclusion of drum solo vehicle 'Toad'. The rest of the set contained reenditions of classics that - to my ear (practicly infamiliar with Clapton's back catalogue) - were very fresh and surprisingly enjoyable. I really liked what I've heard, and I joyously got beaten to that. Pretty unlikely compared to my thumbs down to EC's poppy - sloppy approach in the radio favourites of his. Here on stage he had a real vibe and a snapping bite in many of the songs.

And then it came: moments that the listener lives for. It's when you discover the track that fits your hearing sense flawlessly. I instantly fell in love with 'Badge'. A wonderful moment when the chord before solo is let ring and the Fender roarrrrrrrrrrrrrs... What a punch, later concluded with a highly enjoyable and well let-rip Eric's improvisation. I'd never expect to hear this sort of beloved sound, from EC in particular! I got head over heels about this track and it's an immense pleasure. And there's much more of such treats in this material. Clapton is delightful, allocating himself a little bit somewhere in Gilmour's vain in a way (David is, of course, far less bluesy). Still the both of masters are charmingly melodic. Cream's classic set here is likely to get you enchanted. Be a rough-edged rockman during your workdays, on your leisure time this blues fuelled but nevertheless drivey 2 hour expierience sounds like a real gem find.

And indeed I have to say - it's nice to be exposed to a chance to explore a new field of music that may bring some more inspiration and excitement. That's what I'm living for!

Creeping in, the BEAST you know... :-)

2009-03-27T11:57:00.006+01:00

I've been waiting for this to surface - to forward it here... Just a month away. I think I'm gonna skip any previews just to have more fun when I get my hands on this CD. So far it looks like it will be a CD release of the year. I feel VERY excited about it.

HEAVEN & HELL INTRODUCES THE DEVIL YOU KNOW

Highly Anticipated New Album from Dio, Iommi, Butler, and Appice, Their First in 17 Years, Features Epic First Single "Bible Black" Available from Rhino April 28

LOS ANGELES - After finishing several heralded world tours as Heaven & Hell last summer, Ronnie James Dio, Tony Iommi, Geezer Butler, and Vinny Appice were tighter than ever before, both musically and personally. Agreeing that it would be a shame to stop making music together at tour's end, the quartet began writing, first in England at Iommi's home studio and later in Los Angeles at Dio's studio. "The band had gotten too good to just walk away," Dio says. "We wanted to show people that we were still capable of giving them new music that measured up to what we'd done in the past." With that goal in mind, the band once again converged on Rockfield Studios in Wales last winter, the same place they used 17 years earlier to record their last album, Dehumanizer. The result is the long awaited new album THE DEVIL YOU KNOW, featuring 10 soon-to-be-classic tracks from the Dio-fronted version of Black Sabbath. The highly anticipated set arrives on April 28 from Rhino for a suggested list price of $18.98 (physical) and $9.99 (digital). It took less than three weeks to finish the album, with most of the songs only needing a couple of takes. "It was good to play them live in the studio. It keeps you on edge," Iommi says. "I mean, somewhere along the line we were gonna have to play them live; might as well start in the studio." Butler adds: "We've learned from the past that you can kill a song doing it over and over. The first Sabbath albums were done in two or three days. Technically they weren't great, but vibe-wise they were great. If you capture that feeling, that's all you need." "Bible Black", the epic first single, begins with Iommi on acoustic guitar behind Dio's plaintive wail before the rhythm shifts to a menacing stomp for the rest of this dark tale about a book of sinister scriptures. One of the first songs written for the album, Dio says it established a tone for the rest of the album. "When you start off with a blockbuster like that, it makes the rest of the album so much easier because it gives you a benchmark to measure the other songs against." Iommi proves he hasn't lost the ability to inspire six-string envy, unleashing riffs like a pack of rabid hellhounds on "Atom And Evil," "Fear," "Neverwhere," and "Eating The Cannibals," a tune about doing more than biting the hand that feeds. Butler and Appice slow the pace while ramping up the intensity on "Follow The Tears" and "Double The Pain" and "Breaking Into Heaven," the latter diverging from its glacial procession for Dio's majestic chorus about fallen angels planning an attack on paradise.

THE DEVIL YOU KNOW

Track Listing

1. "Atom And Evil"
2. "Fear"
3. "Bible Black"
4. "Double The Pain"
5. "Rock And Roll Angel"
6. "The Turn Of The Screw"
7. "Eating The Cannibals"
8. "Follow The Tears"
9. "Neverwhere"
10. "Breaking Into Heaven"

http://www.black-sabbath.com/news/index.html

The cover is probably the most horrifying one in the Dio fronted line-up string, or even maybe whole of the Sabbath artwork catalogue. If "Sabbath Bloody Sabbath" or "Mob Rules" were ones I would not choose to wear on the t-shirt - then "The Devil You Know" rules out them both... Though I guess it will fit the red blood coloured shirts. Glad the band looks much better than it. Would you age Dio 67? :-)

