Interview with Biff Byford of SAXON

Wednesday night’s GTFM Rock Show featured an exclusive interview with presenter ANDY FOX in conversation with Saxon frontman BIFF BYFORD.   With new album “Into The Labyrinth” gathering positive reviews pretty much universally Biff proved in good form discussing the album (of which clips from a couple of tracks are included), the 30th anniversary of Saxon and also plans for a forthcoming documentary.

The interview (about 20 mins long) is now available in the GTFM Rock Show “Listen Again” series by clicking THIS LINK.

Armageddon – Armageddon

Details: 1975, A&M Records, LP

The ongoing search for the best album I’ll ever hear sometimes calls for unconventional tactics and this one was bought not on any glowing recommendation or promising soundbite but simply due to the fact that the “previous bands” of the members sounded promising and the cover art, although bleak, looks intriguing.  One of the first records I bought when re-starting my collection I somehow ended up with a Brazilian promo copy of this which I guess meant that even if I didn’t like the sounds it had some rarity and possible sell-on value.

Fine progressive rock music it fortunately turned out to contain though with just five songs stretching across the album allowing plenty of scope for extended guitar work that far from indulging in the given spotlight proves often mesmerising.  Opening track “Buzzard” for example with its opening guitar rattle proves an instant, if eight minutes can be termed instant, introduction into the brand created by former members of Steamhammer, Renaissance, Captain Beyond and The Yardbirds amongst others.

It’s Keith Relf from The Yardbirds whose suitably bleak vocals blend superbly with the musical style.  His harmonica provides a brief break from the impressive guitar work that marks “Buzzard” before the band hit a dreamier tone for “Silver Tightrope“. Progressive, (although not entirely in the “prog” field if you see what I mean) this is the sort of music you might find on Vertigo Swirl or a number of other early 70s “underground” labels with the band encouraging comparisons to Tony Iommi’s quieter work here although nodding a little towards Yes at times too.  So mesmerising is this track that a fine guitar solo from Martin Pugh  is almost overlooked such is the relaxed state induced.  Of course, suitably relaxed the crashing chords of the wonderfully titled “Paths And Planes And Future Gains” can then act as a wake up call.  Shifting both the band and the listener toward the heavier end of the spectrum this is another track that demands a search for further material from Armageddon.  Unfortunately a second release never materialised, activity curtailed presumably by Relf’s untimely death a year later.  A shame of course, but greater significance therefore must be placed on side two’s offerings of “Last Stand Before” and the four part “Basking In The White Of The Midnight Sun“.

“Last Stand Before” is one of those songs full of memorable riffs that make it a pleasure to listen to but possesses so many nuances that memorising the things takes multiple plays.  You hear the combination of backgrounds merging here as blues, hard rock and prog combine offering at various times comparison to all the usual names of the era, including of course Zeppelin and that Sabbath / Yes combination once more.  That depth of sound defines the final epic piece too as the band move from thunderous introduction “The Warning“, through the rattling hard rock that gives the piece it’s title, into a bluesy strut entitled “Brother Ego” before ending with a cataclysmic reprise of “…Midnight Sun” to crown the work.

It’s a serious piece of rock music that leaves you wondering why it didn’t earn much acclaim upon release.  Although the lyrics are bleak, in keeping with the artwork, and dark in subject matter and the music is somewhat downbeat and particularly moody to match there is nothing here to suggest that anyone with an appreciation of early 70s rock music wouldn’t have approved of this.  Definitely an album worth owning and for me something of a lost classic well worth investigating.

Highlight: Buzzard

Score: 3.5/5

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There is a surprising amount of “Armageddon” on Youtube although next to nothing actually featuring the band.  Here though is a decent slideshow to the music of “Buzzard“…

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BL

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GTFM Rock Show Preview

“Saxon’s Biff Byford on this weeks show“

This week we feature the brand new album from British legends Saxon, called ‘Into the Labyrinth, and there’ll be a special interview with singer and mainman Biff Byford. He talks about their resurgence, the album and 30 years in the business. Plus… we’ll have signed copies of the album to give away!

