In Rock by Deep Purple

November 30, 2011

The Deep Purple of 1970 was far different from the Deep Purple of just the year before. Bassist Nick Simper and vocalist Rod Evans had been fired, and bassist Roger Glover and vocalist Ian Gillan had been selected to replace them. They joined holdovers Jon Lord, Ritchie Blackmore, and Ian Paice to form the best-known lineup of the band, referred to as “Mark II.” Gone also was the psychedelic rock, cover songs, and disjointed albums of experimentation. In their place was a brand of hard rock that would strike a chord with millions of fans down through the years. Their musical journey, along with such bands as Black Sabbath and Led Zeppelin, would change the face of music with their high energy and bone crunching brand of rock.

Deep Purple In Rock, released during June of 1970, was not an overwhelming commercial success in the United States but proved to be their breakthrough release in their native country, as it reached number four on the U.K. album charts.

With this album, they developed a distinctive sound that was different from most of their contemporaries. The speed of many of their songs, plus the combination the organ/guitar blitz, set them apart from most of the music of the day. It proved to be a winning combination.

“Speed King” leads off the album in hyper-drive, and immediately announces to the music world that this Is a far different Deep Purple from their “Hush” and “Kentucky Woman” days. Gillan shrieks, “I’m a speed king, see me fly,” as Blackmore and Lord challenge each other with guitar and keyboards. Blackmore’s guitar style on this track established his and Deep Purple’s sound for years to come.

“Bloodsucker” is all Blackmore. While Gillan provides a credible vocal, it is Blackmore’s continuing quest to establish himself as a force in rock music that drives the song. The song also looked ahead to his future group, Rainbow.

Side one of the original vinyl release ended with the classic “Child In Time.” This ten minute tour-de-force remains one of their signature songs. It features one of the best vocals of Gillan’s career. The instrumental sound runs counter to the harmony as Blackmore and Lord provide one of their more creative duets of their career together.

The second side of the release, while good, is not as overall strong as the first. “Into The Fire” and “Living Wreck” both have odd structures, and while Blackmore and Gillan give competent performances, they did not match anything on the first part of the album. “Flight Of The Rat” is the side’s best track as it returned the band to its frenetic mode. The album comes to an end with the weakest track as “Hard Lovin’” seems to find the band exhausted.

Deep Purple In Rock would establish the band as one of the leading practitioners of hard rock, a position they still occupy over four decades later. It is an album that has held up well down through the years and is always worth a listen or two. Just don’t forget to turn up the volume all the way. It can be earth-shaking.


Welcome To Alabama by The Kenneth Brian Band

November 30, 2011

The Kenneth Brian Band is a straight forward, take no prisoners, modern day southern rock band. They combine some country leanings with a blistering guitar sound to produce some fine, modern southern rock. It may sound simple but sometimes simple is best, and that is the case with the music here.

If you are going to record a southern rock album, you need a southern rock producer. Enter Johnny Sandlin, the legendary producer of the Allman Brother’s number one album, Brothers and Sisters, and their hit follow-up, Win, Lose Or Draw. He provides a steady hand as he leads the band through their debut release, Welcome To Alabama.

The band is fronted by its namesake, vocalist, lead guitarist, and songwriter Kenneth Brian. He wrote all of the tracks except for “There Ain’t Nothin’ You Can Do” by Dickey Betts, who originally recorded it on his Dickey Betts and Great Southern album in 1977. If you are a southern rock band and want to cover an outside song, one by Betts is a wise choice.

The rest of the band is made up of rhythm guitarist Travis Stephens, drummer Dickey Pryor, and bassist Zach Graham, and supporting artists include keyboardist Randall Bramblett and vocalist Bonnie Bramlett.

The title track is a good introduction to his music as he sings, “Welcome to Alabama, come on in.” ”Last Call” travels in more of a country direction due to a lap steel sound underpinning the duet with Lillie May Rische. The legendary Bonnie Bramlett lends her voice to “Nothin’ You Can Do,” and she is always welcome.

Through it all Brian’s guitar play dominates the sound. He has developed his chops through almost a decade of playing in a number of groups in the Nashville area and now touring constantly with his own band. His voice has a laid back appeal and is just about perfect for southern rock.