The vaults re-claimed, vol. 2: "The Favourites Collection - QUEEN [CD 1]

2009-03-24T19:50:00.004+01:00

Intro:
Queen was the first SERIOUS music love of my life - the first band which music I got to know inside and outside in every possible aspect. Actually - they were my first heroes. And probably the most significant - it was Brian May - who was my mind opener. Though I liked efforts of all the members of the quartet - it was his stuff that turned me on the most. Could make me jump on my bed with a stick in my hand long enough to imitate the guitar. Brian woke up the rockman in me and up to now I'm thankful to him for the gift. I give him every credit and all honours for starting me up as a rock listener. Nowdays - from the view of many years exploring rock the range of May as a player in my rankings has decreased, but in terms of composition skills and sentiments he's still unbeaten - the First Axe Master.

So... just push play!

[ 01 ] TIE YOUR MOTHER DOWN [LIVE in MONTREAL 1981]
One needs a firecracker to start the CD and there's barely a better one. The Royal Truck was filled with explosives on that night. Fred was vile and vicious. His vocals are so damn sharp and clear that I wonder if he did overdubs in the studio for the film soundtrack. Even to his incredible standards - it's amazing what he does here. The tune is devilishly uptempoed (at least half speed up to the studio origin), May has got a real trouble with hitting the solo notes on time. Jungle scream of Taylor drives the song to the final chorus, before the typical low chord mayhem and a drum bonanza during the close. 'Gimmie all your love... tonite...' Oh yes, I gladly wil, Your Majesty. Ready to serve with excitment. Anytime.

[ 02 ] SPRAED YOUR WINGS [JOHN PEEL BBC 1977]
At long last the first time where John Deacon shows a true rock claw as the composer. Starts like a typical ballad, but before the first (and easily memorable) chorus - you can hear that it will be a mean rocker. And Fred does not sing about the daisies too, he's got a story to tell about the boy sweeping in the bar, hoping to start a better life. He is definite in it and very convincing, the vocals cut with a rough edge. The real treat (and a justification for this particular version) is at the end where May is supposed to crack a solo. Instead the whole band speeds up the tempo twice and plays pure bombastic speeder. Brings all the wimpy punk noisemakers of 1977 to the knees, begging for mercy. Queen was a rock band, a fact that some people still dare to doubt in. And they could whip backs in such a style as evidenced here.

[ 03 ] WHITE QUEEN [ QUEEN II,1974]
There is an irresistible feel of magic on the the first side of 'Queen II' LP. It's still mystic to me, always was since a first listen. This composition is very likely to be one of the most underrated ballads in Royal Career. Mimose light start, notes are flowing into beatiful sad stream. The sequence of chords is surely of the sort that my ears like the most. Breathtaking invitation to the first chorus, where we have amazing vocal harmonies (that's one of many reasons for liking Uriah Heep later on too) and finaly an explosion of rock for a moment. And again - I think it's the power of the contrast - that catches and floors me down totally. Second verse leads to the guitar solo - I think it's accoustic slide, but very sitar-ous in the feel - a lovely effect.I n the background you can almost hear the storm arising. And with the entry of the electric part the hell breaks - May's multilayered backing give a fundament for a crafty, well edged-solo. Mercury's voice reaches these magical registers available only to the masters, the backing choir builds up the storm, all this sendis chills to the spine. The storm fades, leaving you high and dry and wanting more...

[ 04 ] IT'S LATE [ NEWS OF THE WORLD, 1977]
This tune is what I'd call the ultimate Queen's hard rock statement. It's an higher art to make a 6+ minutes rock track fuelled with mojo burst every second, raw in-your-face punches all the way. Intro is delicate, but May's sound is dirty, unsorted. It sort of signalises that the song will be nasty, fuelled with anger, scratching the back with rough nails. And it rocking is! Cannon Taylor's bashes measure the tempo of the slower parts, and the uptempoed middle closes with Fred's voice sirening yell and boiling drum break. The speed will come back at the end - a true sound tank. In the lyirics there's drama going on too - the relationship breaks and you can feel it on the spine - that it's too damn late to sort things back. What's the glory here then? Messers had pretty some rippy rockers over the years. True. The point is that with every other one they had to work in studio to drag its power out. Overdubs, harmonies, layers. None of these here - this one sounds definite but as being done on one direct take. It has an ultimate live feel to it - this kicks so lovely hard. Could have been a monsterous vehicle for impovisation live, but Queen wasn't ever really up to it, which is a shame. To even more of surprise - it didn't last long in the live set and sounded like they did not have an brillant idea of how to use its power to make it a milestone. To me it's into the void launch. A beloved blaster.