New music comes from Edguy, The Answer and a solo track from Porcupine Tree’s Steven Wilson plus you’ll hear the usual rock news from the web and new feature ‘Rare Track’ chosen by Rock Show listeners.

——

email DJ Andy Fox via rockshow@gtfm.co.uk

Listen live in the Pontypridd, South Wales area on 107.9 FM

or on the Internet by pointing your media player at

http://qtss.lrc.glam.ac.uk:8000/gtfmmp3

——

The GTFM ROCK SHOW with ANDY FOX,

22.00 to 24.00 every Wednesday

Deep Purple – Stormbringer

Details: 1974 (2008 remaster), EMI, CD

If 1970’s “Deep Purple In Rock” was guitarist Ritchie Blackmore seizing control of the bands direction, 1974’s “Stormbringer” is perhaps best thought of as him relinquishing some of  that authority to the band’s two relative newcomers David Coverdale and Glenn Hughes.  Their imprint, particularly that of the already experienced Hughes who had three Trapeze albums under his belt before joining Purple, makes “Stormbringer” a more varied album that many in the Purple catalogue but one that well… just doesn’t sound like Purple for much of the time.

There’s no doubting the credentials of title track “Stormbringer” of course.  The second of what Coverdale calls sci-fi/fantasy lyrics written for Blackmore tunes (the other being “Burn”) it’s a mighty song that quite rightly figures on any worthwhile band retrospective.  Other than that though only original side two opener “Lady Double Dealer” really captures that traditional Purple sound of organ and guitar battling majestically to dominate proceedings.  Indeed, a good gauge for how you will receive the rest of the album can perhaps be found by measuring to what degree you enjoyed the three main protagonists later work.  (No disrespect to Jon Lord or Ian Paice in that statement but for me this album is about the jostling for control of the other three).

Mixing funk, soul and rock has always been a trademark of Glenn Hughes with his later albums often sitting comfortably in one, two or all three genres.  “Stormbringer” sees him and Coverdale trading vocals nicely on “Love Don’t Mean A Thing” whilst Stevie Wonder influences, which to be fair he has never hidden, are to the fore on “Hold On“.  This one sees him share the vocal again on a track that also shares four credits… all of the band except Blackmore.  Apparently dismissive of funk-rock he still knocks out an impressive solo, with only one takes worth of tape used by all accounts too.  Preceding that though is  Hughes’ solo vocal on “Holy Man“.  With gentle verses building to a powerful chorus this is another track that certainly bears little resemblance to the ghost of Purple past but is definitely a fine song in its own right if you can get past that.

Coverdale too makes his mark and lays down some pointers towards future days.  The gentle ballad “Soldier Of Fortune” would remain in his Whitesnake set for many a year and displays that superb lower-register voice that makes his latter day screaming all the more frustrating.  “High Ball Shooter” too is very much the guitar driven, British hard blues-rock sound that would provide him some success.  In fact a few phrases in this song got reused in the early Whitesnake days as well whilst the whole song has a very similar structure to “Sweet Talker”.

Unhappy that the band refused to record a cover of “Black Sheep Of The Family”, Ritchie Blackmore also takes the opportunity to demonstrate his personal tastes with the excellent medieval flavoured “The Gypsy“.  Only the the second all-band credit on the album it seems very much in the majestic style that would be evident in the early Rainbow albums, and ultimately, in places anyway,  that which would be defiantly present in recent post-Rainbow and Purple activities.  Interestingly I reckon this song also has some similarites to the Eagles instrumental “Journey Of The Sorceror” released a year later.  Influence or coincidence? I don’t know but to my ears the similarites are there!

