Chris Rea – Dancing With Strangers (1987)

frontcover1Dancing with Strangers is the ninth studio album by Chris Rea, released in 1987.

It became Rea’s first major success in UK, peaking at #2, behind Michael Jackson’s Bad, and spent 46 weeks in the charts, achieving Platinum accreditation.

It reached the Top 10 in six other countries, including New Zealand where it became a number one album.

“Let’s Dance” was released as the first single and, like the album, became a major hit for Rea in UK, peaking at #12.

In tone with the success of the album, “Let’s Dance” became a major hit in New Zealand as well, peaking at #2. The other singles released from this album were “Loving You Again” (UK #47), “Joys of Christmas” (UK #67) and “Que Sera” (UK #73).(by wikipedia)

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Album no 3 in Chris’ ‘imperial’ phase, and the all-important one before The Road To Hell set the seal on the legend. A splendid album, with something for everyone. Of it’s time, yes, but none the worse for that. ‘Side One’ is just about faultless, with each song a sign of styles to come, combining pop, rock & blues just so (I Can’t Dance to that being a particular favourite).

‘Side Two’ kicks off with the always great Let’s Dance (the slightly superior original version to my mind), and while not quite as strong as the first half, still holds it’s own. The album may be a couple of tracks too long, but it shows an artist on top, confident form, with the best yet to come. (by Jason Brown)

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Personnel:
Robert Ahwai (guitar)
Martin Ditcham (percussion, drums)
Jerry Donahue (guitar)
Kevin Leach (keyboards)
Dave Mattacks (drums)
Max Middleton (keyboards)
Eoghan O’Neill (bass)
Adrian Rea (drums)
Chris Rea (vocals, guitar, keyboards, slide guitar, synthesizer, accordion)
Davy Spillane (guitar, uilleann pipes)

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Tracklist:
01. Joys Of Christmas 5.15
02. I Can’t Dance To That 4.19
03. Windy Town 4.25
04. Gonna Buy A Hat 4.25
05. Curse Of The Traveller 6.26
06. Let’s Dance 4.07
07. Que Sera 5.23
08. Josie’s Tune 2.19
09. Loving You Again 5.40
10. That Girl Of Mine 3.41
11. September Blue 3.09
+
12. I Don’t Care Any More 2.10
13. Donahue’s Broken Wheel 3.02
14. Danielle’s Breakfast 4.33

All songs written by Chris Rea

Tracks 12, 13, 14 are bonus tracks not available on the initial LP release.

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Mott The Hoople – Live At HMV Hammersmith Apollo (2009)

frontcover1“Mott the Hoople storm back to London for a dazzling night at the Hammersmith Apollo.

The stakes in heritage rock reunions are getting so high that, soon, only the exhumation of some demised old stager will up the ante. This latest one, however, was pretty far-fetched.

Mott the Hoople were titans of mid-Seventies glam. In their early career, they struggled as unreconstructed rockers, until David Bowie, no less, remodelled them in satin suits and platform boots. He donated them a fabulously dissolute glam anthem, ‘All the Young Dudes’, and thus began their tenure in the Top Five.

This, however, was a band destined to fail. They didn’t handle whirlwind fame well at all, and quickly disintegrated, only to be championed retrospectively by fans such as Morrissey, for their raunchy, wry take on the rock ‘n’ roll life.

Forty years on from their inception, and thirty years since some of the members had concertposteractually spoken to each other, Mott stormed back into London for the first of five sold-out nights at the Apollo. Their singer, Ian Hunter, agelessly shrouded in corkscrew curls and face-blotting sunglasses, led straight into a ballad, ‘Hymn For the Dudes’, his gnarly, Dylan-esque voice roaring at the high notes. This was not to be a half-hearted canter through the hits.

The first hour was mostly devoted to the band’s pre-Bowie, high-voltage rock ‘n’ roll material. Hunter, a busy solo artist for more than three decades, and the silver-topped lead guitarist, Mick Ralphs, riffed vigorously, in active defiance of Time’s subsequent intervention. The partisan crowd — at least eighty percent of whom, gloriously, unrepentantly, were old enough to remember it all from the turn of the Seventies — responded with commensurate enthusiasm.