[ 05 ] LEAVING HOME AIN'T EASY [ JAZZ, 1978]
Some tunes are just catchy. The way the sounds compose get your immediate approval. That's how it was with this 'Jazz' cut. Gentle, basing on accoustic guitar, a little beatleasque in the distorted vocals middle break and the violin-like warm coloured guitar Chorus just appeals to me. Finally Brian's voice appeals to me, which people sometimes don't get - 'how come, he can't sing can he' etc. It just does - warm voice with a nice colour. Fits me perfectly even if it's not a classic And the tune was always deep in my head ever since I've heard the LP first.

[ 06 ] SOME DAY ONE DAY [ QUEEN II, 1974]
This tune is surely responsible for my becoming a May-freak. The amount of guitar work here seems countless. Backbone of intensive accoustic stringing, plus three or four completely separate electric soundtracks, which at the first take seem to exclude each other completely. The final result is that they cooperate ideally. The amount of guitar paths even arises in the second solo spot background. I do wonder if some of the layers are inversed or not. The structure extends with multivoiced backing hype, untypical drum metrum filled with tiny bits and breaks.The listener gets a very warm, dense net of lovely sound which carries up Brian's soothing voice and impresive solos. Delicacy is mastered with a true melody. Astonishing musical tapestry to me. The only serious letdown here is that the fade out lasts for more than a half a minute, hidding some note gems in decay gloom . Thank God we have the computer utilities to repair such constructional sound fakes.

[ 07 ] WAS IT ALL WORTH IT [1989]
Hearing Queen back in 1989 was enjoyable, though 'The Mircale' brought in mixed feelings. It looked like they still wanted to hold on to that poppier side of their career, but the the rocking spirit was more irresistable than on 'A Kind Of Magic'. And the LP closing track is a standout. The vocal intro isn't really that good, but when the riff breaks you know you'll enjoy a mean kicker. The structure of the song is nicely interluded with orchestral bits and guitar adlibs (a very film soundtrack-like, brings glimpses of Flash-The Hero at times), but when they rock, they mean it. Well accented riffs mark the verses, the vocals are engaged and aggressive - underlining the title question. May puts out an enjoyable solo with bits of tremolo and quite impressive run out figure. The closing section is wonderful. After Fred concludes with manic laugh that it was worth living breathing rock'n'roll, the quartet blasts out a Sabbath-like close, thundering like tornado. Only the keyboards survive to fade out the piece with all honours (the keys could sound better - they seem a bit too synthy). A treat, nevertheless.

[ 08 ] I GO CRAZY [1984]
A B-side of "Radio Gaga" single. What!!?? B-side!?? It's better than half of the material on the pathetic 'The Works' album. Crafty rocker, with decent riffing and nifty chorus, rythm section pumping and grooving on fat tyres. May's guitar is unusually edged with some effect I can't name. Sort of a flanging one, though. Witty lirycs, slagging off some unfaithful bitch. Drivey solo, with Brian having a bit of slide fun. Taylor and Mercury go nuts vocally at the end. Whole lotta rockin' and a lot of energy in this one. Well combined trademarks of May-Taylor duett, the authors of the cut. Extends the list of unjustified choices for album outtakes in many performers' catalogues.

[ 09 ] SAVE ME [1979]
My God, how much I do love this one! Moving, beatiful verses contradited with sharp, aggresive chorus. Freddie must have galvanized his throat to make it through the vocals. Love the accoustic backing line and the first part of the guitar solo, but guitar climax in the rock part is even more mind blowing. The solo is a blast. Stunningly painted scream of loneliness. The song carries probably one of the best closings in Queen's career - seven or eight piano chords underline the vision of the kneeling, lonely man. Brings a chill to th spine and a tear to an eye. Always. Top of their game.

[ 10 ] HAMMER TO FALL [LIVE WEMBLEY 1986]
I don't endorse the studio version of this track much, though it's a big favourite. Just like Purple's 'Highway Star' on 'Made In Japan' - Wembley has expirienced once-in-a-lifetime performance. The rythm pattern is slightly changed to the studio take, tempo is a bit faster, and the playing is practicly flawless. Fred's voice only carries the signs of hour and a half ass worked show. But it's Brian here who is a hero. The riff backed with furious Taylor's bashes blasts the venue to bits. Soloing is crisp and tight. May has never been an impressive improvisor but here in the free-ride part he plays the solo of his life. Precision and feel combined with excitement and rawness. Love that. In the end Mr Taylor lets the wrists go, and after the final wham! you know well what a worthy rocker means to you.

[ 11 ] '39 [LIVE EUROPE 1979]
Mercury's voice doesn't fit this song as well as May's does, but when he get's backed by Taylor - the mixture gets interesting. This performance has an enormous vibe, thanks to the crowd enthusiasm, which pushes Queen doing accoustic bit to explore the limits. The three vocals excursion in the middle, edged by Taylor's high-pitched Byronesque scream is lovely. And the song turns out from the sentimental ballad to a fabulous stomper. Catches tight and doesn't let go easily.