Consequently “Stormbringer” turns out not a classic Deep Purple album.  Given the wrestling for direction its too unfocussed for that, but it’s something of a “grower” and given time and attention it proves a decent collection of songs many of which would have been stands outs I’m sure if featured in similar styled works.  The reason for revisiting it now is of course the ongoing EMI remastering series which on 23rd February sees this as the latest in the long running series.  Given that “Deep Purple In Rock” began the run as a 25th Anniversary edition its fair to say that this series has slipped a little – “Stormbringer” being subtitled a 35th Anniversary edition, but once again it looks an impressive package.  Glenn Hughes himself is on board to oversee remixes of four of the songs as bonus tracks;  “Holy Man”, “You Can’t Do It Right”, “Love Don’t Mean A Thing” and “Hold On” being the ones given the treatment.  Of course this leads to a little disappointment that either Hughes, Coverdale or one of the other members couldn’t do the same for the remaining tracks.  An instrumental take of “High Ball Shooter” is some consolation for those seeking rarities, but don’t get too excited if you already shelled out for “Listen, Learn, Read On” as it was previously featured there.

The accompanying DVD could be interesting if you have the correct equipment.  Sadly it’s not a collection of period performances – a good concert DVD of this line-up remains a gap in the market needing filling – but instead features the original Quadrophonic mix of the album reproduced for 5.1 surround sound.  Some on screen images of publicity shots and record covers make this still a worthwhile viewing experience, albeit somewhat limited, but to really make use of this disc some outlay may be required.  I certainly don’t have the kit to comment about the improvement or otherwise of this mix.

With sleevenotes by the walking Deep Purple font of knowledge Simon Robinson, it looks once again a must own package, especially if like me you’ve collected the earlier reissues, and maybe, after 35 years as one of the unsung Purple albums, new assessments will be a bit kinder to an album that still has some excellent tracks even if they perhaps aren’t in the style becoming the “real” Deep Purple.

Highlight: Stormbringer

Score: 3/5

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BL

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Classic Rock’s “New Music For 2009″

I figured that it would be a good exercise to play through the current Classic Rock magazine cover disc, write up a few conclusions and see who’s albums need to be added to the wish list.  Here’s my take, track by track:-

1) The Answer – “Highwater Or Hell“… fortunately not yet deciding to tailor their sound for an American market that seems to be receiving them positively this is another decent Answer rocker although I remain unsure whether it’s a first album leftover or a genuine preview of the forthcoming second disc.  Oh, according to the sleeve notes it’s actually an outtake from the second album which is a relief because although I like it, I’m convinced this band have better in them.

2) Hell City Glamours – “One Night Only“… half-decent sleaze rock that might have gone down better about twenty years ago.  By the time the final chord fades it’s a forgotten song.  Not for me!

3) Bible Of The Devil – “Ol’ Girl“… enjoyed this lazily delivered, somewhat Thin Lizzy-ish rocker a lot.  The lowish-fi sound and generally raw finish works well and although I don’t know if I could stomach a whole album of the same stuff I’d be interested in seeing what else they’ve got.

4) Scott Weiland – “Paralysis“… a not very interesting, or if you like, downright miserable plodder from Weiland that sounds positively tired to me against some of the up and coming bands surrounding it on this disc.  Now he’s out of Velvet Revolver (I rated their second album!) I don’t think I can be bothered.

5) Ulysses – “Lesson One“… hugely enjoyable track that I can best described as sounding like Thin Lizzy crossed with a bit of Bay City Rollers!  A really catchy song that reminded me of “Dancing In The Moonlight” given the glam rock trappings of hand-claps, stomping rhythm and cheesy backing vocals.  The guitar solo reminds me of Slade too – therefore I love it!

6) Diagonal – “Semi-Permeable Men-Brain“… fair play to Classic Rock.  They give good traditional prog-rock it’s due attention here with a near 11 minute piece of traditional, organic sounding prog (making a nice change from the overly technical stuff from many of today’s bands of the genre).  The only down side to this impressive track is what I can only assume is a mastering problem where for 2 minutes towards the end of the piece only the drummer can be heard.  Surely it’s not a studio drum solo?  Lose a point for that but otherwise this is excellent!

7) Finger Eleven – “Paralyzer“… catchy as hell pop-rock with something of an 80s sound about it; eighties pop that is as opposed to 80s rock.  Again really enjoyable but I don’t think I’d want to buy an album from them on the basis of this one track.

8) The Treat – “Bolivian Diary“… this is outstanding stuff from an Oxford based three piece.  With a sound that is equally forged from prog, psychedelia and classic blues-rock they deliver a lyric that really manages to tell a superb, chilling story.  One listen and I was interested, a couple of further listens then I’m ordering the album.

