CD Review: Billy Sherwood – Citizen

CD Review: Billy Sherwood – Citizen
Frontiers Music srl
All Access Rating: A-

Billy Sherwood - Citizen 2015

Filling the shoes of the late, great Chris Squire as the bassist in Yes is an almost impossible task. And yet, Billy Sherwood – handpicked by Squire as his replacement in the legendary progressive-rock outfit – isn't shying away from taking on other herculean projects, such as his latest LP Citizen.

Like all the scripts from "Quantum Leap" all rolled into one sprawling concept album, the Frontiers Music srl release Citizen imagines "a lost soul reincarnated into various periods of history" that isn't Scott Bakula. Still, the cast of Citizen is impressive, as Sherwood draws on the talents of prog-rock innovators Geoff Downes, Steve Hackett, Steve Morse, Rick Wakeman and Jordan Rudess – just to name a few – to bring his vision to life. What's more, Squire actually plays on the triumphant and expansive title track, thought to be his final recording.

Sherwood's "citizen" finds himself either caught up in a series of cataclysmic world events, such as the Great Depression and World War I, or witnessing the birth of paradigm-shifting scientific discoveries, once as a friend to Galileo or another time as an assistant to Charles Darwin. All the while, Citizen's sweeping, slow-developing melodies, layers of harmonies, soft instrumental interplay and breathtaking, cinematic beauty seem attuned to the somber and surreal artwork that graces its cover in standout tracks "No Man's Land," "Just Galileo and Me" and "The Great Depression."

More watery and ominous, "Empire" turns starry and its choruses grow wider, while "Trail Of Tears" – a song about the forced migration of Native American peoples in the U.S. – is an edgier puzzle of sharp confusion sussed out in a manner signifying rage at the ruinous cruelty and injustice of such a monstrous policy. Lighter and more lively, with some splashes of funk thrown into the mix, "Age of the Atom" practically dances about, as Sherwood's bass lines, so plush everywhere else, offer contrasting melodic forays, but in the end, it's the accessibility and drive of "Man and the Machine" that wins the day. Not so different from the music of Yes, the compositions here, while cut from the same cloth, are more lush and elegantly designed, even if Citizen does tend to infuriatingly dawdle at a somewhat leisurely pace. That won't matter to those with a lot of time on their hands; their patience will be rewarded with an immersive experience, both lyrically and musically. If Citizen is any indication, Squire has left Yes in good hands with his protege.
– Peter Lindblad

DVD Review: Deep Purple With Orchestra – Live In Verona

DVD Review: Deep Purple With Orchestra – Live In Verona
Eagle Rock Entertainment
All Access Rating: B+

Deep Purple With Orchestra -
Live In Verona 2014

Any list of the world's most spectacular outdoor concert venues would be woefully incomplete without an entry for Arena di Verona.

Originally built in 30 AD, the beautifully preserved Roman amphitheatre provided a dramatic and elegant backdrop for a glorious 2011 performance from hard-rock giants Deep Purple, backed on this enchanted evening by the full instrumental might of the Neue Philharmonie Frankfort and lushly filmed for a new DVD "Live in Verona" released by Eagle Rock Entertainment.

Lending added weight, complexity and richness to a set loaded with familiar classics, the orchestra – obviously relishing the moment, playing with both passion and precision – pushes and prods Deep Purple to go for broke and drive "Highway Star," "Strange Kind of Woman" and "Woman From Tokyo" like getaway cars used in a daring bank heist. It is, indeed, the thrill of the chase that still moves Deep Purple.

Quick cutaways make the action onstage come alive, the cameras expertly capturing Ian Gillan's expressive wails and honing in with artful subtlety on the virtuoso chops of guitarist Steve Morse, drummer Ian Paice, keyboardist Don Airey and bassist Roger Glover – Morse's fluid soloing brilliance drawing most of the attention, and rightly so. And while they plow through "Knocking at Your Back Door," "Space Truckin'" and "Smoke on the Water" with the usual organ-fueled horsepower of a dependable, rugged vehicle that has a lot of miles on it, Deep Purple is at its best here when swimming in the sonorous, mystic oceania of a breathtaking version of "Rapture of the Deep" and giving a soulful rendering of "When A Blind Man Cries." Bonus versions of "Hush" and "Black Night" make this a package worth getting.

