DVD Review: Deep Purple - Perfect Strangers

DVD Review Deep Purple - Perfect Strangers

Eagle Rock Entertainment

All Access Rating: A

Deep Purple - Perfect Strangers 2013

None of the members of the Mark II version of Deep Purple could put their fingers on the exact reason why they decided to reunite in 1984, except to say that the timing was right. 

Whenever the question was posed to any of them in the various TV interviews stitched together for the period tour documentary included as bonus footage and providing historical context for the new live DVD "Perfect Strangers," vague, incomplete and stammering answers cautiously escaped their mouths as if they didn't fully understand it either. There was something mystical at work.

Money wasn't the issue. One of the more contentious pieces in the piece, which seems to follow Purple from stop to stop, finds an irritated Ian Gillan bristling at the mere suggestion that a big pile of sweaty cash would entice them to reform when the idea was posited by two TV show hosts clearly angling for an admission that financial remuneration, and lots of it, was what brought them back together after all these years. Gillan said they'd had plenty of lucrative offers to do it since 1973, when the classic lineup simply couldn't bear to continue as they were then configured - his implication being that they would have done it a hell of a lot sooner if that was the only issue holding things up.

There was no explanation for it, aside from the fact that all the planets had aligned for Gillan, Roger Glover, Ritchie Blackmore, Ian Paice and Jon Lord. And certainly none was needed when the magically reunified Mark II crew embarked on a massively successful tour in support of the platinum-selling comeback album, Perfect Strangers, that included this searing, and somewhat mischievous, performance of newer material and older classics Purple gave in Melbourne, Australia one night in '84.

The camera certainly doesn't lie, and neither does the roaring sound and sharp imagery of "Perfect Strangers," filmed smartly and with purpose to conscientiously capture not only the technically brilliant musicianship Purple's always been famous for, but also the explosiveness and wild-eyed euphoria of a group that had plenty of fire left in its belly and was as cohesive as ever.

Firing on all cylinders, Purple slams through a careening version of "Highway Star," riding high-voltage riffs, before getting caught in the wash of the bluesy spin cycle that is "Nobody's Home." With lust in their hearts and a wolfish demeanor, they revel in the surging testosterone of "Knocking at Your Back Door," a song of "low morals," as a devilish Gillian describes it. 

Haunting and mesmerizing, "Child in Time" is dark and beautifully rendered, punctuated by the magnificent, and barely human, screams of Gillan, clad in black leather pants and full of charismatic machismo. Building drama slowly, until the song becomes an exploding star, Purple also smolders in "Gypsy's Kiss," and expands "Perfect Strangers" into something even more exotic and cinematic in scope than on record. Everywhere else, however, the quickened pace of these songs is breathtaking, and the extended jams are furious and full of substantive, agile movements. No noodling is allowed.

The ramshackle, cosmic-hippie grooves of "Space Truckin'" rumble and shake; then suddenly, Purple falls down the rabbit hole of that dizzying chorus and burns up on re-entry. Unexpectedly playful, Gillan and Blackmore break ranks during a brawny, combustible "Strange Kind of Woman" and briefly segue into "Jesus Christ Superstar." And when Purple plows into the anti-war sentiment of "Under the Gun" with righteous intensity, Blackmore's crazed soloing and Hendrix-like showmanship, so gripping here, grows even wilder, with the guitar wizard laying his instrument over an amp and having his noisy, distorted way with it.

Directed for optimum action, with superbly written liner notes, "Perfect Strangers" is the concert film Deep Purple had to release, if for no other reason than to remind everyone that the MK2 lineup had few, if any, equals in a live setting. Nobody plays hard rock with this kind of passion and hunger, not to mention their virtuosity and indebtedness to classical music, just for money. http://www.eagle-rock.com/

- Peter Lindblad

DVD Review: Rainbow – Black Masquerade

DVD Review: Rainbow – Black Masquerade

Eagle Rock Entertainment

All Access Review: B+

Rainbow - Black Masquerade 2013

Ritchie Blackmore was done with Deep Purple. That old bugaboo “creative differences” had reared its ugly head again, as the legendary guitarist had it out once more with singer Ian Gillan, who was brought back for the band’s 25^th anniversary. In 1993, Blackmore walked out, leaving abruptly during a show in Helsinki, Finland.

The parting was not such sweet sorrow for either side, and Blackmore spent little time mourning the divorce. In 1993, he revived Rainbow, a project that had been dormant since 1984. To bring Rainbow back to life, he turned to a rag-tag band of spunky young upstarts, including singer Doogie White, his new collaborator. Hardly a blip on the radar, they stuck around barely long enough to record 1995’s under-appreciated Stranger in All of Us LP – a dark, moody record of traditional melodic heavy metal with flourishes of classical music bombast – and do some touring before Blackmore threw himself into medieval and Renaissance music full-time and turned his back on hard rock.

Largely forgotten by history, this incarnation of Rainbow deserves a reassessment, and it starts with “Black Masquerade,” a rousing live effort unearthed by Eagle Rock Entertainment now available now as a two-CD set, DVD or in digital video and audio formats. Documenting a lively performance in Dusseldorf, Germany, for that country’s “Rockpalast” TV series, “Black Masquerade” is a colorfully shot and thunderously loud powder keg of impressive musicianship and youthful hunger.

Seeing Blackmore – more restrained physically as he shuns the wild histrionics of his gloriously unhinged past – reel off a dazzling array of ruthlessly efficient, full-throttle riffs, searing leads and fleet-fingered arpeggios that he expertly untangles with ease is one thing, but keyboardist Paul Morris is a revelation, combining the vivid coloring and propulsive thrust of Jon Lord with Keith Emerson’s classically influenced gymnastics. The long solo Morris takes during the show is an awakening, creatively playful and athletic but never veering off the intricate course he has set.

More than the sum of its disparate, if well-arranged, parts, the collective Rainbow rides roughshod through a combustible mix of tracks from Stranger in All of Us and classics from Blackmore’s Deep Purple days and earlier Rainbow treasures, charging into pulse-pounding versions of “Spotlight Kid,” “Man on a Silver Mountain,” “Since You’ve Been Gone,” “Burn” and a raucous “Long Live Rock ‘N’ Roll/Black Night” medley with reckless abandon and fierce energy. It’s as if they know their time together is going to be brief, so they let it all hang out.

And while the material off Stranger in Us All has less character and meat on the bone than past Rainbow efforts, it does shine on “Black Masquerade,” as Rainbow speeds into the night of the song “Black Masquerade” without brakes and takes a magic carpet ride through the exotic Middle Eastern terrain of the sweeping epic known as “Ariel.” Even more mysterious and ominous, “Hunting Humans (Insatiable)” also comes off here as a cinematic affair, the flowing drama of it heightened by White’s powerful, evocative vocals as it segues into Beethoven’s “Ode to Joy” – one of the many classical music ambushes found throughout “Black Masquerade.” White’s personality is infectious, and he is a fine master of ceremonies, displaying charm and a masculine stage presence that almost matches the testosterone levels of Chuck Burgi’s barn-burning drum solo. 

Where “Black Masquerade” the DVD falls short is in its extras – simply put, there are none, aside from the enthusiastic, if overly hyperbolic, tribute written by Jeff Katz. A little visual history lesson on the life and quick death of this particular unit in the form of interviews with key players or a narrated featurette would be a welcome addition. Otherwise, even though this Rainbow lived its own life apart from other more celebrated lineups featuring Ronnie James Dio, Graham Bonnet or Joe Lynn Turner that waged rock ‘n’ roll warfare under the same banner, they come off as something of a cover band – albeit it a great one with Blackmore on guitar. It’s as if they were an imitation that had its run and could not create its own identity. Therefore, it must never be spoken of again.

That’s a shame, because as this explosive, forceful and engaging outing illustrates so effectively, Blackmore might have been well-served to keep forging ahead with this group, even if it’s not the most beloved version of the band.

– Peter Lindblad

CD Review: King Kobra – King Kobra II

CD Review: King Kobra – King Kobra II

Frontiers Records

All Access Review: B

King Kobra - King Kobra II 2013

Sentencing standards sometimes vary wildly from state to state, but it’s hard to imagine anybody getting 14 years in the hoosegow just for disturbing the peace. 

That’s what the whisky-guzzling, drag-racing, cop-baiting subject of “The Ballad of Johnny Rod,” a smoldering, swaggering chunk of Great White-style boogie-rock off King Kobra’s latest meal of meat-and-potatoes, working-class heavy metal, gets for raising a little hell. The judge should brace himself to be overturned on appeal.