9) Stonewall Noise Orchestra – “Skyscraper Moments“… I was fortunate enough to be sent a promo of this bands “Constants In An Ever Changing Universe” album last year and this is one of the highlights of the album.  Stoner rock with similarities to Grand Magus,Kyuss and Monster Magnet its a disc that gets better with every listen and I can still see this band delivering a work of excellence at some point in the future.

10) Caimbo – “Treading Deep Water“… another good track and a nice, seventies feel to it with the clear acoustic guitar and gradually building sound.  Apparently they already have a Download festival under their belts and if this is representative of the rest of their material I’m interested.

11) Crucified Barbara – “Sex Action“… sadly, another for the recycling bin as the helium fueled vocals and throwaway chorus revisit much of what was wrong with hard rock twenty years ago.  I’ve read some positive comments about this band but have come to the conclusion now that they were written by people substantially younger (or at least younger feeling) than I am.

12) Slaves To Gravity – “Heaven Is A Lie“… this one didn’t really do much for me either.  Suitably heavy, with a good driving rhythm and decent guitar it proved just too grungy for me to appreciate.  Some distance away from the worst song on this compilation but another band I won’t be investigating further I think.

13) Matt Andersen – “Lonesome Road“… the two track run of negatives is broken by this enjoyable piece of country tinged blues.  Apparently the debut album from this Canadian guitar slinger came out last summer so should be readily available by now.

14) Million Dollar Reload – “Living In The City“… now this is the band who’s singer is being linked with Velvet Revolver I think; and I hope he’s not tempted ‘cos this is up against “Ulysses” for track of the compilation in my book.  Borrowing a riff from Budgie and building on it with a vocal that reminds me of early Quireboys this was right up my street.  It caught my attention too when Andy played it on the Rock Show Wednesday night so really I need to hear more.

15) Eden’s Curse – “Angels & Demons“… another good track from a band I’m sure I’d like although I believe they are just the latest in a long line of British melodic rock bands who are destined for also ran status as it’s not really any different to many  mel-rock bands that have gone before them. In fact I’d say this track is let down in places by the guest vocals provided by Queensryche collaborator Pamela Moore, but there’s enough to realise I’d probably get some pleasure from their album.

The conclusion :-

Well, buying the second album from The Answer is a no-brainer given how good the first one was.  Stonewall Noise Orchestra’s disc is already part of the collection too and is a damn good album.  On the basis of what I heard here though I must check the following bands…

Ulysses, Diagonal, The Treat and Million Dollar Reload

and will probably also pick up the latest albums by these if I can find them at what I think is a reasonable price…

Bible Of The Devil, Caimbo, Matt Andersen and Eden’s Curse

Sorry Scott Weiland, Hell City Glamours and Crucified Barbara in particular though. My money will most definitaly not be coming your way in 2009 based on what was offered up here!  Anybody else got any thoughts on Classic Rock’s tips for the coming year?

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BL

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Company Of Wolves – Company Of Wolves

Details : 1990, Vertigo, LP

High time I thought recently for another trip back to the late 80s/early 90s where again, rather than the over-publicised MTV dominating bands of the day, I’ve found a decent half hour or so’s entertainment from another of the also rans of the era.   This album was actually recommended to me by a reader of the site a while ago and although its took me a while to track down a decent priced copy of the album I owe that person thanks as I quite enjoyed this one!

Bluesy rock, with similarities to Cinderella post their début, and a bit of southern rock in the mix for good measure, “Call Of The Wild” opens matters in solid fashion although immediately you can’t help thinking that they just weren’t flashy enough to make the necessary impact back in the day.  Following it, only a decidedly dodgy lyric (“gimme sex till I’m next to dead”!!!) flaws “Hangin’ By A Thread“, but another of the 80s underrated bands The Georgia Satellites springs to mind and that comparison stays relevant for the excellent “Jilted“.  The jangling guitar lines, catchy bass runs and the drawl on the lyrics make this song an early highlight.