The electricity crackled to a new intensity, however, when Hunter moved to a piano stage-left, and finally unleashed a dazzling run of glam classics — songs about little more than rock itself. Glam, originally, existed purely to overturn prog-rock’s tedious virtuosity, to revive the raw, sexy thrill of Fifties rock’s simple, thumping beats and clanging riffs.

Perhaps it was daft, witnessing a seventy-year old man with a blond afro singing, “I get my kicks from guitar licks”, but also fabulously empowering, given his heedless dedication to the cause.

The sense of lifelong commitment was heightened during the encore, when the band’s original drummer, Dale Griffin, entered the fray.

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Martin Chambers with Ian Hunter and his daughter Tracy Hunter

Griffin has Alzheimer’s, and had to be led by the hand to a drum kit alongside his substitute for the evening, the Pretenders’ Martin Chambers. Soon, he was pounding away the rhythm to ‘Roll Away the Stone’, grinning from ear to ear. ‘All the Young Dudes’, then, was simply breath-taking, with Def Leppard’s Joe Elliott joining in for a verse.

And the rockin’ went on, unrestrainable, deafening, totally life-affirming.”(by Andrew Perry; The Telegraph, 02 October, 2009)

Okay, most of th time, Mott Te Hoople sounds like a “Mott The Hoople Revival Band” … but it´s still a very important document of one of the finest bands from the Seventies.

Note: This show was recorded and transferred to CD on the night. This means you hear a CD-R rather than factory-pressed CDs.

Recorded live at the first Mott The Hoople re-union show
at HMV Hammersmith Apollo 1st October 2009.

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Personnel:
Verden Allen (keyboards)
Martin Chambers (drums)
Ian Hunter (vocals, guitar, piano, bass on 11.)
Mick Ralphs (guitar, background vocals)
Overend Watts (bass, vocals on 11.)
+
Joe Elliott (vocals on 20.)
Dale Griffin (drums on 21. + 22.)
+
background vocals:
Maggie Ronson – Tracy Hunter

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Tracklist:

CD 1:
01. Jupitor Intro  (Holst) 1.12
02. Hymm For The Dudes (Allen/Hunter) 5.34
03. Rock & Roll Queen (Ralphs) 4.44
04. Sweet Jane (Reed) 4.51
05. One Of The Boys (Hunter/Ralphs) 6.15
06. Sucker (Hunter/Ralphs/Watts) 5.15
07. Moon Upstairs (Hunter/Ralphs) 6.32
08. The Original Mixed Up Kid (Hunter) 4.41
09. I Wish I Was Your Mother (Hunter) 6.36
10. Ready For Love (Ralphs) 8.13
11. Born Late ’58 (Watts) 4.33
12. Ballad Of Mott The Hoople (GriffinHunter/Ralphs/Watts) 6.18

CD 2:
13. Walking With A Mountain (Hunter) / Jumpin Jack Flash (Jagger/Richards) 5.56
14. Like A Rolling Stone (Dylan) / Laugh At Me (Bono) /The Journey (Hunter) 9.02
15. Golden Age Of Rock & Roll (Hunter) 3.35
17. Honaloochie Boogie (Hunter) 3.43
18. All The Way From Memphis (Hunter) 9.46
19. Roll Away The Stone (Hunter) 4.41
20. All The Young Dudes (Bowie) 4.52
21. Keep A Knockin’  (Penniman) 3.53
22. Saturday Gigs (Hunter) 6.28

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Bernie Marsden – And About Time Too (1979)

frontcover1Bernard John “Bernie” Marsden (born 7 May 1951) is an English rock and blues guitarist. He is primarily known for his work with Whitesnake, having written or co-written with David Coverdale many of the group’s hit songs, such as “Fool For Your Loving” and “Here I Go Again.”