Evidently, Johnny Rod, who also happens to be the band’s bassist, was given work-release privileges to rumble and roll through King Kobra II, the second LP released by King Kobra since the hard-nosed ‘80s metal underdogs reunited for their 2011 self-titled barroom brawler. Carmine Appice, King Kobra’s founder, had a hand in producing the new record; so did powerhouse vocalist Paul Shortino, the only non-original member now in King Kobra, having replaced singer Mark Free – now Marcie Free, after dealing with her gender dysphoria and coming out as a woman. And while modern recording technology was almost certainly used in bringing King Kobra II to life, the album feels as if it was not made for these dull times.

A throwback to the ‘70s hard rock of Deep Purple and Montrose, it’s got guts and integrity, with a blue-collar work ethic – courtesy of Shortino’s sweaty soulfulness and gritty rasp – and a thirst for raw, dangerous excitement, the kind that’s probably illegal and found only in the bad part of town. Appice’s drumming is purposeful, clever and propulsive, driving forward the chugging, locomotive opener “Hell on Wheels” with a steam-powered pace, before strutting with all the painted confidence of a burlesque queen through “Have a Good Time” and breaking rock like a chain gang on “When the Hammer Comes Down” as the circling guitars of Mick Sweda and David Michael-Philips crack the whip.

Toughening up their melodies, with six-string riffs and leads that sting like alcohol poured into a bullet wound, King Kobra comes out swinging on “Knock Them Dead” and “Running Wild” – the reference to a “raging bull” in the latter track a particularly apt image. When they want to dance, they grab girls of loose morals and do a little bump-and-grind in “The Crunch,” with its down-and-dirty guitar boogie, but underneath that stained, sleeveless denim-clad sound beats a vulnerable heart, broken to pieces in the regret-filled “Got It Coming.” In desperate need of repentance, King Kobra trudges down to “Deep River,” a mesmerizing, crunching Zeppelin-like epic, to wash away its sins with gospel background singers and climbing guitars that sear one’s conscience like guilt.

That’s as ambitious as King Kobra gets on the straightforward II, a sturdy, if unspectacular set of tracks as burned-out as the most desolate parts of Detroit. A dimly lit corner bar of a record sound-wise, it’s riddled with metal clichés, devoid of real imagination and yet it is built on solid, though somewhat bland, songwriting ground. And the performances are tight, welding together strong hooks that have a firm grip, like a steelworker’s handshake. 

Too often, though, the choruses are ineffectual and uncertain, although that’s not the case in the well-constructed closer “We Go Round,” a fully formed pop-metal diamond that sparkles in the right light. II may sound like a bunch of old friends getting together to relive the glory days and bang it out in the garage, but there’s a certain amount of charm to that. A round of applause then for King Kobra, a band who refuses to bow to what’s trendy and keeps on doing what feels good. http://www.frontiers.it/

– Peter Lindblad

CD Review: Whitesnake – Made in Britain/The World Record

CD Review: Whitesnake – Made in Britain/The World Record

Frontiers Records

All Access Review: A-

Whitesnake - Made in
Britain/The World Record 2013

David Coverdale is not a man without a country. He calls two of them home.

Always the charming rascal, with lust in his heart, a bawdy sense of humor and the restless, romantic heart of a drifter – the type of character he seems to identify with the most – perpetually looking for true love, Coverdale is English through and through, even if he now has dual citizenship in the United States. He probably stills takes his tea in the afternoon.

Taken literally, the title to the new package of rousing live recordings from pop-metal warhorse Whitesnake is self-explanatory. Undoubtedly it refers to material culled from a massive 2011 tour that included nine sold-out U.K. shows and as many as 87 other concerts from around the globe for the boisterous, pulse-pounding Made in Britain/The World Record, but it could just as well describe Coverdale the man – worldly, cultured and yet clearly a product of his native environment.

Ever the likeable rogue, Coverdale is in his element on the 25-track, two-disc Made in Britain/The World Record, singing with surprising clarity and as soulfully as ever – especially on wistful, beautifully rendered versions of “Fare Thee Well” and a softly acoustic “One of These Days,” the warm rasp in his voice dripping with nostalgia and longing. Time hasn’t ravaged his voice one bit; it still rings out clearly amid the bluster and charged electricity this Whitesnake outfit brings to classics like “Fool for Your Loving,” “Bad Boys” and an exuberant, testosterone-fueled “Slide it In” that practically reeks of cheap sex – just as Coverdale intended.

Radioactive meltdowns occur as Whitesnake takes on Deep Purple’s “Soldier of Fortune” and a satisfying medley of “Burn” and “Stormbringer” to end the set, but they mean business when they grind away, like a desperate stripper short on rent money, in “Lay down Your Love” and “Snake Dance.” Much like those two STD-infested sonic brothels of pure bluesy nastiness, both of them sleazier and more infectious than the originals, “Can You Hear the Wind Blow” certainly smolders and “My Evil Ways” smokes, with mean, biting riffage courtesy of guitarists Reb Beach and Doug Aldrich, whose slide guitar work in the intro to “My Evil Ways” has an edgy drawl and sharp aspect to it.

Without their heaviness, their feel, their stylistic diversity, their vibrant tones and rich variety of orgasmic solos, Made in Britain/The World Record wouldn’t be nearly as vital or as fiery, and when melody and harmonies are called for, as they are on “Here I Go Again,” “Love Ain’t No Stranger,” “Is This Love” and “Give Me All Your Love,” Beach and Aldrich play with style and taste, making their presence known but not in an overbearing manner. The songs are allowed to breathe, as the six-string killers sneak around stealthily under dark, spellbinding atmospheres, like that which envelopes parts of “Still of the Night.” They make the epic arrangements of “Forevermore,” off the 2011 album of the same name, soar, but without the remarkably dynamic drumming of Brian Tichy, a definite star in the making, they would go nowhere.

A worthy and quick successor to Made in Japan, an equally dazzling, if not quite as expansive, Whitesnake live album released earlier this year, Made in Britain/The World Record will seduce and overpower longtime fans and new converts alike with superb sound and indefatigable instrumental vigor. http://www.frontiers.it/

– Peter Lindblad

CD/DVD Review: Rainbow – Live in Munich 1977

CD/DVD Review: Rainbow – Live In Munich 1977

Eagle Rock Entertainment

All Access Review: A

Rainbow - Live in Munich 1977 2013

Ritchie Blackmore had run afoul of the law in Vienna, Austria, after attacking a bouncer and dousing him in beer because Blackmore didn’t appreciate the way he was manhandling the patrons. The only problem was his post-Deep Purple project, Rainbow, was supposed to head to Munich, Germany, for a highly anticipated performance that was going to be filmed for German TV.

While Rainbow’s people tried desperately to free Blackmore, they were able to reschedule the event for September 20, 1977, a day after it was originally slated to take place. After much legal wrangling and delays, Blackmore got out, and although he was late in arriving, the legendary guitarist finally made it, none the worse for wear. Motivated to go out onstage and channel any lingering frustration into a performance for the ages, Blackmore is simply mesmerizing on “Live in Munich 1977,” the only known live concert film featuring Rainbow’s Blackmore-Ronnie James Dio-Cozy Powell lineup.

Out now on a rather darkly filmed, yet absolutely captivating, DVD and released as both a double CD and two LPs, the archival “Live in Munich 1977” is dazzling, as Blackmore puts on a jaw-dropping display of technical brilliance, sounding remarkably soulful in parts – especially during a meditative, bluesy interlude in an otherwise explosive 16:25 version of “Man on the Silver Mountain” that blows your hair back – and electrifying in others. It’s not just his agility and quickness that astounds, but also his economy of motion and the sense of purpose in every searing solo or tasty riff. He’s like a calm sniper who never misses his target, and yet he’s capable of unpredictable, noisy outbursts that fuel the energetic, raucous romps through “Kill the King” and “Long Live Rock ‘n Roll” – fueled also by David Stone s boiling keyboards.

And he’s got amazing endurance. Not bound by time restrictions, Rainbow goes off on long, extended journeys through the 27:33 cathedral of sound “Still I’m Sad” and sets their controls for a cosmological, almost supernatural exploration of “Catch the Rainbow” that lasts more than 18 minutes – and not a second of either seems calculated or pretentious. Neither does their smoky treatment of the Deep Purple number “Mistreated,” which morphs from soulful,hard-hitting blues-rock into something more melodic and indescribably spiritual. It’s a devastating performance from Rainbow’s 1977 European tour, given to a frenzied, clapping, packed crowd that is on the verge of jumping out of its collective skin.