[ 12 ] LOVE OF MY LIFE [LIVE MONTREAL 1981]
Unusulal choice of the unusual performance. Freddie is pissed off with the Montreal crowd lack of rythm sense (audible during a "Now I'm Here" vocal dialogue). He doesn't want to hear them people sing even a line here. He rules while singing this crowd teaser that he barely gets to sing otherwise. Brian on the accoustic 12-string, struggling through couple of notes to make them clear. An introvert take of this evergreen, amazing from head to toes.

[ 13 ] KEEP YOURSELF ALIVE [LIVE MONTREAL 1981 / EUROPE 1979]
Stomping drum intro brings a start of an unusual improvisation. Launching into the tune, the band scores a dangerous speed. This take blasts with a high voltage. After first chorus May lets himself go, rips it out with a river of notes. By 1981 this track was only an introduction to the drum solo. I decided to take definite steps to make up for this and I mixed in the second half of the track from 'Live Killers'. After the hugely applauded accoustic part of the show there was no mercy for the audience. The band pillages the ground vocally and instrumentally. Brian barely makes it in-tempo with the solo notes (nifty use of the delay effect), the choruses are blasting with vocal engagement. Pure energy and brillance.

[ 14 ] NEED YOUR LOVING TONIGHT [1980]
'The Game' was a always confusing affair to me. It still has some classic Queen tracks on it. Here you got one. Starts a bit typically for Deacon - well measured mixture of pop & rock - bass sounding thight and a strong accoustic guitar background. In the middle things get damn serious. So lovely heavy. Brian lets the Fireplace wail with an aggresive solo. The drum-bass duo lets it rip fabulously too. Won't let you sit still.

[ 15 ] KILLER QUEEN [1974]
It's a debacle whether Mercury's pastiches were kitsch only or a rather a higher form of rock art. Still some of these remain neat to the ears and their charm is timeless. This is one of these. Nifty chorus and Brian shines again. Ocassionally the more he arranges his solos, the better results he gets. I disilike a bit the very falsetto vocal verses, but the voices arrangement and the compositional skill with the tinniest detail worked win my thumbs up at the very end. Drive you wiiiiiild.... wiiiiild...' (wah-wah). Quite so.

[ 16 ] THE MILLIONAIRE WALTZ [1976]
Another gem that could easily get up the noses of rock purists and traditionals. A true Wienner waltz this is indeed! Driven by bass and piano, backed with army of voices and Mercury's theatrical manner reaching irresistble ranges at times. And what a treat in the middle there. Almost metal mid-break, could easily be a bit for headbanging. But Fred is only having fun with us. That's just a tease of what combining of the styles can do. Brian's solo is nothing but a Strauss lesson passed with A grade. The final round gets more lively, with the orchestral multi-layered guitar on fire again, and a close that reminds us that it's Queen, doing a rock album actually.

[ 17 ] DREAMER'S BALL [LIVE EUROPE 1979]
It was a dangerous idea to record such a swingy crawler on the 'Jazz' album, especially using the traditional rock instrumentation. With May's skills in overdubs and filtering tones however, we get a good result. Putting this sort of tune to a live set seems like a suicidal idea. So they play it accoustic and immitate the swinging horns with their very own voices. Remains a mistery to me how the hell exactly they DO make it. I'm voting for Taylor doing the trumpet (without the help of hands?) and May doing the trombone (hard to define Mercury's part as he's adlibbing something loosily every second). An unsolved puzzle to me. Whether it's courageousness or just the unfulfilled need to play games with the audience - it's just fun. And what a hell of a performance!

[ 18 ] BRIAN MAY - TOO MUCH LOVE WILL KILL YOU [LIVE BRIXTON ACADEMY 1993]
When the song surfaced in 1992 I though it was the most moving possible tribute to Freddie and his life. Couple of years later it showed up that this is a sort of Brian's own look back on his life. I got to say however - I don't like Queen's take of this song. It doesn't carry that much amount of personal drama that gives it another dimension. On May's Brixton appearance it sounded like a lament after Mercury's untimely passing away and that was the strength of it. It's also one of the most moving songs Brian has ever come up with. The emotions are audible here, May's voice creeks up from emotion at some point. (I'm glad it wasn't overdubbed). But the true monumentum builds up, when the band fires the engines on. The solo screams with anger, bitterness and saddness, while Murray-Powell section whams the backing out. A moving close with a pause and the dramaticly wailed title makes it clear. It's not only words. And that's what puts live The Brian May Band reendition of this song beyond any other. Always seriously moving.

[ 19 ] DON'T TRY SO HARD [1991]
'Innuendo' always deserves a listen as a whole album. The tracks on it (maybe with the exception of two) are standouts - every one on its own rights. So it was a bit of a dillema what to include among the evergreens. The choice is, typically for me, purely unusual. 'Don't Try So Hard' completely wears my insuide out. The song is ascethic in the arrangement, but it boosts the effect of vocals and guitar beyond limits. Freddie - in late 1990 phiscally already a shadow of a living man - provides a vocal line with phrases sounding almost impossible to sing for anyone. The tension and singing the heart out is immense. The song also brings in one of the finest May's solos of the period. Makes one feel like Fireplace is crying after someone. Like it was said a few songs later - "I guess I'm learning - I must be warmer now / I'll soon be turnin' round the corner now..." The evidence of the sad fact that they all were getting ready for the last farewell and expressed it by the music they made.