Of course every album of this time demands a power ballad and “The Distance” doesn’t really offer anything better or worse than many others of the same period.  It’s not un-listenable although its quickly overshadowed by the David Lee Roth like rocker that follows it.  “Romance On The Rocks” makes a nice contrast to it both lyrically and musically. The jokey false starts left on the albums bely the bar-room rock band that were trying to break through in an era where fashion was more critical to success than music.  Again, “Can’t Love You, Can’t Leave You” bears some resemblance to one of the era’s biggest bands, namely Aerosmith, but whereas by this point they were into big power ballads and heavy rotation videos this one resembles the earlier, rootsier ‘Smiths, specifically “Draw The Line”.  It closes a very good side one in style but some of that positive feeling is soon lost with the side two opener “Hell’s Kitchen“.  Starting with a nod to Zeppelin’s “When The Levee Breaks” it soon descends into a chorus that sounds like a rewording of the Kiss classic (!) “Heaven’s On Fire”.  A band simply looking for something commercial to get that all important break?  Possibly, but a shame whatever the reason as some hot harmonica gets wasted on this song.

The oft-used bar-room background is there on “St. Jane’s Infirmary“; another of the albums stand0ut tracks.  A nice piano track is noticeable and the overall song has something of a Kinks feel to it with a clearly audible acoustic guitar.  “My Ship” is another good one too.  A catchy, upbeat number that recalls Cheap Trick precedes “I Don’t Wanna Be Loved” which again goes into the power ballad territory but thanks to some tasty Meniketti like guitar licks is better than your average “big hair” ballad.

I can’t help thinking that so many of these songs seem to bring up a different “similar too” reference and perhaps not having their own unique identity did some harm to the band.  “Girl” perhaps is a good example of them near their best though, another fine example of straight up American hard rock just slightly out of step with what was selling at the time.  Letting that impressive outro solo run its course might have helped improve things as would putting it after the acoustic finale “Everybody’s Baby” leaving perhaps a longer lasting impression on the listener.

Without doubt though its an album that’s destined to be selected from the shelves and enjoyed again on occasion.  A recent thread on the melodicrock.com noticeboard used terms like “classic” and “awesome” in describing this album and whilst I’d hesitate to laud it that much thanks to a couple of lower grade tracks on there I’d definitely put it ahead of many better publicised but ultimately inferior products of the era.

Highlight: Jilted

Score: 3/5

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BL

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GTFM Rock Show Preview

“New Bands For 2009“

This week on the programme we’re dedicating the whole two hours to new bands/new music for 2009!

Included are Voodoo Johnson, Wired Desire, Touchstone, Hot Leg, The Threat, Ulysses, Lethargy and many more.  Do you have any suggestions for hot new bands that you think should be included? Please let me know…if they have some material, we’ll try and play them!

Also a new feature for 2009: ‘Rare Track’ where you can choose a rock track, past or present not often played on the radio.  Inspired by a thread on the Classic Rock Newswire forum, and a previous feature, it will feature the less obvious and the more unusual and indeed ‘rarer’ tracks from the great catalogue of rock.

Please submit you track or even tracks with a little explanation if possible, in the comments section or to rockshow@gtfm.co.uk

——

email DJ Andy Fox via rockshow@gtfm.co.uk

Listen live in the Pontypridd, South Wales area on 107.9 FM

or on the Internet by pointing your media player at

http://qtss.lrc.glam.ac.uk:8000/gtfmmp3

——

The GTFM ROCK SHOW with ANDY FOX,

22.00 to 24.00 every Wednesday

Nico’s Alchemy – Fundamental Darkness

Details: CD, 2009, Dirty Dog Records

There’s no denying it.  When I receive a CD where the main man is described as a “virtuoso rock guitarist” and the cover features said virtuoso in full Fender wielding flight, I’m expecting a widdle fest of self-indulgent titanic proportions and another album with perhaps a couple of tracks that I wish they’d put lyrics too and a load of “tunes” I’ll have tuned out of by about track four.  Fortunately this disc proves more than an extended work out for an obviously talented musician, and Nico Tamburella comes over as the ace in the pack in what seems to be a more than promising melodic hard rock band.