After playing with a Buckinghamshire band called Skinny Cat, Bernie Marsden got his first professional gig with UFO. He next played with Glenn Cornick’s Wild Turkey in 1974, before Bernie Marsden joined Babe Ruth in 1975, and played on two releases, Stealin’ Home (1975) and Kid’s Stuff (1976), before moving on to Paice Ashton Lord in 1977, with Tony Ashton and ex-Deep Purple members, Ian Paice and Jon Lord. (by sessiondays.com)

And this is his first solo-album during his Whitesnake period:

Bernie Marsden was well into a recording career when he struck out on his own for 1979’s And About Time Too, which may explain the album’s joking title. At the time, Marsden was playing guitar in Whitesnake, following years with UFO, Wild Turkey, Cozy Powell’s Hammer, and Babe Ruth, among others, so he had a significant résumé, all suggesting that he was ready for a spot of heavy rocking, but And About Time Too is much softer than his past or present, a slick and phased collection of ’70s album pop and rock featuring such impressive players as Powell, Jack Bruce, Ian Paice, and Jon Lord. Again, all this suggests a harder record than what And About Time Too actually is. Certainly, much of its appeal is down to its period stylings, particularly when he indulges himself on a piece of sprightly pop like “Love Made a Fool of Me” or “Sad Clown” — songs that could’ve crossed over from album rock to adult contemporary — and these tunes are strong enough that they make such heavy blues workouts as the grinding “Brief Encounter” and the woozy, solo-laden closer “Head the Ball” feel like detours even when they’re much closer to Marsden’s main line of work. Other remnants of the time, such as the heavy layers of analog synths from Don Airey and the long stretches of instrumental pyrotechnics, keep this somewhat at a remove from modern listeners, but it is those aforementioned poppier numbers that do make this worth a spin; they may not capture Marsden at his most representative but they may capture him at his best. (by Stephen Thomas Erlewine)

This edition includes the single B-side “You & Me,” a pretty good arena rockerand two more live recordings, including a great version of the classic “Shakey Ground”.

And itßs the jazz-rock part of this album, that is more than brilliant (listen to “Head The Ball” sounds a little bit like “Colosseum II”)

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Personnel:
Don Airey (keyboards, synthesizer on 01., 02., 03.,  04.,  05., 07., 09.)
Jack Bruce (bass on 01., 02., 04., 06, 07., 08., 09.)
Jon Lord (organ on 06., 07. , 08, clavinet on 08.)
Bernie Marsden (guitar, vocals)
Neil Murray (bass on 03., 05.)
Ian Paice (drums on 01., 07., 08.)
Simon Phillips (drums on 02., 04., 06., 09.)
Cozy Powell (drums on 03., 05.)
+
background vocals:
Alan Carvell – Stuart Calver – Tony Rivers – Doreen Chanter – Irene Chanter

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Tracklist:
01. You’re The One (Marsden) 3.58
02. Song For Fran (Marsden) 2.52
03. Love Made A Fool Of Me (Marsden) 3.48
04. Here We Go Again (Marsden) 3.30
05. Still The Same (Marsden) 6.27
06. Sad Clown (Marsden) 5.13
07. Brief Encounter (Marsden) 4.25
08. Are You Ready (Marsden) 3.38
09. Head The Ball (Marsden(Airey) 5.30
+
10. You And Me (Marsden) 2.53
11. Who’s Fooling Who (live) (Marsden) 4.17
12. Shakey Ground (Bowen/Boyd/Hazel) 4.20

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Alannah Myles – Live Diamond Club, Toronto (1989)

frontcover1Alannah Myles was born to a father in radio, producer of “The Happy Gang”. Her mother was a pianist and singer. When she was a child, she knew she wanted to be a singer despite discouragement from her parents to pursue it as a profession. At age 11, she took up the guitar. By the age of 15, she was writing her own songs emulating her favourite folk artists Leonard Cohen, Linda Ronstadt, and Joni Mitchell. She got herself an agent in 1977 and played her songs around Toronto. To earn extra money, she did some television work, doing ads. She also worked as a backup singer and model. In the mid-80s, she hooked up with songwriter Christopher Ward and began performing some of his songs. The music industry rejected her outright; no record company was interested. Eventually, Bob Roper at WEA (Warner-Elektra-Atlantic) approached her after listening to her demo and signed her. David Tyson was chosen to produce her first (self-titled) album. She entered the recording studio with Christopher Ward who was to be a video jockey for MuchMusic.

