Five years over the rainbow...

It was tough gettin' down to do this note (or eventually not...). For five years ago - it was one of the toughest days of my life. Losing Ronnie James Dio from the circle of living felt like the end of the world. It really did. One of the Heroes, most formative to my classic rock personality and surely most genuine, humble and lovable human being among my idols that I've ever met, HAS just left the building...

Then again, I thought, hell, it hurts but it's about being immortal. We should celebrate it, that actually he is so. I mean, not a day goes without hearing his voice. And it's not a pose, not any kind of pretending. This short bud with an universe of the voice has done so much outstanding music and exciting songs in period of his 45 years, that it's just impossible to get by from day to day without, actually, having him around, hearing his singing every couple of hours, on and on... Year after year, despite the passing time, this man's legacy just never fades away. We bring it and carry it on with ourselves just like we do have clothes on or anything that we feel is impossible not to have with us. This is rare, precious and absolutely grand.

After millionth time of playing some favourite nuggets of his like "Hoochie Coochie Lady", "Homeward", "Catch The Rainbow", "Kill The King", "Die Young", "Sign Of The Southern Cross", "Don't Talk To Strangers", "King Of Rock 'n' roll", "Too Late", "Bring Down The Rain", "As Long As It's Not About Love", "Ear In The Wall" or "Bible Black" - it still strikes me - how unique his voice was. He was able to cover with his singing anything from musical or pedastrian L. A. bar rock via classic hard rock and NWOBHM to the most vile, angry, doomy fevery scratching angry metal. Hitting the age of sixty seven, his voice lowered by octaves but never lost this striking Dio colour and phrasing, the vile elf warning you of all the illuminations of life was always there. Asked how does he maintain this kind of amazing vocal condition despite the aging, he replied in October 2000: "You just have to know what you can do. I train, excercise, but don't push my voice beyond what I can actually sing. That's all". Simple, innit? Two hours before that, when on stage with Romanian Philharmonics, Steve Morse has thrown the riff from "Iron Man" into his rif-raff intro to "Smoke On The Water". Dio having heard that, started to sing the lyrics of the track and thus made a bit of unwritten rock history, as it was probably the only time when actually Deep Purple performed Black Sabbath track with Sabbs former member live on stage... Ronnie, being given "Mob Rules" CD cover to sign said: "We should have done that tonight, didn't we?" Smiled wildely and blinked an eye. You just could not escape his personality... He made most of people his own brothers army, both from stage and behind the curtains offstage... I think it was the singer of Halestorm, who asked Ronnie after playing support slot to his last ever live date with Heaven And Hell, how does he maintain the will to meet and greet fans every night after gig, always treating them as his friends... Ron said: "For you they will be just hundreds of people you will never remember, year after year, tour after tour... But for each of them the moment of meeting you once in their life might be something they will treasure for all life. So make it count."

That is what I miss most about Him, besides the usual list of The Voice, The Music, The Grit, The Charisma that made Ronnie James Dio someone uber-extraordinary. But what I recalled above makes his loss a scar that doesn't want to pale and soften... thus I celebrate his person, bringing it on every device that can play music. Ronnie was, Ronnie is and Ronnie will always be. Bring down the rain, wash tears appearing again... Missed, loved, on and on forever. Thanks Ronnie, for all you did in the music and all you've stood for and were as a human. Precious and timeless gift to us all.

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!

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!

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!

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!