Don Kirshner Rock Show - great vault of rare rock concerts

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....

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!

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...

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]

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!!!

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 opening bars of "Perfect Strangers"!? :-)

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

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

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 :-) )

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

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!