alannahmyles01The album was released and MuchMusic immediately played the music video for the first single “Love Is”. To the Canadian public, this sultry female rocker seemed to come out of nowhere. The entire nation was captivated. The single was aired on radio stations and peaked at #16 across the country. The second single, a tribute to American singer Elvis Presley called “Black Velvet” did even better, scraping the Top 10. It also became an international hit, topping the Billboard charts in the United States and the Top 3 in Britain and Australia. The song won the Juno for Song of the Year and a Grammy award in the U.S. Two more singles were released from the album, one of which was her biggest hit at home; “Lover of Mine” peaked at #2 and became the 16th biggest song of 1990. As for the album, it became the third from a Canadian artist, first for a female, and first as a debut to attain Diamond sales in Canada. It won Album of the Year at the Junos. (by musiccanada.wordpress.com)

This concert was filmed for Much Music’s Big Ticket featuring a duet with special guest, Mavis Staples singing “Respect yourself”.

And this is the bootleg version of this concert … soundboard quality and … believe me … Alannah Myles is pure dynamite !

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Personnel:
Jørn Andersen (drums)
Alannah Myles (vocals)
Kurt Schefter (guitar)
Eric Webster (keyboards)
Steve Webster (bass)
+
Mavis Staples (vocals on 09. + 10.)

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Tracklist:
01. Still Got This Thing (Ward) 6.10
02. Rock This Joint (Ward) 4.51
03. Black Velvet (Ward/Tyson) 6.55
04. Just One Kiss (Ward/Tyson) 4.06
05. Lover Of Mine (Myles/Ward/Tyson/Johnson) 7.52
06. Hurry Make Love (Simmonds) 4.15
07. If You Want To (Ward/Tyson) 5.58
08. Kick Start My Heart (Waters/Stone/ElkhardWard) 7.18
09. Respect Yourself (Ingram/Rice) 5.55
10. Jaguar (only Mavis Staples) (Prince) 5.56
11. Love Is (Ward) 4.26
12. Who Loves You (Ward/Tyson) 4.45
13. Still Got This Thing (Ward) 7.00

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Locomotive GT – Same (1974)

frontcover1The late ’60s and, most especially, the 70s have inspirited the music and the rock from all over the place, so that it evolved all the way up to contributing to the appearance of the most prestigious and prodigious ensembles. LOCOMOTIV GT is a band that’s legendary in the Hungarian Rock scene, but also in the Occident, lighting up an irresistible and torrential rock, in a way that made them classic. For the culture of rock, LOCOMOTIV GT marks moreover an independent and styled breath than something typical and inspiring – nevertheless, it goes as a defining reference.

LOCOMOTIV GT processed, during the classic period, all the fantasy and the asperities of hard and blues rock. Yet, in almost the same general way, their music consistently caught a much more artistic brightness (and all sorts of jazz, pop, melodic, lyrical and experimental accents). The next periods, along with their transitions, didn’t shattered their spirit, but only changed their personality, their musical greatness and their perfection.

The band was founded in 1971 (biographical dates even state, more precisely, the day and the place: April 6th, Budapest) having a core of four great musicians: Gábor Presser and József Laux from OMEGA, Károly Frenreisz from METRO and Tamás Barta, a guitarist finally finding his way with this ensemble. The pressure of the music, at this beginning phase, was put on sophisticated expression, powerful rhythms and gullible orientations. Playing with familiar rock groups, selling out minimal music through different clubs plus some worthy festivals, was their first good steps up rock’s slipstream.

locomotivegt
Their debut was considered experimental and hazy in Hungary, but the Western side saw it as the best new music that could come from the East. In 1972, the band was invited to play along legendary Joe COCKER or, right from the progressive top scene, with GENESIS. They also spend the year in London, recording a second album, “Ringasd el magad”, or producing several music projects. With Tamás Somló replacing Frenreisz, and with a wide-popular tour through North America, LOCOMOTIV GT became a worthy big name.