That’s the advantage of actually watching this concert, as opposed to simply experiencing it one-dimensionally with your ears. Despite the aged quality of the video, it holds up and the camera work is smart, capturing the intensity and spectacle of Rainbow live with warm, exciting imagery – made all the more colorful by the massive rainbow lighting rig hanging over the stage, washing it in bright neon. The close-up shots of a younger Dio savoring every lyric, shaping the words to his will like a sculptor and delivering them with such deep, almost shamanistic expression, are riveting, as are the images of Powell laying waste to his drum kit with complex, yet punishing, patterns and Blackmore blazing away.

An absolute barn-burner of a live set, “Live in Munich 1977” also carries with it historical significance, as Simon Robinson’s superbly written and well-researched liner notes so effectively illustrate. Augmenting the DVD release are vintage promotional videos of “Long Live Rock ‘n’ Roll,” “Gates of Babylon” and “L.A. Connection” – all of them indispensible pieces of heavy-metal nostalgia from a band at the peak of their powers – and in-depth interviews with Rainbow bassist Bob Daisley and tour manager Colin Hart. A fascinating feature titled “Rainbow over Texas ‘76” is also included that offers more in the way of incredibly raw and vital – although very poor quality – concert footage, as well as insightful commentary and more contextual artifacts for viewers to pore through. Powell’s manic drum solo and Blackmore’s violent mistreatment of his guitar are visceral delights.

Though it does not feature the kind of high-definition photography expected of live DVDs these days, “Live in Munich 1977” – filmed at Munich Olympiahalle – is stunning, an essential archeological treasure that’s been wonderfully preserved. Long live rock ‘n roll, indeed. (www.eaglerockent.com)

-        – Peter Lindblad

CD Review: Deep Purple – Now What?!

CD Review: Deep Purple  – Now What?!

earMusic/Eagle Rock Entertainment

All Access Review: A-

Deep Purple - Now What?! 2013

Cracks were starting to appear in the foundation. Deep Purple, Mark II, was crumbling, as exhaustion from a non-stop cycle of touring and recording were beginning to take their toll. On top of that, internal dysfunction – mostly between guitar wizard Ritchie Blackmore and singer Ian Gillan and bassist Roger Glover – was tearing them apart, and yet, they somehow managed to slog through 1973’s rather limp and uninspired death knell Who Do We Think We Are, even though they did come out with guns blazing in the electrifying “Woman from Tokyo.” 

This was the end of Gillan’s association with Deep Purple, at least until 1984’s Perfect Strangers, and Mark II went out with a whimper.

That was 30 years ago. Today, with Blackmore’s time in Deep Purple a distant memory, the proto-metal legends return with their first studio album since 2005, Now What?! The punctuation is appropriately emphatic. Whether it’s an exasperated question they’re asking of themselves or a dare to anyone who thinks they can’t deliver the goods anymore, the title of their latest effort – produced by Bob Ezrin – is open to interpretation. What is clear is that, with guitarist Steve Morse having long since settled into his role as Blackmore’s successor, something Tommy Bolin initially struggled with, Deep Purple is completely comfortable in its own skin and capable of generating audacious instrumental fireworks.

Winding its way through labyrinthine passages and flying over contoured soundscapes, What Now?! can be mysterious and exotic. With orchestral string flourishes vehemently slashing through the air, “Out of Hand” is a cinematic marvel reminiscent of Gillan’s recent WhoCares recordings with Tony Iommi and Zeppelin’s “Kashmir,” as is the ornate “Uncommon Man,” although the ever-shifting moods and tempos make it more of a relic of ‘70s progressive-rock pomp and circumstance than anything else. The same can also be said of “Apres Vous” and “Weirdistan,” both widescreen prog epics that allow Morse and keyboardist Don Airey plenty of opportunity to stretch out and experiment with strange, alien sounds.

On the other hand, in the tradition of classic Mark II Purple, the energetic rocker “Hell to Pay” – stuck in overdrive and running hot – boasts plenty of horsepower, while the smoldering “Blood from a Stone,” with soulful vocals from Gillan, is dark and jazzy, with Airey’s keyboards falling like rain, just as Ray Manzarek’s did in The Doors’ classic “Riders on the Storm.” The bluesy ballad “All the Time in the World” is standard-issue, however, and far less intoxicating, standing in sharp contrast to the mesmerizing fury of “A Simple Song” and the colorful, lively funk grooves of “Bodyline.” Although lacking a signature track, like “Smoke on the Water” or even “Knocking at Your Back Door,” What Now?! effectively holds listeners’ interest in other ways.

In fine voice, Gillan is as expressive as ever, even if he doesn’t quite have the range he used to, but it’s Airey and Morse who garner the most attention – Airey with his forceful, swirling Hammond organ dust storms that pay tribute to the dearly departed Jon Lord and Morse with his solid riffing and classy, finessed leads, the product of a wonderful imagination and great dexterity. Who do they think they are? Why, it’s Deep Purple … that’s who, and the reinvigorated musical interplay between these prodigious talents is remarkably exciting. If this, combined with a well-timed recent episode of VH1’s “Behind the Music” regaling us with their glorious, and oftentimes fractious, history, does not get them into the Rock and Roll Hall of Fame, nothing will.
 – Peter Lindblad

CD Review: Glenn Hughes – Live in Wolverhampton

Glenn Hughes

Live in Wolverhampton

earMusic/Armoury Records

All Access Review: A-

Glenn Hughes - Live in Wolverhampton 2013

Sobriety seems to suit Glenn Hughes rather nicely. A nasty drug habit nearly cost him his life, as well as his career, by 1990. Off of nearly everyone’s radar, Hughes was in danger of both burning out and fading away. 

Miraculously, despite all efforts at self-destruction, the former Trapeze, Black Sabbath (yes, he was working with Tony Iommi on his solo album, but Seventh Star ended up a legit Sabbath release) and Deep Purple Mark III and IV bassist/singer – dubbed the “voice of rock” by, all of people, the techno-house outfit The KLF, who employed Hughes on their 1991 single “America – What Time is Love?” – got clean and started working his magic again, putting out an eclectic series of solo albums and interesting experimental collaborations that, once more, brought out the funk-soul brother in Hughes.

Live in Wolverhampton, recorded over two nights in 2009 in Hughes’s hometown of Bilston, is sort of a Glenn Hughes starter kit for the uninitiated. Joyous and life-affirming, with an intimacy most concert recordings never quite manage to capture, this double-disc set showcases the vocal gymnastics and vitality of Hughes and the impressive chops of a band that twists and turns this material sideways and inside-out, breathing new life into it. When they get cooking on extended jams, Hughes, drummer Steve Stevens – not the guy from Billy Idol’s band – and guitarist Jeff Kollman threaten to boil over on sweltering hard funk and vibrant R&B workouts like the old Trapeze favorites “You Are the Music,” a cosmic “Your Love is Alright” and “Way Back to the Bone” from Disc 2, themed “You Are the Music: An Evening of Trapeze.”

And what a night it is for this particular performance, reminding us all just how criminally underrated Trapeze is, the funk-rock pioneers blazing trails few dared follow. Culling selections from both 1970’s Medusa and 1972’s You Are the Music … We are the Band, this set finds Hughes and pals giving “Coast to Coast,” “Seafull” and the warm, charming little ditty “Good Love” a soulful rendering, with some sophisticated jazz-fusion passages – as well as a stormy, yet melodic, take on “Jury” – thrown in for good measure.

All the colors of Hughes’s rainbow are display on Disc 1, where the rugged hard-rock stomp and thick grooves of both Hughes/Thrall’s “Muscle & Blood” – off their self-titled 1982 album – and “Crave,” from Hughes’s solo LP First Underground Nuclear Kitchen, move with purpose and bad intentions, with just a touch of psychedelic soul making the choruses bloom, as they also do in the sunny, kaleidoscopic R&B feasts “Love Communion” and “Don’t Let Me Bleed.” Stevie Wonder, who once called Hughes his favorite white singer, would be duly impressed, although he might blanch at their lengthy and unnecessarily bloated 20:36 reading of Deep Purple’s “Mistreated.”