(C) (P) Martin Karski, October 29, 2005

The Vaults Re-claimed, Vol. 2 Intro: "The Favourites Collection Series"

2009-03-24T19:38:00.003+01:00

This one needs some introducton. We all have them favourite tracks of the beloved bands, right? We carefully select the tunes and sometimes record them into "the best of" compilations that substantially differ from the officialy released discs. Just because our tastes are strictly individual... That's what I did with many of my favourite performers. And some of this project has received a detailed review. Time to archieve this one. Enjoy.

Vaults re-claimed - vol. 1: Deep Purple - "Rapture Of The Deep" review

2009-03-24T18:12:00.005+01:00

DEEP PURPLE - RAPTURE OF THE DEEP (2005, Edel)

Some terrible mighty stuff going on here, people. To me “Rapture” is a true balm for the soul. Against all the screamers who say that Purple without Lord and Blackmore are not Purple. True, they waste their live potential. It’s pure nonsense to say that their concerts are half as exciting as decade before. Nevertheless they stall can kick out the jams. After two years „Bananas” have turned out something of a grotesque (with the exception of a few tracks), so this line up needed the proper album to be culled out. And here it is.

What stuns one after first listening is the fact that there is no track that could be fully decided as a fake. Ones that seem to be weaker proposals at the start (“Back To Back” and “Junkyard Blues”) turn out killing chilling when it comes to their section with the solo parts. Things Airey and Morse do here – truly astonish. Not a bit of such stuff happened after Blackers before. If there is something mediocre here – then it could be „Wrong Man” – not really that exciting clone of „Silver Tongue”. In every other track you might find something that punches you straight in the face.

If not outstanding in terms of 38 years of legacy – some tracks are musical gems. “Girls Like That” with its beautiful intro, driving riff, up-tempo, Hammond only solo will surely make you dance and jump. You will surely want these girls after that! “Don’t Let Go” feels radio friendly but in a good way: very tasteful musically – you just like the tune and it makes you sway. The chorus will catch and never let go. Soloing is stylish and well balanced – Airey uses a fabulous electric piano colored keys. After a bunch of runs-thru this is my favorite. Doubts if it's a good album swept off.

And so we come to witnessing the monuments – and we have plenty of these here. Last time such a good proportion could’ve been seen on „Purpendicular”. “Money Talks” freaks you out straight from the punchy intro to the last note. Riff and chorus stand among the finest after-reunion ideas – terribly catchy, but heavy as a monster. This one will not easily leave your mind, trust me. A bit pity that middle declamation of Gillan ad Morse’s solo don’t stand out that well, which spoils the effect a bit. Still we have a cracker opening the set. What’s next on the glory road? “Kiss Tomorrow Goodbye”. A true madman’s boogie. A monster. Compared with that, „Fire In The Basement” is a feather. The whole band drives and pushes on like five maniacs possessed – heavy, heavy drive basing on a idea that seems to be rooting in swing! No sitting still, just let the body catch the vibe!

“Clearly Quite Absurd” may mislead your senses as the one of the most touching Purple ballads ever done. Yes – the basic motive is astonishingly beautiful and the note sequences all the way through caress the listener senses – the beauty coming out of a very sad melody and reflexive lyrics. But just wait when the middle breaking idea comes back at the end. In terms of keyboard craft what happens at the end is a sort of throwing a hand grenade into your mind. Watch out for that ballad. Your head may roll off the corpse. Never have a Purple ballad been so dangerous before. It’s a killer. It will be a classic.

If “Before Time Begun” is a trip into a progressive field – then Purple win again. It’s a sort of milestone for them in terms of every aspect that we name as typical for that band. Using the chord sequences, balancing and leveling the intensity of playing along with building up of the track structure. So much disquieting stuff is going on here. This one will leave you astonished. You’ll wonder if you know where you are but you will surely like this feeling.

And for the very last the title track. With all that it brings in to one's mind – melody, amazing multileveled orchestral keyboard layers, oriental feel, middle breaks, soloing – only one comparison can be done. Purple have finally written their very own “Stargazer”. And there is nothing bad in it. Gentle but pleasing similarities between these tracks don’t destroy the fact that “Rapture Of The Deep” is not an empty phrase. It’s all on the album. Tones of tasty musical raisins that you’re supposed to consume along with lots of yummie cake. At long last a mighty successor to the “Purpendicular”. Prepare to get sink into rapture of the Deep.

(C) (P), Martin Karski, February 2005

This was done right after the release of the album. From the four years perspective - I would debacle on the value of successing the "Purpendicular". Other thing is important: track that have seemed great by then, are still highly impressive now. I wish I could say the same about their stage craft now (but I can't).