Of course, this isn't the Deep Purple of old, some of the fire of youth having understandably diminished over time, although the visually stunning "Live In Verona" proves they're still eminently capable of burning this lovely setting to the ground when properly motivated. And they are in fine form here, even if the bloom is off the rose, so to speak, when it comes to seeing Purple once again perform with an armada of strings and other classical accoutrements.
– Peter Lindblad

CD Review: Deep Purple – Now What?! Gold Edition

CD Review: Deep Purple – Now What?! Gold Edition

Eagle Rock Entertainment/earMusic

All Access Rating: B+

Deep Purple - Now What?!
Gold Edition 2014

At least there's still some gas in the tank. If nothing else, 2013's Now What?!, their 19th studio album, made the case that today's Deep Purple is not at all devoid of fresh musical ideas, even if they seem incapable of crafting something as instantly gratifying as "Highway Star" or "Smoke on the Water."

Shape-shifting intoxicants such as "Weirdistan" and "Apre Vous" were elaborate mazes of epic prog-rock construction, while "Out of Hand," with its sweeping strings and its exotic atmospherics, kept building and building into a majestic piece of sonic architecture. As they did in the old days, when the Mark II lineup were hard-rock royalty, Purple charged into the breach of "Hell to Pay" with youthful vigor and industrious riffs and funked up a driving "Bodyline," before falling back into the shadows with smoky, jazzy fare like "Blood From a Stone," the bluesy "All the Time in the World" and the grumbling, gnarled tribute to a horror movie icon delivered in the dark, spooky camp of "Vincent Price."  

All of these tracks made Now What?! a stylistically diverse listen, full of intriguing and dynamic instrumental passages – especially from guitarist Steve Morse, the former Dixie Dregs' six-string wizard, and keyboardist Don Airey, the two additions who weren't there in Purple's heyday. Packaged with new bonus tracks and a second disc of live recordings, a Gold Deluxe Edition of Now What?! has recently been issued, and it's available in a double CD version or a more lavish boxed set that includes a DVD with a 20-minute interview, a t-shirt, poster and sticker, and all the singles from Now What?!

The real prize here is the 70 minutes of unreleased concert performances stuffed into disc two. Also known as the "Now What?! Live Tapes," it's a rousing collection of Purple classics and newer material, played in European locales like Milan, Italy, and Rome, among others, with improvisational brilliance and high-flying musicianship that hammer these songs into sharpened weapons. Here's where the spirited gallop of "Hard Loving Man," enveloped by Airey's mushrooming keyboard spells, gathers terrific momentum, as does a driving, rollicking rendition of "Strange Kind of Woman," Ian Gillan belting it out to the back row with rawness and urgency. And it's where the slow burn of "Smoke on the Water" grows into a four-alarm fire, and a slithering "Perfect Strangers" hisses and strikes out at its prey, while "Vincent Price" turns into something more sinister and fun.

The sound is warm and clear, as Morse really struts his stuff in these live recordings, showing how adept he is at seamlessly changing character, this chameleon who can master the blues and jazz, while also riffing like a metal madman and soloing into the stratosphere. All pulling together as a powerful unit, Purple still performs with feverish enthusiasm and stunning chops. Age hasn't diminished their skills, although their bland bonus take on Jerry Lee Lewis' "It'll Be Me" may be thrown away as carelessly as expired milk, and the rare, but ultimately lackluster, B-side "First Sign of Madness" doesn't argue for being deserving of greater attention than it's already been given. There are riches to be found in this Now What?! Gold Edition, although some of its luster's been worn away. http://www.ear-music.net/en/news/; http://www.eagle-rock.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