There is little doubt the guitarist is the star of the show.  Six solo compositions and a credit on the other four he gets plenty of spotlight in no less than four instrumentals, but opener “No Time For Sadness” is instantly impressive melodic heavy rock with a hint of early seventies about it and refreshingly little indulgent overplaying to be heard. Later piece “A Leap Into Space” offers some experimental  guitar work but is blighted by sampled voices leaving the overall effect somewhat monotonous.  Superior to it and immediately succeeding it is the more Satriani styled “Sleeping With The Devil” though, which does allow for a bit of showing off from Tamburella on a track that more than once vaguely resembles the “Dr. Who” theme, but still doesn’t tip the scales offensively.

Awarded a full 5/5 review in Guitar Techniques indicates that this album will find favour amongst the guitar pyrotechnic favouring community but it’s the band oriented tunes give this album a wider appeal and it’s those that provided the fuel for my enjoyment of this disc.  I’ve seen various pieces that describe Alchemy as somewhere between Van Halen and Audioslave but the overriding similarity I heard through much of the vocal enhanced songs was that of late 80’s/early 90’s supergroup Mr. Big and, when the sound gets a bit meatier, the German band Pink Cream ‘69.  “Shine On“recalls the former bands “Alive And Kicking” and although not quite as memorable it certainly proves a welcome slab of technically proficient FM ready melodic rock.  “Save Me Jesus” is even better!  Driven by a superbly dirty riff that suggests the likes of Humble Pie may be a shared influence even some slightly accented vocals fail to become much of an issue.

“Fading Away” tops the lot and is simply excellent melodic hard rock begging the question of why Tamburella and co. don’t go for a full album of this kind of thing and leave the instrumental stuff for a different project.   The only vocal track that doesn’t quite hit the money is the final one, “Miles Away” and that’s mainly down to its positioning in the track list.  A pop oriented, mid tempo love song it ends the album on something of a melancholic note although you get the feeling it would work ever so well acoustically.  Perhaps then though it would have been too close to “To Be With You”?

Without doubt, well in my collection anyway, there’s a place for technically proficient melodic rock and a there is a place too in the rock world for gifted instrumentalists but on the same album one seems to detract from the other.  This release has its moments but a more focused approach, especially toward the melodic rock stuff, and this could have been a killer.

Highlight: Fading Away

Score: 3/5

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BL

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Deep Purple – Deep Purple in Rock

Details: 1970, Harvest, LP

I’m surely not the only person who, prompted by the extensive cover feature in the current Classic Rock magazine, has dug this album out for a well overdue listen.  Actually that and a forum discussion over on the Manband pages of all places has lead me to consider recently whether this, “Machine Head” or “Burn” is the greatest of all the Purple releases.  In reality, I think “Burn” is more of a personal thing.  A great album, and my personal favourite, but really the accolade of “the greatest” has to go to a Mark II era album and will ultimately be between this and the “Smoke On The Water” including “Machine Head”, although I’d hazard a guess that some people would be able to make a strong case for “Fireball” and maybe even “Made In Japan” too if you want to include live albums.

As statements of intent for a new era go, one thing without question is that few are made that are better than “Deep Purple in Rock”.  After three albums of a Vanilla Fudge influenced flavour and a somewhat confusing initial “Mk II” début fulfilling Jon Lord’s dream of blending classical orchestra and rock band “In Rock” as we’ll call it from now on sees guitarist Richie Blackmore grabbing the reins and establishing his guitar legend status, whilst collectively the band produced a work of enduring quality: one of the albums that forms the bedrock upon which the whole heavy rock genre is built.

It seems almost a battle for dominance as the album opens.  First Blackmore, then Jon Lord’s growling hammond get brief solo spotlights to deliver a foretaste of what’s to follow before the blustering “Speed King” introduces Ian Gillan into his rightful arena, after an uncompfortable initial experience afront the “Group and Orchestra”.  Still a popular song, and tagged on the sleeve notes as “just a few roots, replanted” it leads into what I consider one of Deep Purple’s most underrated efforts.  “Bloodsucker” is simply a feast of hard rock riffs and remains memorable as anything; capable of sticking in your head for days on end after a single listen, and seemingly still popular with the band too given it was resurrected albeit with an alteration to the spelling for the second Steve Morse era album “Abandon”.  I guess that sat between the might of “Speed King” and the original side one closer that follows it perhaps it’s forgiveable to overlook it?