Originally recorded by Purple for the seminal 1974 album Burn, Hughes’s first appearance on record with the band after he’d replaced departed bass player Roger Glover and David Coverdale had stepped in for Ian Gillan, “Mistreated” opens with an imaginative and beguiling Kollman guitar solo that’s gentle and delicate in parts and fluid and fiery in others. Still, this take is somewhat turgid and missing the smoldering bluesy character of the original, with some of Hughes’s vocal histrionics going a bit too far at the finish. Despite this misstep, Hughes’s confident phrasing throughout Live at Wolverhampton is sublime, those remarkable pipes of his sounding just as clear as they did 40 years ago.

When he screams, “I’m a man,” at the end of “Muscle & Blood,” you don’t doubt it for a second, and he chooses his partners well – Stevens’ amazing stick work in “You’ve Got Soul” is intricate and propulsive, and both he and Kollman, who sounds like a hundred of the greatest guitar players of all-time all rolled into one, seem perfectly in sync with whatever’s going on in Hughes’s head. The party for Hughes may no longer involve mind-altering substances, but if Live at Wolverhampton is any indication, it’s raging hotter than ever for a man who’s found serenity and happiness.

-        –    Peter Lindblad

CD Review: Deep Purple – Live in Paris 1975

CD Review: Deep Purple – Live in Paris 1975

earMusic/Eagle Rock Entertainment

All Access Review: A-

Deep Purple - Live in Paris 1975 2013

The balance of power had already shifted within Deep Purple, and Ritchie Blackmore could read the writing on the wall. With the arrival of singer David Coverdale and bassist/vocalist Glenn Hughes, Deep Purple was entering a new phase, one that would see the band incorporating more of the northern English soul and R&B sensibilities of its newest members, while veering away from the cyclonic mix of nitro-burning hard rock and swirling classical music that Blackmore and others within Purple favored.

He didn't want to stick around to watch the transformation take hold. On April 17, 1975, the guitar icon, and one of the true architects of Deep Purple’s progressive sound, would play his last note for Deep Purple – that is until the Mark II lineup reunited for 1984’s Perfect Strangers album. He went out in a blaze of glory, as Blackmore’s high-voltage fretwork sends electricity shooting through the digitally remixed – and re-mastered from the original multi-track recordings – two-disc Live in Paris 1975, which documents that final Blackmore performance, prior to forming Rainbow, with amazing clarity and expansive volume. Recorded for optimum impact, Live in Paris 1975 actually benefits from the tension between Deep Purple’s warring camps, as that artistic push and pull fuels what is a dynamic, thrilling, once-in-a-lifetime performance from a band on the verge of big, sweeping changes. 

Sparks fly from the start as Deep Purple, absolutely on fire this particular night at the Palais des Sports in Paris, launches into hot-wired, frenzied versions of “Burn” and “Lady Double Dealer” that leave their witnesses gasping for air – the vigorous riffing and scorching, yet tricky, leads of Blackmore’s playing off Jon Lord’s dizzying organ maneuvers and the precision of Ian Paice’s stampeding drums. Just as feverish, “Stormbringer” is a power surge of insistent, hammering riffs and wailing vocals, loaded with Coverdale’s hairy-chested machismo and illuminated by Hughes’s starry croon. Blending so perfectly, the two give a smoldering, smoky rendering of “The Gypsy” here that offers a vision of what Deep Purple, Mark IV, had in store melodically for the world.

Having dispensed with some of their tighter, more compact material early on, Deep Purple embarked on long, extended jams the rest of the way, including the 20:09 “You Fool No One,” with its Cream-like, bluesy combustibility, a spellbinding organ intro from Lord and stunning drum and guitar soloing from Paice and Blackmore, respectively. Even longer and more abstract, with a playful nod to the theme from “2001: A Space Odyssey,” the classic “Space Truckin’” clocks in at 22:12, and after going into overdrive around the four-minute mark and flying around its familiar routes with reckless abandon and exuberance, Deep Purple goes off in various directions, expanding the possibilities of a song that’s never been bound by limits or borders – the sinewy funk of Hughes’s bass and his improvised singing, so clear and commanding, compelling the band to drive harder and soar higher, even if his lovelorn scatting seems somewhat out of place.

But this is Blackmore’s stage, and his playing is not just technically sound on this auspicious occasion, but it’s also fiery and impassioned. Along with painting the anguished, bluesy expression of “Mistreated,” Blackmore propels “Smoke on the Water” and the closer “Highway Star” – Coverdale lending that track a little more sexual heat than it had previously – ahead with searing six-string savagery and the occasional crazed arpeggio as Purple, its improvisational instincts as keen as ever, plows ahead, gathering momentum and driving both songs straight off the cliff without any fear of what awaits them below. Perhaps the most interesting facet of Live in Paris 1975, however, is the 24 minutes of in-depth interview recordings tacked on as a bonus feature. Set against a backdrop of the music directly piped in from Live in Paris 1975, it’s utterly fascinating to hear members of Deep Purple offer their perspectives on what was happening within the band at the time, while also hashing over studio sessions that birthed some of Mark III’s best work and offering great insight into their creative process. 

The transition was not an easy one for Deep Purple, and substance abuse would eventually tear the Mark IV edition apart, but not before Tommy Bolin arrived to let everyone get a glimpse of his prodigious talent on the vastly underrated Come Taste the Band. On the vital Live in Paris 1975, however, Blackmore made damn sure nobody forgot who made Deep Purple a household name. (www.eagle-rock.com)

– Peter Lindblad

Deep Purple to release new studio album in April

Title has yet to be determined

Deep Purple - Rapture of the Deep

Deep Purple isn’t sitting around moping about another snub from the Rock and Roll Hall of Fame. On April 30, 2013, the veteran proto-metal masters will release their first studio album in the U.S. since Rapture of the Deep.

As yet, the album does not have a title, although Deep Purple singer Ian Gillan has revealed a few working song titles, including “Out of Hands,” “Uncommon Man,” and “Hell to Pay.”

“The title of our new album is still a question mark to all of us … we have recorded a new album, and it’s a fantastic collection of songs,” says Gillan. “At the moment that’s the only affirmative point we can offer.”

Featuring brand new studio material, the album was recorded and mixed in Nashville with celebrated producer Bob Ezrin, who has worked with the likes of Pink Floyd and Alice Cooper, among others. Early word is that the record is mix of classic ‘70s Deep Purple with a progressive attitude and modern production.

These days, Deep Purple’s record company is earMUSIC, which plans on releasing more details about the new album when they become available on a dedicated website where all band members will be able to post and interact with fans: www.deeppurple2013.com.

CD Review: Various Artists - Re-Machined - A Tribute to Deep Purple's Machine Head

CD Review: Various Artists – Re-Machined – A Tribute to Deep Purple’s Machine Head

Eagle Records

All Access Review: B+

Re-Machined - A Tribute to Deep Purple's Machine Head 2012

“Why in the world would anybody bring a flare gun to a Frank Zappa concert, let alone shoot it off inside the venue?” Even after all these years, isn’t that the question that springs to mind every time “Smoke on the Water” and that swinging sledgehammer of a riff, seemingly plucked out of thin air by that six-string magician Ritchie Blackmore, comes crashing through the speakers?

Whatever the reasons for such a brain-dead decision, it certainly had far-reaching consequences for Deep Purple. As related through the oral history of “Smoke on the Water,” Blackmore and company went to Montreux, Switzerland to make a record. They’d rented the Rolling Stones’ mobile studio and were all set to head into the Montreux Casino to record their archetypal heavy-metal manifesto, Machine Head, an album with all the driving horsepower of the finest Mustangs Ford ever manufactured. Then, that infamous “stupid with a flare gun” got trigger-happy and set off a blaze that burned the entire complex to ash, forcing a rather desperate Deep Purple to find other another place to make history. Through the ice and snow, the Mark II lineup hauled that mobile to an almost completely vacant hotel, where the band, working under severe time constraints and less-than-ideal conditions, somehow managed to forge a masterpiece.

The stakes, of course, were not nearly as high, but in some ways, this was rock music’s Apollo 13 moment – a small crew a long ways from home, their master plans derailed by a fire and other acts of God, forced to scramble and improvise on the fly to accomplish what they’d set out to do. On some level, what Deep Purple did was heroic, all the more so considering the incredible results produced by their perseverance and ingenuity. And so, with 2012 being the 40th anniversary of their groundbreaking accomplishment, it’s hard to imagine an album more deserving of a mostly sincere, star-studded homage as Re-Machined – A Tribute to Deep Purple’s Machine Head, which has taken on greater significance with the fairly recent passing of legendary Purple keyboardist Jon Lord and news of the band's nomination for the Rock and Roll Hall of Fame.