The writer's vaults reclaimed!

2009-03-24T18:06:00.003+01:00

Well! It's certainly time for something new! Actually a bit of new, but a load of old... ;-) I used to do some writing before, for years in fact. And now, browsing through the dungeons of my HD, I've found a nifty plenty of that. If I'm 'something-of-becoming-journalist' - why not use that. You never know when someone finds a bit of interest in knowing others' mind.

So there we go. Let's put some up, hope you'll like it.

Sun

PS. Please be fair and approach it as an intelectual property that you treat like your own. If you fancy to cite - please ask. I'll gladly think over and approve any reasonable request. Thanks.

DEEP PURPLE: The Archieve DVD Vol. 3 - THE FURTHER THOUGHTS

2009-03-18T11:17:00.007+01:00

OK, so here it is - the detailed info about the Archieve DVD contain:

Disc 1
Help (5:21 - Danish TV)
Hush (3:30 - Playboy After Dark)
Wring That Neck (3:20 - Canadian TV)
Hallelujah (3:42 - Beat Club)
Mandrake Root (12:08 - Southbank)
Speed King (4:13 - WDR Vicky Leandros)
Black Night (3:10 - Top Of The Pops)
Child In Time (9:36 - Doing Their Thing)
Lazy (11:06 - Copenhagen 1972)
Strange Kind Of Woman (3:55 - Top Of The Pops)
Fireball writing session (silent) (3:58 - ABC TV Australia)
Fireball (3:26 - Disco ZDF)
Demon’s Eye (10:09 - RBB Germany)
No No No (7:15 - Beat Club)
Into The Fire (3:57 - RBB Germany)
Never Before (3:29 - promo)
Highway Star (6:04 - Beat Club)
Smoke On The Water (4:47 - Hofstra)
Burn (6:35 - London 74 / Polytechnic Project)
Mistreated (10:24 - California Jam)
Love Child (4:20 - Tokyo 75)
You Keep On Moving (5:42 - Tokyo 75)

Disc 2
And The Address (2:55 - Playboy After Dark)
Wring That Neck (24:19 - Bilzen Jazz Festival 1969)
Wring That Neck (11:19 - Pop Deux’ Paris 1970)
Mandrake Root (15:01 - Pop Deux’ Paris 1970)
Black Night (3:15 - Promo clip)
No No No (rehearsals) (15:00 - Beat Club)
Jt Nuit’ French TV 1974 (3:08 - INA France)
Burn (6:35 - Leeds Polytechnic Project 1974)
Interview (Leeds Polytechnic Project 1974)
Space Truckin’ (10:00 - Leeds Polytechnic Project 1974)
New Zealand TV Doc Nov 1975 (23:06 - New Zealand TV 1975)
Smoke On The Water (3:00 - New Zealand TV 1975)
Tony Edwards (DP manager) interview (2:11 - French TV 1976)

And some rumblings about what the selection carries!

Overall setlist impression:

It certainly is interesting. Still, in terms of aforementioned comprehensiveness - it fails to succeed. You can't have the long awaited shout out: "At bloody last I have it all!". Not this time at least... Someone's gonna make an attempt to get more money from you next time while other bits and pieces are being compiled - if any.

Flaws

The biggest flaw is the inclusion of only "Child In Time" from Granada TV's Manchaster 1970 screening. If it's due to the research for more complete footage than the available 23 minutes, then it's justified, but otherwise - this is unacceptable. Although in original shape "Speed King" has only it's 2nd half and "Wring That Neck" and "Mandrake Root" are edited to 5 minutes lasting endings - the quality of the picture and the level of band's performance are unbeatable. Only the other 1970 materials from this set (both included - "Southbank" and "Pop Deux") are equally as strong musically, but visually not as much attractive. The rest of the findings is interesting but does not closely follow these standouts.

The other major complaint is the use of the filler fragments from the previous Archieve DVD editions. "Lazy" of 1972's Copenhagen, "Smoke..." of 1973's New York and "Mistreated" culled off from "California Jam" do complete the cross-section of the material, but are nothing else than that. It would be better to use this space for items yet unreleased before in the string of DVD Archieve series. A full existing footage of Mk IV acting in Tokyo 1975 with the late Tommy Bolin - also comes to mind here.

Some indexes lead to asking if the included materials are complete. The footage of Blizen Jazz Fest from August 22, 1969 - being the earliest ever recording of Mk II live - was circulating underground as a collage of "Wring That Neck", "Paint It Black", "Mandrake Root" portions. Here we have only the 1st composition listed. "Burn" from legendary "Leeds Polytechnics Project" is listed twice on both discs, one can only guess why.

Aces in the set reviewed

Disc 1

Help (5:21 - Danish TV)
Hush (3:30 - Playboy After Dark)
Wring That Neck (3:20 - Canadian TV)

Anything showing the first Purple line-up is warmly welcome - after forty years fans will be able to watch the early Purple incarnation.

