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

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... :-)

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]

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"

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

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!

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

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 ???

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.

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!

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