Getting behind the wheel of “Highway Star,” Chickenfoot and the thrown-together combination of Glenn Hughes, Steve Vai and Chad Smith open up the throttle on differing, frenzied versions of one of the greatest car songs of all-time, with Chickenfoot’s thundering, hot-wired live test-drive of the original wildly pushing into the red and Smith-Hughes-Vai’s take smoking its tires and leaving terra firma to soar into the stratosphere on Hughes’ prayerful wail. On their earthy funk workout of “Maybe I’m a Leo,” Smith and Hughes, a one-time member of Deep Purple’s Mark III crew, lock into the kind of chunky, soulful rock grooves that thicken and add organic, savory flavor to what was somewhat of a thin, starry-eyed stew cooked up by Purple so long ago, while “Lazy” gets a smoldering, bluesy makeover by guitarist Joe Bonamassa and screaming singer Jimmy Barnes.

Less inspired, Metallica’s surprisingly atrophied reworking of “When A Blind Man Cries” – not included on Machine Head initially, as it was a B-side of the “Never Before” single – doesn’t gnash its teeth or exhibit the kind of dynamic energy one would expect of them. Worse yet, the Flaming Lips disappointingly choose to take the piss out of “Smoke on the Water” and robotically dance with this sacred cow, much as Devo did in deconstructing the Rolling Stones’ “Satisfaction.” Arty and interesting in its own way, it also seems a waste of the Lips’ prodigious talent and even more proof that they’ve lost their way, whereas Iron Maiden simply plow through an explosive and gripping, if perhaps a bit too faithful, cover of “Space Truckin’” – recorded in 2006 as a B-side while making A Matter of Life and Death, and it’s sat on the shelf ever since.

What better time for it to find new life, and what better time for Joe Elliot, Steve Stevens, Duff McKagan and Matt Sorum to come together as Kings of Chaos and vigorously shake some glam action out of “Never Before,” or for Carlos Santana and Papa Roach’s Jacoby Shaddix to smoothly maneuver through “Smoke on the Water,” with Santana playing off Blackmore’s riffage and making the track a multi-cultural experience. And then there’s Black Label Society, these hairy metal barbarians storming the gates of “Never Before,” with Zakk Wylde’s wah-wah guitar supernovas barely shining through nests of grungy folk. Diverse, with examples of incredible musicianship, Re-Machined takes some liberties with Machine Head, and more often than not, they’re worth the gamble. Maybe now everyone will forget about that damned flare gun.

-            Peter Lindblad

News: Deep Purple 'Machine Head' tribute LP gets release date

September 25 is the drop date for ‘Re-Machined’

'Re-Machined' Deep Purple Tribute 2012

In the wake of Jon Lord’s sad passing comes news of a September 25 release date for the much-anticipated Re-Machined – A Tribute to Deep Purple’s Machine Head.

Compiled to celebrate the 40^th anniversary of the one of the truly groundbreaking albums in rock history, Re-Machined has taken on special meaning in light of Lord’s death, the virtuoso keyboardist having contributed greatly to the influential sound of Deep Purple.

Among the more interesting tracks on Re-Machined is a version of “Space Truckin’” by Iron Maiden that was actually recorded in 2006. It’s been on the shelf gathering dust ever since.

“Initially we didn’t think we’d be able to contribute anything due to our touring commitments,” explained Iron Maiden singer Bruce Dickinson in a press release related to Re-Machined. “Then we remembered ‘Space Truckin’ which we’d recorded as a single B-side during our A Matter of Life and Death album session, but never used. However now, thanks to Kevin Shirley’s remixing skills, we’re able to include it on Re-Machined.”

Of course, “Smoke on the Water” is represented – two different re-imagined versions being put forth, one by indie-rock favorites Flaming Lips and the other a collaboration between Carlos Santana and Papa Roach’s Jacoby Shaddix. And what Deep Purple tribute album would be complete without participation from Metallica, who rework “When A Blind Man Cries,” a song Deep Purple recorded during the Machine Head sessions but which actually appeared on the B-side to “Never Before.”

Due out on Eagle Records, Re-Machined: A Tribute to Deep Purple’s Machine Head will be included initially as a limited edition Classic Rock “fanpack” on September 3.

Track Listing

1) Smoke On the Water - Carlos Santana & Jacoby Shaddix

2) Highway Star - Chickenfoot

3) Maybe I'm a Leo - Glenn Hughes & Chad Smith

4) Pictures of Home - Black Label Society

5) Never Before - Kings of Chaos (Joe Elliott, Steve Stevens, Duff McKagen, Matt Sorum)

6) Smoke on the Water - The Flaming Lips

7) Lazy - Jimmy Barnes with Joe Bonamassa

8) Space Truckin' - Iron Maiden

9) When a Blind Man Cries - Metallica

10) Highway Star - Glenn Hughes/Steve Vai/Chad Smith

Metal Evolution - "Early Metal UK"

Metal Evolution - "Early Metal UK"
Sam Dunn
VH1 Classic


All Access Review: A-

Demo in hand, Jim Simpson shopped Black Sabbath’s first recordings to 14 record labels, and not one of them had the foresight to sign this fearsome foursome. Not one to hold grudges, especially all these years later, Simpson understood their reticence. As he tells filmmaker Sam Dunn in the “Early Metal UK” episode of the “Metal Evolution” documentary series, why would any A&R representative with a cozy job at some British record label jeopardize his or her career by signing somebody who sounded like that? There was nothing on the charts that sounded anything remotely like Sabbath, recalls Simpson. And, as Simpson points out, label executives have never really gone out of their way to seek out fresh, new sounds. They want something safe, something marketable that bears some resemblance to songs they know will sell. The A&R representative who likes his or her job and wants to keep it will then, predictably, not risk it on four soot-stained lost souls from an industrial hellhole like Aston, Birmingham whose ghoulish sonic menace couldn’t possibly sell more than a handful of records.

Impenetrably dark and truly demonic, Sabbath was playing the devil’s music, even if the charges of Satanism leveled at Sabbath would never stick. Just when it seemed that nobody loved them, along came Olav Wyper. Working for Phillips Records, Wyper saw something in Sabbath, and signed them to the recording giant. One of the unsung heroes of heavy metal, Wyper shepherded Sabbath through the maze of Phillips subsidiaries, finding them a nest at Vertigo. And the rest is history, thanks to Wyper … and Simpson, too. After all, were it not for Simpson’s diligence as manager in the service of his client, Sabbath might have returned to the factories and labored in obscurity until death.

Wyper and Simpson are not exactly Jimmy Page and Robert Plant. The guitar legend and the golden god turned down requests for interviews for “Metal Evolution” because they felt Led Zeppelin was no more a heavy metal act than The Rolling Stones. And maybe they’re right. Producer and sound visionary Eddie Kramer, famed for his work with Jimi Hendrix and Aerosmith, agrees when discussing the matter with Dunn during “Early Metal UK.” Though undoubtedly pioneers in the realm of heavy music and hard rock, Zeppelin’s expansive oeuvre encompassed so many genres – including a strong foundation in the blues – that pigeonholing them in a box marked “heavy metal” would be a sin. The presence of Page and Plant are not required, however, for Dunn and his partner, Scot McFayden, to craft an engrossing, informative and curious study of the role such bands as Zeppelin, Sabbath and Deep Purple – not to mention the contributions of glam-rock upstarts Sweet and T. Rex – played in the development of heavy metal in the early to mid 1970s.

 With eyes wide open, Dunn, fresh off exploring the impact of American bands like KISS on early U.S. metal, seems giddy about the prospect of meeting rock icons from Sabbath and Deep Purple, two sides of the British proto-metal triangle. After a brief, but detailed, study of the British blues boom – with John Mayall sharing his memories of the scene’s explosion and vintage black-and-white live footage of the Yardbirds’ slamming through “Train Kept A-Rollin” – and how slowing things down, as Cream so vividly illustrates during a particularly heavy, psychedelic reading of Willie Dixon’s “Spoonful” onstage in rich video unearthed from the vaults, led to a U.K. metal awakening. Zeppelin’s transformative reinventing of the blues and its influence on metal is thoroughly debated (Dunn makes it into the offices of Plant’s manager, but that’s as close as he gets to him), before Dunn runs headlong into Sabbath, who, as Kramer says, is the definitive metal band.