Mandrake Root (12:08 - Southbank)

First of the mind-crushers included. Probably in edited shape (in Lord's part), but featuring an extensive show-off from Mr. Blackmore. His black-white Stratocaster receives a real survival rally during the closing 6 minutes. If I remember well Paice also demolishes his drum kit at the very end.
Child In Time (9:36 - Doing Their Thing)

In terms of Lord and Gillan's performances - this one has never again been played so astonishingly. Pity that the guitar solo is edited, nevertheless chills down the spine are GUARANTEED.
Demon’s Eye (10:09 - RBB Germany)

Seems like at some point this song was supposed to be an exchanger to "Strange Kind Of Woman" in the setlist. Build around the same arrangment idea it wasn't as effective though. Anyway it's a lost gem that will be enjoyed by many.
Never Before (3:29 - promo)

It is probably the best mounted live video collage done accompanying a studio recorded sundtrack I've ever seen. If you wasn't aware that this track was only once played live in the history, you'd say that the film was shot at the live gig. Some of the bits in it make you think where do the unseen bits do actually come from.
Burn (6:35 - London 74 / Polytechnic Project)

A very tight performance of this classic track with some astonishing close-ups of Blackmore soloing wildly and doing some trademark guitar handtricks of his. Worth every second of it.
Love Child (4:20 - Tokyo 75)
You Keep On Moving (5:42 - Tokyo 75)

Say what you will - this was one of the best concerts Mk IV has performed. Reputation-wise dead and burried after the infamous shit-release of "Last Concert In Japan" now there is a chance to back up the restoration of glory of this concert together with the existing 2 CD release of it's tapes.

Disc 2

And The Address (2:55 - Playboy After Dark)

No idea why this is separated from the 'Hush" thing on the 1st disc. Everyone wonders if this is the famous 'teach Hugh Heffner' thing that's being rumoured for years. A classy performance of the Purple debut record opener follows.
Wring That Neck (24:19 - Bilzen Jazz Festival 1969)

Whatever shape this is in - the earliest Mk II gig ever captured on video will be out in the space now. A quarter of delight I guess.
Wring That Neck (11:19 - Pop Deux’ Paris 1970)
Mandrake Root (15:01 - Pop Deux’ Paris 1970)

This particular inclusion will not be reviewed in detail. A half of hour material that causes every rock and roll brain attempt to leak out of the head. Even Keith Emerson and Jimmy Hendrix would feel embarassingly amused to see this real apocalypse five piece unit going for the mayhem and destroyer. Biggest freak out of the release and probably the wildest bit of Purple ever captured. A MUST!

Space Truckin’ (10:00 - Leeds Polytechnic Project 1974)

While the fans opposing David Coverdale to sing the track will raise their voices in protest after this - please notice the 'Zarathustra' uprising intro to the song, as well as Blackmore's "Greensleeves" interpretation on the bridge to his improvisation part. Brilliant. Although Blackers doesn't cook up to his usual best at the end - he still manages to deliver goods in this one.

Be it then - some flaws and fillers incorporated but still it will be something that a hard rock fan can not miss in the collection. So now counting down to the early July... Tick-tock, tick-tock...

DEEP PURPLE, The Archieve DVD Vol.3 - aka Strange Kind Of Affair ???

2009-03-11T12:13:00.005+01:00

A news containing the track listing for third fully authorised DVD production containing various video footages from period of Deep Purple's 1968 - 76 heyday is flying around these days. And it would be nothing short but sensational news if not some gloom surrounding it. While some of the items planned for the DVD are known to collectors for a long time and showcase Messers Blackmore, Lord, Gillan, Glover and Paice in the Mk II line-up at their most frightening best - the other items seem to be of an unknown origin and sourcing. This causes a lot of speculation among the fans, not only in terms of the rare items quality, but also presence of one hot question: is that all that's lying in the vaults? So far the loud voice of Simon Robinson from the http://www.deep-purple.net/ is suspiciosly quiet about commenting any of the tracklist positions. Water filling the mouth of the purple wisemen seems to be a bad sign of alert for this - anyway - long awaited and announced Holy Video Purple Grail.

One could wonder whether there's going something behind the scenes or not? It would be good for this release to be as comprehensive as possible, just to put a punch in the face of a label producing cheap, dodgy, unauthorised "Critical Review" series of crap aimed just to rip the unaware collectors off their money. They're quite aware of the fact how much a devoted fan will do to even try to discover some uncirculated archieve bits of a favourite band, and they do attempt to make some bucks from it.

Anyway let's hope that this will turn up a well combined, revised and worthy Purple Pandora's Box. If it turns out what it was promised to be for years - there will be no better classic rock documentary available ever. The footage from Paris 1970 with Jon Lord commanding a live sonic "open-heart surgery" on the upwired back of his Hammond organ with a drumstick is capable to freak out every mind of a rockfan. Even a Keith Emerson pump-and-circumstance-sort-of-thing follower will find this item worth a go seeing this material alone, and there is promised to be more of that sort of things that sore eyes of a Rockaa have never ever seen before. Hope so. More details when they're globally confirmed.