High tours and important projects continued in the next years, music itself finding probably the best expressions and wild maturity of all the style and fusion that was, so intimately, used. As oppose to this, the career break was slipping every time. More than a rumor or a hint, it seems LOCOMOTIV GT faced a lot of oppressive taste from the authorities, at least until the end of the 70s. Nevertheless, their portrait was constantly breaking the full standard and emotion of rock and interpretive art. Having always a lyricist by their side (Adamis Ann 1971-1977; Sztevanovity Dusán 1977-1984, 1997-2002) , LOCOMOTIV GT played colorful fictions and complex poetries, in a rustling frame of coolness, until they reached out from the blaze of hard rock (and, implicitly, of heavy thoughts) and continued to mix frictions of pure rock or, lastly, pop rock.

thomas-somloThomas Somlo

The 80s seemed refreshing, thanks to a better contract and an already indubitable fame, but the taste for rock and pop reached, well enough, a lower and colder level, so that the band departed for good after their 1984 studio release. They re-joined in 1992, only with the intention of making a farewell concert out of a big concert in Budapest. Up in 1997, the odds finally stopped being bitter, when the group reunited for good, recording a new studio album and deciding to continue their music journey, through big and important festivals or different projects and productions. Nothing of modern art, but, all the same, something of modern times, when LOCOMOTIVE GT stays legendary and can cheer up the endless taste towards their music and phenomenon.

By all this, LOCOMOTIV GT catches, therefore, a classic, rough, artistic and progressive spot. (by Victor “Philip” Parau; sources include biographical notes from the official website and from wikipedia)

“Locomotive GT were the Hungarian ‘supergroup’ formed by ex-members of Omega, Metro and Hungria. This rare and sought-after (English-language) album was recorded in London in 1973 (with Jack Bruce guesting on harmonica) by the famous The Rolling Stones producer Jimmy Miller and released next year in UK and USA by ABC Records. This is top-notch European progressive rock with jazz-fusion influences” (by .numusi.de)

In 1972, the band was invited to London, where this great second LP was recorded. The album’s material balanced between the classic progressive sounds of ELP, Gentle Giant and Procol Harum, and harder, bluesy rock.(by clear-spot.nl)

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Personnel:
Thomas Barta (guitar, slide-guitar, harmonica, vocals)
Joseph Laux (drums, percussion)
Gabor Presser (piano, vocals)
Thomas Somlo (bass, saxophone, violin, vocals)
+
Jack Bruce (harmonica on 05.)
XY (*) (congas on 01., + 03.)

(*) who the fuck is XY ?

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Tracklist:
01. Rock Yourself (Adamis/Presser) 4.21
02. Gimme Your Love (Barta) 3.46
03. Free Me (Barta) 3.15
04. Confession (Barta) 4.21
05. She’s Just 14 (Barta) 3.51
06. Won’t You Dance With Me (Barta) 2.39
07. Hey, Get The Feelin’ (Barta) 3.31
08. Waiting For You (Adamis/Presser) 4.15
09. Serenade (To My Love If I Had One) (Adamis/Presser) 2.18
10. Back Home (Barta)    3:36
11. Jenny’s Got A New Thing (Adamis/Presser) 3.46

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Men Without Hats – Pop Goes The World (1987)

frontcover1Pop Goes the World is the third studio album by Canadian new wave band Men Without Hats, released in 1987. It contained the single “Pop Goes the World”, which reached the top twenty in Canada (achieving Gold status) and the United States. The album went Platinum in Canada.

Ian Anderson of Jethro Tull makes a guest appearance and plays the flute on the track “On Tuesday.”