Heady, punishing live footage of Sabbath pounding away in concert gives way to Bill Ward and Geezer Butler talking about the barren, dismal and violent existence of Birmingham, England in the ‘60s. Of keen interest is Ward’s discussion of how his drumming helped thicken the gloomy atmosphere of the title track to Black Sabbath – in particular, it was the funereal march of his toms that did the trick, the vintage live performance of the track providing the incontrovertible evidence of the fact. But, it’s how deftly Dunn pieces together the story of Sabbath’s early search for a record label, stringing together segments of Butler humorously relating the story of A&R reps abandoning a Sabbath gig two songs in and Wyper’s incisive initial impressions of the band, that speak to the respect he and McFayden show for the material and their ability to communicate it in interesting ways. The fact that Dunn spends so time with Wyper and Simpson, without dwelling on their contributions too long, is indicative of his willingness to go the extra mile, and it is appreciated.

Sharing top billing on “Early Metal UK,” Deep Purple and its metamorphosis from progressive-rock hopeful to proto-metal force of nature – as told by Roger Glove and Ian Paice – is dealt with on a scale equal to its legendary status. Def Leppard’s Phil Collen indulges in a bit of Ritchie Blackmore worship as he recounts seeing Purple live as a defining moment in his young life. An in-depth assessment of Deep Purple In Rock follows the touchy subject of Purple dispatching of singer Rod Evans and bassist Nick Simper in favor of Ian Gillan and Glover, respectively – Paice reiterating that it was a necessary housecleaning that had to take place for Purple to become the powerful, muscular rock engine that would drive such classic LPs as In Rock, Machine Head and Fireball. Of course, Deep Purple would fracture due to internal friction, most of it having to do with Blackmore. Gillan and Glover departed eventually, their shoes filled by the soulful tandem of David Coverdale and Glenn Hughes.

The transition was a rocky one, as Paice tells it. Though Coverdale and Hughes bonded instantly, Blackmore, as has been told time and time again, wasn’t on board with the more R&B-inclined direction of Purple and disavowed Mark III’s first foray, Stormbringer. All of this makes for great drama and fodder for Dunn, as he ties together the seemingly disparate histories of all versions of Deep Purple and shows how all of it did, indeed, shape the future of heavy metal. And that includes Mark IV.

Sabbath’s deterioration is dissected without pity, as Dunn digs into the disastrous Rick Wakeman experiment and the band’s prodigious drug use. Purple was also savaged by substance abuse, creative differences and personnel shuffling. Then along came glam. England was reeling from economic despair and labor unrest, and with the working-class heading to the pubs for a good time, bands like Sweet stepped into the void. The Zeppelins, Sabbaths and Purples of the world had become unapproachable millionaires – and their work was suffering, although in the case of Zeppelin, it was John Bonham’s tragic death that did them in – and the people wanted something different. “Early Metal UK” chronicles the fall of metal’s birth parents and glam-rock’s glittery stomp to the top with aplomb. Always easy and relaxed, but with the inquisitive restlessness of a detective obsessing about a cold case, Dunn and company again weave richly filmed, incendiary period live footage with wide-ranging interviews. And though they play a small role in “Early Metal UK,” the recollections of Simpson and Wyper are essential to Sabbath’s story, and they provide some of the most fascinating commentary of the series. They may not be stars, but Dunn has elevated their level of importance to metal’s growth, and it’s one of the gratifying surprises that Dunn and company plant throughout “Metal Evolution” as if they were Easter eggs, even if some of the stories and photography aren’t always of the rare and never-before-seen variety.

-        -   Peter Lindblad

Metal Evolution - Early Metal UK

Watch the Full Episode - Here and Now! 

Metal Evolution - "Pre-Metal"

Metal Evolution - "Pre-Metal"
Sam Dunn
VH1 Classic


All Access Review: A-

Pinning down that exact moment of conception when heavy metal became a living, breathing entity is next to impossible, as most observers know all too well. There was no “big bang” that, in the blink of an eye, brought this screaming, bloody musical anti-Christ – something akin to that evil baby with the fangs and devil horns that graces the cover of Black Sabbath’s Born Again album – into existence. Although some will argue that heavy metal’s arrival was heralded by Steppenwolf when John Kay uttered the words “heavy metal thunder” in “Born to be Wild” or that its birth occurred the moment Blue Cheer dropped that sonic atom bomb of psychedelic blues that was their cover of “Summertime Blues,” others might point to the first Black Sabbath album or the tragic industrial accident that claimed the tips of Tony Iommi’s fingers as the origin of this particular species. No doubt, all of these events played a role in giving life to the genre, but heavy metal’s creation story is a far more complex tale than even filmmaker Sam Dunn imagined when he undertook his “Metal Evolution” documentary series, an extension of his highly acclaimed “A Headbanger’s Journey” film. And it’s no accident that he included the word “evolution” in the title.

With the probing mind of an anthropologist and a fan’s heart, Dunn, ably assisted by partner Scot McFayden, examine in great detail the roots of heavy metal in the inaugural episode of VH1 Classic’s “MetalEvolution,” “Pre-Metal.” Immersing himself in the Wacken Open Air experience, Dunn launches into what is quite possibly the most academic installment of “Metal Evolution” with a fairly scientific approach, expounding on the neuroscience behind the fatal attraction people have to metal. Scientist Laurel Trainor of McMaster University studies this kind of thing, and on “Pre-Metal,” she talks in-depth about the effect of aggressive music on the body and mind, while measuring Dunn’s head and exposing him to various musical genres during a staged experiment with him. Over the course of “Pre-Metal,” Dunn journeys back in time to study, somewhat predictably, the influence of classical music, blues and jazz on metal’s development, while also taking detours to Sun Studios in Memphis to investigate the accidental discovery of distortion and to Britain’s Marshall Amplification factory to see how founder Jim Marshall, through trial and error, tried and ultimately succeeded in building an amp that would satiate Pete Townshend’s desire for overpowering volume.

That, in and of itself, is a fascinating piece of history, as the story of how the famed Marshall stacks grew into these monstrous delivery systems for explosive sound is inextricably tied to heavy metal’s rise from music’s primordial ooze. No less an innovator than Marshall, Sun Studios’ Sam Phillips had an ear for fresh, exciting sonic possibilities, as the story of “Rocket 88” and the damaged amplifier that wrapped what is considered by many as the first rock ‘n’ roll recording in hot, fuzzy distortion indicates. And Dunn and company link indirectly that historic moment with Dave Davies’ “You Really Got Me” riff – one that many metal musicians cite as having aroused their hard-rock sensibilities – in a subtle way that speaks to their ability to combine all these diverse elements into a cohesive and entertaining package. 

Not at all surprisingly, the non-scientific portion of “Pre-Metal” starts with Black Sabbath and explains how those doom-laden chords that sprung from Iommi’s imagination – their genesis found in classical music – filled their first album with horrifying menace and supernatural uneasiness. From there, Dunn segues into a discussion of classical influences, exploring how Niccolo Paganini’s frantic violin technique put Yngwie Malmsteen on an endless quest to conquer increasingly complex and virtuoso passages and the impact of opera on the vocal theatrics and dramatic stagecraft of the likes of Iron Maiden’s Bruce Dickinson, Judas Priest’s Rob Halford and Queensryche’s Geoff Tate. Going deeper, with great enthusiasm, producer Bob Ezrin reanimates the unbridled bombast of composer Richard Wagner’s grandest epics and transplants it into the body of arena-shaking heavy metal – the connection a logical one and not at all earth-shattering, although it’s hard not be moved by Ezrin’s explanation.

If nothing else, “Pre-Metal” establishes, yet again, that winning documentary style of Dunn’s that meshes his relaxed, albeit exuberant and intense, dedication to the cause with the amazing cross-section of interviews with heavy metal icons, lesser-known players, music-industry insiders, journalists and any other contributors who would talk to him with relevant and interesting historical treatises, rare, insightful anecdotes, a combination of incredible vintage and contemporary footage of some of rock and metal’s finest performers. Scott Ian, Kirk Hammett, the MC5’s Wayne Kramer and others talk about the salvation metal brought them, as Dunn and his collaborators seek to broaden the perspectives of “Metal Evolution” as far as they can. Then, they take it one step further, as they do in the segment on the blues’ influence on metal. With Hammett and former Deep Purple bassist/vocalist Glenn Hughes adding their own two cents worth, they take great pains to get to the heart of that hellish, animalistic quality the blues has – especially apparent in the works of Robert Johnson and Howlin’ Wolf – that made the vocals and starkly minimalist instrumentation of its greatest architects so chilling. Meeting with the man who was the last living member of Howlin’ Wolf’s band, Hubert Sumlin (who actually died in December), Dunn – doing what every great interviewer does in that he divorces himself from the conversation and lets the subject tell his or her story the way they want – describes the scary power and roiling emotions inherent in the music and lyrics of a man who was uneducated in the classic sense, but who knew all too well the trials and tribulations that torture human beings.