That closer is of course “Child In Time“.  The Oxford English Dictionary of Phrases should consider deleting whatever it currently lists as the definition of “Musical Tour de force” and replace it “Child In Time”.  Inspired and overblown in equal measures and ultimately quite majestic the eight lines of lyrices printed on the inside of the gatefold sleeve simply fail to convey the supreme performances offered by all five members on this.  Gillan’s singing truly moves from a whisper to a scream.  Both Blackmore and Lord deliver reputation cementing solos and driving it throughout are the newly formed but instantly impressive rhythm section pairing of Ian Paice and Roger Glover.

Now approaching forty years since its release, and with a UK national radio station playing only rock music as last available, it’s surprising that although pretty much universally lauded in the rock world you don’t hear much from the b side of “In Rock” over the airwaves. “Spped King” and “Child In Time” seems to be the national rock radio choices to represent this album but that also helps make revisiting the thing more of a pleasurable experience as nothing else even approaches overplayed.  “Flight Of The Rat” bursts through the speakers and sounds again impressive but also forces an interesting thought.  Another of those apparently effortless Blackmore riffs provides the signature, and although Lord gets the first solo the spotlight soon falls again on the guitarist.  Now there’s no doubt that Deep Purple have proved influential to many over the years but I listen to this song now and I can’t help thinking of Queen, which comes as a bit of a surprise as I don’t recall Brian May ever really citing Purple or Blackmore as an influence. Anyway…

“Into The Fire” continues the assault.  Never needing to be pacy or flashy its simply a lumbering beast of a song that again, despite being arguably the best known track from side two still  strikes as somehow forgotten against the big hitters in the band’s overall catalogue.  “Living Wreck” is similar to it in many ways, although Ian Paice’s drums seem more noticeable by some magnitude on the latter song.  Nevertheless these are the two that really nail the thought that it’s been too long since I last really listened to this album, these lesser known tracks offering a freshness that sticking to a “Best Of” collection or the legendary live album “Made In Japan” cannot give.  Almost as an aside, Ian Gillan’s voice too, then still full of youth rather than restricted by age and use as it can appear today, also appears strikingly impressive on this pair of songs.  “Hard Lovin’ Man” then has an air of triumphant finale about it with it’s opening euphoric strains and it’s ethereal closing that offers a nod to The Beatles’ “A Day In The Life”.  The lyrics don’t rise far past the level of the waistline but by this point reputations have been forged and they can be forgiven a trip into the seedy side of things!

When considering this albums position in the Purple cannon it’s worth also remembering that “Black Night“, a UK number one hit single and in itself a rock classic, didn’t make the album.  It wasn’t until the excellent “25th Anniversary”  release in 1995 that it got put into context against the rest of the album.  In reality it doesn’t matter as “Deep Purple In Rock” even without it, in its original 7 song format, is still a great, great album.  In my opinion, the greatest of all the Deep Purple albums.

Highlight: Child In Time

Score: 5/5

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An excellent live version of “Into The Fire” the purports to be shot in Berlin 1971.  Made all the more watchable by some bizarre crowd shots…

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BL

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GTFM Rock Show Preview

“Review of 2008…Pt 2“

We’ll feature our Review of 2008 Part Two with interview segments from AC/DC, Asia, Francis Rossi from Status Quo, Alterbridge, Fish and David Coverdale from Whitesnake, plus tracks from the albums that rocked your world in 2008!

What were your favourites of the last year gone by?

——

email DJ Andy Fox via rockshow@gtfm.co.uk

Listen live in the Pontypridd, South Wales area on 107.9 FM

or on the Internet by pointing your media player at

http://qtss.lrc.glam.ac.uk:8000/gtfmmp3

——

The GTFM ROCK SHOW with ANDY FOX,

22.00 to 24.00 every Wednesday