Ian Gillan, A premiere of "One Eye To Morocco" just queueing in the pipe.

2009-03-11T09:35:00.009+01:00

Ian Gillan is being highly acclaimed here by your own very own. While his personality and sense of humour would be a subject of a critical debate (as well as his attitude to leading the current pale shade of Deep Purple) - his vocal abilities and a talent to compose great songs are indisputable.

With no doubt the golden years of his solo stint were during the NWOBHM in the early 1980's when he was working with the almighty composer and keyboardist Colin Towns. The two is responsible for creating the most impressive tracks for Gillan's vehicle - ranging from ravingly speedy punky crunches like "Secret Of The Dance" or "Message In A Bottle" to the epic likes with almost progressive structures like "Fighting Man", "On The Rocks", "Born To Kill" or "Demon Driver". Colin must also be acknowledged for an amazing ability to write climaxive ballads, with "She Tears Me Down", "For Your Dreams" or "Living A Lie", being best examples - just to name a very few. While being kicked out of Purple in the early 1990's Ian has scored another two excellent albums, with "Toolbox" (1991) standing tall in particular as an awesome rock cut with trully metallic edge. Re-estabilished in the Deep Purple from 1993 on, Ian was able to provide only "Dreamcatcher" CD in 1997. A pale collection of disasterously produced compositions. While some of the songs were good itself - the recording was done only with the cooperation of tallented guitarist Steve Morris and extensive use of cheap synthesizers and poor arrangements. In the context of IG's back catalogue - it was a biggest letdown possible. Knowing this one may feel allright with the fact that Purple kept him busy enough from side projects of this low level. Much better idea was to gather friends and music relatives from the business and celebrate 40 years of being a rocker. "Gillan's Inn" gathered attention and positive reception from both the fans and the listeners unaware of a long string of IG's solo efforts. And though the selection of presented material is staggering in terms of Gillan's illustrous career overwiev - the result stays quite enjoyable.

And now were in 2009, being informed about the "One Eye To Morocco" being released right now. The album containing songs and melodies with carefully planned jump off the rock platform. No riffing, no solos. This could be tricky. If the compositions and arrangements are good - the idea will defend itself and win positive reception. If these factors are misled by the lack of inspiration and artistic vision (which was clear on the "Dreamcatcher") - the first portion of premiere material from Gillan in 12 years might easily go under the balance, which would be a big shame. The Deep Purple is already so, but aside of it the man still has the guts to do a good music.

Waiting for my copy so far, hoping to give it a listen during a weekend with music friends in Krakow. Stay tuned, there will be some thinktanking on it for sure!

A new way to rock!

2009-03-11T09:30:00.003+01:00

I decided to stick to English. I found a neatty domain name and I think my rumblings can get to a mind of some people who listen to ambitious though maybe a little conservative music genre.

There will be news about premiere releases, gigs attended and overall rockandroll state of mind - things seen, heard and expirienced.

Hope you'll enjoy the stuff.

Sunby

Nowy album Heaven And Hell

2009-02-18T21:36:00.005+01:00

Z njusów podanych na www.rainbowfanclan.com:

28 kwietnia wychodzi nowy album Heaven And Hell pt.: "The Devil You Know". W ten sposób wydłuży się lista dokonań jednego z najlepszych składów Black Sabbath - album nagrają Tony Iommi, Ronnie James Dio, Vinnie Appice i Geezer Butler. Panowie są bardzo zadowoleni ze współpracy i podekscytowani faktem, że mający 17 lat album "Dehumanizer" doczeka się godnej, jak mówią, kontynuacji. Z tytułów nowych utworów wyciekły m. in. : "Bible Black", "Rock'n'roll Angel", "Breaking Into Heaven", "Atom And Devil", "Eating The Cannibals".

To może być mocny kandydat na wydawnictwo roku.

Where we start...

2009-02-18T21:13:00.004+01:00

Tak już mam, rodzą się różne zakręcone pomysły, a potem człowiek podwija rękawy i bierze sprawy w swoje ręce, żeby zobaczyć na ile starczy mu zapału, by je zrealizować... Jeśli Twoje serce zaczyna bić szczególnie mocno w takt klasycznego rock'n'rolla lat 50-tych i 60-tych, klasycznego rocka lat 70-tych lub dźwięków metalu spod NWOBHM lat 80-tych - niech to będzie miejsce dla nas! Na razie moją intencją jest stworzyć rockowe muzyczne kalendarium postaci, które lubię w obszarze rock kan(i)onu. Skupić ludzi, którzy też je lubią... A potem - zobaczymy! Nieśmiały zalążek rock gazety w świecie, w którym stajemy się razem z naszymi idolami - dinozaurami?... Nie!!! Let our music do the talking! Zapraszam.