While there is a structure to Dunn’s storytelling that is well thought out, the “Metal Evolution” series, and “Pre-Metal” in particular, reveal a tendency to step off the reservation when the spirit moves him. And it moves him in ways that are sometimes mysterious but are mostly rewarding and vital to his dissertation, which is what “Metal Evolution” is. The editing is superb on “Pre-Metal,” as almost every quote packs a punch and the appearance of concert and candid footage from long ago or today quickens the pace and adds visual interest to the piece. As those who have been watching from Day One will undoubtedly realize, Dunn and his crew were only getting started with “Pre-Metal.” 

-Peter Lindblad

Metal Evolution - "Pre-Metal"

Watch the Full Episode - Here and Now! 

DVD Review: Deep Purple - Live at Montreux 2011

DVD Review: Deep Purple - Live at Montreux 2011
Eagle Rock Entertainment
All Access Review:  A-

Deep Purple has tried this before. Back in 1969, when the idea of a rock band sharing the stage with an orchestra seemed absolutely ludicrous, especially to so-called “serious musicians” who wanted nothing to do with anything besides classical music, Jon Lord’s ambitions were realized. The long-time Purple keyboardist had composed the three-part movement epic Concerto for Group and Orchestra, and plans were made for the Royal Philharmonic Orchestra to perform the piece at Royal Albert Hall … with Deep Purple, mind you.

Not surprisingly, as singer Ian Gillan recalls during a lengthy interview included with the new separate concert DVD and two-CD packages Live at Montreux 2011, many members of the orchestra “… had an air about them” and were not keen on cooperating with Purple in any capacity. At that time, classical musicians did not play well with others, which was somewhat understandable. There really wasn’t much precedence for this sort of thing, The Nice’s Five Bridges being the only other deal with the devil hatched between an orchestra and a rock band around that time. A forward-thinking conductor by the name of Malcolm Arnold wasn’t having any of it, however. Gillan remembers Arnold giving the whole orchestra a rather “… brusque ‘pull your socks up,’” which evidently is British code for, “stop acting like bratty snobs and get back to work before I give you what for.” The mutiny quelled, Deep Purple, still clinging to its progressive-rock approach while edging ever closer toward the more straightforward, riff-heavy attack they would unleash on 1970’s In Rock and 1972’s Machine Head, and the Royal Philharmonic ultimately joined forces to produce a performance that – perhaps because of the publicity the event generated – unexpectedly landed their collaboration on the charts.

What was once a groundbreaking proposition, reserved for only the most classically inclined bands of the progressive movement, has become old hat for Deep Purple, having performed with an orchestra several times over the years. Last year, Gillan, drummer Ian Paice, bassist Roger Glover, guitarist Steve Morse and keyboardist Don Airy, Lord’s replacement, went down to Montreux, the Swiss community forever linked to Deep Purple by catastrophe and the classic song, “Smoke on the Water,” inspired by the ruinous casino fire started “by some stupid with a flare gun” at a Frank Zappa and the Mothers of Invention concert. Backing them this time around at famed Montreux Jazz Festival was the 38-piece Neue Philharmonic from Frankfurt, Germany – under the blue-collar, workmanlike direction of Stephen “BK” Bentley-Klein – and in all likelihood, over time, Purple has learned a valuable lesson from other, more disastrous pairings such as this, and that is, don’t let the armada of cellists, violinists, and whatever other instrumentalists happen to be in the room play pretty and decorate these full-on, hot-blooded rock anthems with a lot of flair and ornamentation.

The buzz word for Gillan and Paice regarding this project is “augmentation.” Comparing the Neue Philharmonic’s purpose to that of Count Basie Orchestra, the two Purple war horses talk about how the orchestra swings and puts a strong shoulder to the grooves of the band’s classic hits, and the orchestra does indeed expand on and enhance them with huge, sweeping waves of sound that seem to lift and carry to heaven tracks like the lushly exotic “Rapture of the Deep” and the swooning instrumental “Contract Lost” – featuring Morse’s soaring, beautifully sketched guitar solo – that opens the doors of perception to a reflective, emotionally powerful “When A Blind Man Cries.” And when called for, Neue provides additional horsepower to “Woman from Tokyo,” “Space Truckin’” and a blazing, brightly lit version of “Highway Star.”

It all comes together on “The Well Dressed Guitar,” where Morse grinds away in brutally heavy fashion while glorious strings radiate blinding light as the crowd, in dazzling unison, raises their hands overhead to clap along with Gillan. Coming down however briefly from that incredible high, the two units launch into a powerful, majestic version of “Knocking at Your Back Door” that’s surges with dark melodic energy. On “Lazy,” Purple takes over, their bluesy breakdowns and uprisings needing no color or nuance, although Bentley-Klein does come down from his perch to offer up a scintillating violin foray to Morse’s clinical six-string dissection and Airey’s smoldering organ blasts. Between that and Airey’s needlessly showy, but nicely balanced solo blend of futuristic keyboard sounds and jazzy piano, “No One Came” works up quite a sweat, with Morse’s tricky lead finishing the job in spectacular fashion.

A bit glitzy, as if begging for a residency at some tacky Las Vegas hotel, and at times losing touch with the earthiness and guts that have always kept Deep Purple grounded, the lengthy Live at Montreux 2011 is, nonetheless, a lively, brilliantly filmed document of a magic night in the life of Deep Purple in a place that’s become to them a second home. The sound has great clarity and richness, while the high-definition cameras, shooting from a satisfying variety of angles and distances, provide a visual feast for the eyes. Packaged with in-depth, and quite candid, interviews with every current member of Deep Purple, plus a smattering of new and vintage footage, Live in Montreux 2011 is a heady rush of concert excitement. And when “Smoke on the Water” rises up like some sleeping giant awakened after around 40 years of dormancy, it fills Montreux with monstrous riffs, massive walls of strings and blaring horns trumpeting what feels like a new dawn for Deep Purple. It isn’t, actually, but for about 115 minutes, it seems as if the band, now having so much fun together, has dived right in to the Fountain of Youth and come out younger and full of vitality. And the Neue Philharmonic had something to do with that.

- Peter Lindblad

Deep Purple "Phoenix Rising"

Deep Purple "Phoenix Rising" 
Eagle Vision
All Access Review: A - 

All was not well with Deep Purple when version Mark IV accepted a lucrative offer to jet off to Jakarta, Thailand, to play before a people hungry for just a little taste of big-time, arena-sized, hard rock. For starters, Mark IV had in its stable not one, but two, drug-crazed toxic twins in bassist/vocalist Glenn Hughes and guitar wunderkind Tommy Bolin, both of whom were being dragged to their own personal hells by severe addictions and free-for-all excess. That factor alone should have spelled doom for Mark IV, but there were other divisive issues, like the fact that keyboardist Jon Lord wasn’t completely onboard with the soulful, more groove-oriented direction of the newly constituted lineup, now down to two original members, Lord and drummer Ian Paice. The old guard was, somewhat reluctantly, ceding authority to the new one, and into the void of leadership stepped Hughes, Bolin and hairy vocal god David Coverdale, who had replaced Ian Gillan.

Their styles inevitably clashed. And Lord will tell anybody who cares to listen that 1975’s Come Taste the Band was really not a Deep Purple album. It was a Hughes-Coverdale-Bolin project, backed by two longtime Deep Purple veterans, as Lord explains in “Getting Tighter,” a frank and revealing 90-minute documentary packaged with the new DVD, “Phoenix Rising,” that delves, often uncomfortably, into Deep Purple’s troubled transition from the Ritchie Blackmore years into its short-lived, turmoil-filled Mark IV phase. It is accompanied by a true treasure, the lost, but incredibly well-filmed 30-minute “Rises Over Japan” concert footage that is now finally seeing the light of day. An electric performance sees Coverdale and company roaring through “Burn,” giving a smoldering rendition of “You Keep on Moving,” slinking around the funky “Love Child” and blazing through “Smoke on the Water” and the scorching closer “Highway Star,” which drives the audience nuts – after all Japan always has been, historically, a Deep Purple stronghold. It’s one of the very rare pieces of film that shows Bolin playing with Deep Purple, and for that, it is absolutely essential. The playing is muscular, Coverdale’s vocals are masculine and sexy, and the band seems invigorated, even if they know the end is near. But, then there’s that documentary, as strangely gripping as a car wreck.