The album was performed by Ivan and Stefan Doroschuk, with additional keyboards by Lenny Pinkas. “Jenny” and “Johnny” were actually characters from the opening song “Pop Goes The World”—the album graphics were designed to reference their roles in the song, which opens with the line “Johnny played gee-tar, Jenny played bass.” The album follows a loose conceptual thread, and Johnny and Jenny go on to appear as characters in numerous other songs on the disc, being mentioned by name in “Jenny Wore Black” and “The End (Of The World)”. The role of “Johnny” on the album cover (and in videos) was played by Stefan Doroschuk, the band’s actual guitarist. “Jenny” was played by Marika Tjelios, who remained with the band until 1990.

Drummer “J. Bonhomme” is also referenced in the song “Pop Goes The World” (as “a big bonhomme”). A Bonhomme de neige (fr) is a snowman; a character known as “Bonhomme” (a man in a stylized snowman costume with a top hat) is a common mascot at Quebec winter carnivals. The album cover shows the character Bonhomme as the band’s drummer. The initial J. would seem to be a multi-lingual pun, referencing both the French phrase “Joyeux bonhomme”, as well as the English rock drummer John Bonham.

The only credited musician aside from the Doroschuks and Pinkas is Ian Anderson of the rock group Jethro Tull. Anderson plays flute on track 3, “On Tuesday”.

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Early in recording sessions, a song called “The Same Halo” was recorded by the band for the album but was ultimately replaced by “Lose My Way” on the album. “Jenny Wore Black” was first performed live in 1985-1986 during the “Freeways” tour.

Another song left over from these sessions was “A Funny Place (The World Is)”, which was given to Mitsou who recorded and released it in 1991.

A French-language demo called “Pyjamarama” was recorded the following year.
Singles

Along with the title track, two other singles from this album were released, but neither got much notice. These singles were “Moonbeam”, which featured a complementing music video, and “O Solo Mio” that was backed by “Lose My Way” as a promo single.
Uses
The song “Pop goes the world” was used by Tide in TV advertisements for their “Pods” in 2012.

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Men Without Hats broke big with their 1982 debut, Rhythm of Youth. Though they never maintained that level of success, their third album Pop Goes the World was a smart, well-crafted, woefully underrated offering. The album chronicles the quest for and backlash of fame on songs like the title track, on which Ivan sings “Johnny and Jenny had a crazy dream/See their pictures in a magazine.” Perhaps it was a way of dealing with the band’s sudden success/failure, particularly on “Lose My Way” and “The Real World..” Thankfully, a wild sense of humor and a heartbreaking poignancy keeps the album from becoming too serious. Additionally, each song is vastly different: there are some lullabies (“Moonbeam”), some anthems (“Jenny Wore Black”), and some dirges (“Bright Side of the Sun” — which is criminally short, adding to its power). Cartoonish but dark, this album marries wide-eyed innocence with cynicism in its recurring themes (celebrity, loss, rejuvenation, the vastness of our world) and characters (Jenny and Johnny, who are credited with bass and guitar, respectively). It takes a few listens to fully absorb the stories and lessons interwoven in Pop Goes the World’s synthesizer-driven, somewhat goofy, sometimes somber cuts. Though there are some quirky aspects to the album (from the intro with a beckoning voice like that of Newcleus’ helium-driven “Jam on It” to an intro to “Walk on Water” that sounds like a faraway voice on a hissing vinyl album), nothing seems gimmicky. Overall, the album is solid, smart, haunting, and complete. (by Bryan Buss)

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Personnel:
A Baby (keyboards)
Ivan Doroschuk (vocals)
Stefan Doroschuk (guitar)
Richard Samson (drums)
Marika Tjelios (bass)
+
Ian Anderson (flute on 03.)

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Tracklist:
01. Intro 1.49
02 Pop Goes The World 3.43
03. On Tuesday 4.08
04. Bright Side Of The Sun 0.42
05. O Sole Mio 3.57
06. Lose My Way 3.10
07. The Real World 4.24
08. Moonbeam 3.37
09. In The Name Of Angels 3.49
10. La Valse d’Eugénie 1.28
11. Jenny Wore Black 2.57
12. Intro/Walk On Water 5.43
13. The End (Of The World) 3.23

All songs written by Ivan Doroschuk

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Deep Purple – Live In Graz 1975 (2014)

frontcover1Recorded live at the Liebenaur ice rink in Graz, Austria, ‘Graz 1975′ captures the Mark III Deep Purple lineup in one of its very last performances. However, this is hardly the sound of a band in its final hours.