Through gritted teeth, and trying to be as diplomatic as possible, Lord recounts those days of ruin in his own words in “Getting Tighter,” just as Hughes presents another perspective, one of a repentant wild man who has come to grips with the fact that his lurid appetites probably contributed to the fall of one of rock’s greatest groups. It’s a fascinating account of a period in Deep Purple’s existence that has, in some ways, been sort of brushed under the rug … with good reason. For all involved, it’s not a particularly pleasant episode – Coverdale would not even consent to take part in the film. These were, after all, the last days of Deep Purple – yes, different versions of the band would later reunite, but for all intents and purposes, this was it. And for Hughes, especially, that brief time he was with Deep Purple, as artistically gratifying as it may have been, was when his addiction took hold. 

Then, there was Jakarta, a tragic piece of history that would rank right up there with Altamont had it not happened in a place ignored by most of the world, like Thailand. Not pulling any punches, Lord and Hughes, the only Deep Purple members interviewed here, explain in detail what happened to Purple. From the notorious California Jam gig, where Blackmore memorably destroyed a TV camera in a complete onstage meltdown, on through Hughes’ recruitment, Mark III’s Stormbringer and Blackmore’s subsequent departure, and then trumpeting Bolin’s flamboyant arrival, the drugs and the Jakarta incident, followed by the almost anticlimactic breakup.

For those unfamiliar with the Jakarta story, it’s a murky tale to be sure. Invited to play Jakarta as the first rock band from the U.K. or America to play Thailand, Deep Purple gladly accepted a big cash offer to do it. Met with incredible fanfare – oddly way-over-the-top as Hughes recalls riding with tanks and soldiers on a convoy through town, as the people lavished the band with an outpouring of affection – Deep Purple experienced corrupt promoters who tried to stiff them on their payment and stuff over 100,000 people into a 50,000-seat stadium. Then, there was the murder of one of the minders hired to care for Hughes and Bolin. Hughes was arrested for the crime, and the band was forced to play a second show while grieving terribly for its loss. Hughes openly describes the duress he was under and recounts how thuggish security guards turned the dogs loose on the crowd, as all hell broke loose and fans were mauled by the animals.

Not a pretty picture, is it? Well, neither is the guitar case of cocaine Lord says he saw. This is as ugly a story of rock ‘n’ roll excess as has ever been told, though there are bright spots. The amount of rare vintage concert footage, from various phases of Deep Purple’s life, is astounding, as are the interview pieces from yesterday with Bolin and Paice and the film of Deep Purple, and its entourage, actually in Jakarta, getting off the plane and setting up for those doomed shows. And for all of Lord’s reservations about Come Taste the Band, he does extol the virtues of Bolin’s thrilling musicianship and the album’s strengths as a rock record. For his part, through the self-flagellation, Hughes also seems to sincerely view the work on that record as one of the most artistically rewarding times of his life.

And so, what’s here is an amazing tale, one that’s far more than just a tawdry, sensationalized “Behind the Music” stumble into the gutter. But, questions remain, such as why no Coverdale? Why is he not a part of this? And why are Hughes and Lord the only ones talking? Couldn’t the filmmakers bring a broader perspective to the documentary? If “Phoenix Rising” – and its centerpiece “Getting Tighter” – comes up a bit a short, this is the reason. Ultimately, however, there is so much to love about this collection. The electronic press kit for Come Taste the Band in “Phoenix Rising” is a wonderfully detailed look at the record, complete with a track-by-track assessment by Hughes and Lord. And that’s not all. There is also a great reproduction of an old Record World magazine section devoted to Deep Purple that includes a wide array of interviews with band members and their associates, advertisements, photos … if the documentary wasn’t enough for you, this should seal the deal. Furthermore, there is a special two-disc DVD/CD package that will include an audio version of “Rises Over Japan.” Run, don’t walk, to get this.

-          Peter Lindblad

CD Review: WhoCares: Ian Gillan, Tony Iommi & Friends

WhoCares: Ian Gillan, Tony Iommi & Friends

Armoury Records

All Access Review: B

Across the WhoCares marquee, in big, bold letters, read the names Ian Gillan and Tony Iommi, icons of a bygone time in rock history. Any pairing of the groundbreaking Black Sabbath guitarist and, for all intents and purposes, the voice of Deep Purple — with apologies to David Coverdale and Glenn Hughes — is bound to raise a few eyebrows, just as it did in 1983 when Gillan joined Sabbath for heavy metal's version of "Plan 9 From Outer Space," the laughably awful LP Born Again and its "Spinal Tap"-like supporting tour.

Long considered the worst album in Black Sabbath's otherwise awe-inspiring monolith of a catalog, Born Again was a debacle — Gillan's hairy-chested bluesy vocals ill-suited for Sabbath's trademark gloom and doom, a problem made even worse by lackluster songwriting. Even the album cover, that demonic infant born with devil horns, fangs for teeth and sharp claws, proved to be comic fodder. And yet, here we, almost 30 years later, with Gillan and Iommi back together to rewrite the wrongs of the past — or at least trying to get by with a little help from their friends — and make some money for charity. Again into the abyss, the two legends gain a measure of redemption with the WhoCares project, whose purpose is to raise money for the music school of Gyumari, Armenia, an area still struggling to recover from the devastation wrought by a horrendous earthquake in 1998.

A two-song digital single, WhoCares features the tracks "Out of My Mind" and "Holy Water," the former an epic, heavy-duty collision of the thick, crushing riffage of Iommi and HIM guitarist Mikko "Linde" Lindstrom, the insistent, surging keyboard swells of Gillan's old Deep Purple mate Jon Lord and the monstrously huge rhythmic wrecking ball swung over and over by Iron Maiden drummer Nicko McBrain and former Metallica bassist Jason Newsted. As for Gillan, he doesn't sound as out of place here as he did on Born Again. There's a seething undertone of menacing madness in his vocals that rises and falls with every pummeling sonic wave, with a seething Gillan dramatically expressing the scrambled thoughts of a man losing his grip on sanity as nightmarish imagery flashes in his brain. Unexpectedly, Gillan seems to have picked up on that undefinable "it" that made Ozzy Osbourne's vocals work so well with Iommi's unique hammer-of-the-gods guitar work.

"Holy Water," though, is more tailored to what Gillan does best. The star power dimming on "Holy Water" — as the supergroup of "Out of My Mind" gives way to less prominent musicians, like guitar duo Steve Morris and Michael Lee, drummer Randy Clarke, bassist Rodney Appleby and keyboardist Jesse O'Brien — Gillan gives a more reflective, contemplative performance, finding solace and comfort in that "Holy Water" that drowns so many alcoholics. An exotic, dreamy, Middle Eastern intro, perfect for a movie about the politics of that war-torn region starring George Clooney, wafts through the air until smashing headlong into a powerful, bluesy train of Hammond organ, noisy guitars and steely bass and drums that slows in the verses, riding on golden rails of acoustic guitar, and then chugs full-steam ahead toward its destination. It's a song that looks ahead, while still managing to seem full of regret and haunted by a troubled past. And Gillan perfectly captures that combination of hopeful yearning and  twinges of repressed pain in thoughtful singing that can only come with years of bold living.

Still, neither track would ever approach the proto-metal classics that Gillan and Iommi recorded with Purple or Sabbath. There's a slow, but strong, current that pulls "Out of My Mind" along that is magnificent to behold,and while able to roll along through one's mind like the Danube, the song labors and meanders to the finish, despite some beautifully drawn twin guitar work from Iommi and Lindstrom near the end. And while there is character, grace and guts in "Holy Water," it's a fairly bland offering that lacks a memorable melody and doesn't seem to notice it is traveling down a road to nowhere. Still, with Iommi and Gillan both drifting outside their comfort zones, the pair seem energized by their reunion and willing to explore new horizons, even as they bask, somewhat, in the glories of their respective histories.

The enhanced CD is fleshed out with a 30-minute, behind-the-scenes documentary of the recording sessions — plus a video for "Out of My Mind" — and it offers interesting insight into the project, inspired by Iommi and Gillan's trips to Armenia to see the damage and recovery for themselves. In a way it perhaps mirrors the motivation Iommi and Gillan might have had in trying to fulfill the potential they saw in their partnership the first time they joined forces back in 1983.

-Peter Lindblad