Instead, it is that of a band charged and ready to take on the world. This show is often regarded as the “holy grail” of this lineup, and has been frequently traded in bootleg form by fans for years prior to this, its first official release.

Several shows on what turned out to be this lineup’s final tour were recorded using the fabled Rolling Stones mobile studio. Shortly after these concerts, guitarist Ritchie Blackmore would split to form Rainbow, and Purple would bring in Tommy Bolin to try and keep things rolling. ‘Graz 1975′ is a wall to wall feast, and may be the definitive portrait of this version of the band.

Deep Purple waste no time getting to the point here, kicking things off with the almighty ‘Burn.’ Without question it’s one of the greatest of all the band’s songs, and this version is absolutely captivating. The energy level goes right off the rails once that mighty riff kicks in.

labelSinger David Coverdale had clearly settled into his place in the band by this point. While he may never have captured the role with the brilliance that Ian Gillian had, he more than holds his own here. Newer recruit and bassist Glenn Hughes has also found a home here, adding his own personality to the mix both in playing and presentation.

Three tracks from the band’s then-current album ‘Stormbringer’ turn up here — ‘The Gypsy,’ ‘Lady Double Dealer’ and the title cut. All three are high octane stuff, surpassing the studio versions — with ‘Lady Double Dealer’ particularly killing. ‘Mistreated’ from the ‘Burn’ album gets a lengthy workout here, allowing Blackmore to show off with a bluesy but high energy solo. ‘You Fool No One,’ also from ‘Burn,’ maintains that same energy and surge for over 12 minutes.

There’s also a rock solid rendition of the all-time classic ‘Smoke On The Water.‘ One interesting thing about this version is the vocal harmonies provided by bassist Glenn Hughes during the second verse. His addition here adds a nice change up, taking the song somewhere else entirely.

blackmoreNow, time to nitpick. Do we really need another 20-minute-plus version of ‘Space Truckin’? Probably not. It’s noodle central for both Lord and Blackmore on this one. Thankfully, Mr. Paice holds down the fort, keeping the whole mess from blowing off into the wind.

That is the one main problem with any live Deep Purple outing, their tendency to go on and on. When they tighten it up, which is actually the case for most of the songs here, they are a force of nature. But when they meander, they get lost. As for the overall performance, it’s pretty damn amazing, and as for the sound quality, it’s all aces. This set was produced by the legendary Martin Birch, the man responsible for countless great hard rock records from Fleetwood Mac and Black Sabbath to Iron Maiden and beyond. His sharp approach on the initial recording, coupled with some tasty remixing and mastering from Martin Pullan shine this monster up just right.

In short, if you love Deep Purple, you will love this album. Even if you’re one of those who swear only by the Mark II lineup, there is no denying the band’s power here. Turn it up loud and let it rock! (by Dave Swanson)

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Personnel:
Ritchie Blackmore (guitar)
David Coverdale (vocals)
Glenn Hughes (bass, background vocals)
Jon Lord (keyboards)
Ian Paice (drums, percussion)

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Tracklist:
01. Burn (Blackmore/Coverdale/Hughes/Lord/Paice) 7.51
02. Stormbringer (Blackmore/Coverdale) 5.08
03. The Gypsy (Blackmore/Coverdale/Hughes/Lord/Paice) 5.23
04. Lady Double Dealer (Blackmore/Coverdale) 4.31
05. Mistreated (Blackmore/Coverdale)  14.40
06. Smoke On The Water (Blackmore/Gillan/Glover/Lord/Paice) 9.43
07. You Fool No One (Blackmore/Coverdale/Hughes/Lord/Paice) 12.15
08. Space Truckin’ (Blackmore/Gillan/Glover/Lord/Paice) 20.22

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