Welcome To Alabama is a fine debut album from a new band on the southern rock block. Whether in a smokey bar, on the road, or in the studio, The Kenneth Brian Band has produced some catchy and high octane modern day music, which proves that southern rock is alive and well.

Article first published as Music Review: The Kenneth Brian Band – Welcome To Alabama on Blogcritics.


Can’t Seem To Make You Mine by The Seeds

November 30, 2011

The Seeds were a garage rock band best remembered for their early 1967 hit “Pushin’ Too Hard.”

They had a sound that was rock music at its most elemental.

TThey placed four songs on the BILLBOARD MAGAZINE Pop 100 Chart, 1966-1967. Their second biggest hit was “Can’t Seem To Make Her Mine.” Released April 29, 1967, it reached number 41. It was another basic piece of raw 1960s rock ‘n’ roll.

The best part of the release was the classic picture sleeve, which captures The Seeds in all their glory.


Best Of Both Worlds 45 by Lulu

November 30, 2011

Lulu, (Marie Lawrie), began her career as a a rocker with her U.K. release “Shout.” She appeared in the movie, “Too Sir With Love” and her release of the title song was one of the biggest single hits of 1967 topping the BILLBOARD MAGAZINE Pop Singles Chart for five weeks.

Her follow-up release to her biggest hit was “Best Of Both Worlds.” Released December 16, 1967, it reached number 32 on the singles charts in the United States.

While it was a medium sized hit with a good vocal performance, the song was not as strong. It did come with a nice picture sleeve.


Till The End Of Time 78 by Perry Como

November 29, 2011

There was a new star on the block as Perry Como reached the top of the singles chart for the first time in his career, which would see him sell tens of millions of records during the course of a fifty yers career, plus host his own television show, 1949-1963.

“Till The End Of Time” was a huge hit. It became the number one song in the United States September 15, 1945 and remained in that position for ten consecutive weeks.

Como left his career as a barber behind to become a big band singer for Freddy Carlone and Ted Weems but it would be his solo career that would make him a household name.

He was a rare artist who recorded for only one label, (RCA), and remained married to the same woman, (65 years).

He released over 150 singles but “Till The End Of Time” was one of the biggest.


Deep Purple by Deep Purple

November 28, 2011

The first two Deep Purple albums and hit singles had made the band stars in the United States, if not its home country of England. There was dissention developing, however, as founding members Jon Lord and Ritchie Blackmore, supported by drummer Ian Paice, wanted to take the group in a hard rock direction. Bassist Nick Simper and vocalist Rod Evans were opposed to this change of direction, which would result in their eventual ouster from the band.

Their third self-titled album, sometimes referred to as Deep Purple III, was released during June of 1969 in the United States and during November in the U.K. It was the least successful of their three early albums, in part because the group’s label, Tetragrammaton, was on the verge of bankruptcy.

Deep Purple was the least satisfying of their three early career releases, although it can also be considered their most adventurous. It was probably a better fit during the time period of its release as its music sounds a little dated today. Its disjointed, yet creative, nature, has been overshadowed by their hard rock popularity of the last four-plus decades. Shades Of Deep Purple and The Book Of Taliesyn provide more stability and are ultimately more satisfying overall than III’s meandering through a number of different styles and sounds. Still, if you want to hear something different from Deep Purple, then this is an album you may want to seek out.

The opening “Chasing Shadows” was a tight rock piece with a thundering drum foundation by Paice. The band would begin a number of their future albums in the same way. “Why Didn’t Rosemary” was almost a 1950s and early 1960s throwback, as Ritchie Blackmore contributes artful solos, which would soon become a band staple.

On the other hand, the 12-minute “April” was unlike just about anything else the band would ever record. It was divided into three parts. There is an opening instrumental with a long Blackmore guitar solo, a classical chamber orchestra section written by Jon Lord that contains no participation by any of the band members, then vocals, and finally, another guitar solo. I’m not sure how good it was but it was interesting.

Deep Purple covered the middle ground as well. “Blind” is a classical/rock song built around Lord’s keyboards. Donovan’s “Lalena” was the only cover song and was one of the most subdued and low-key performances of its career. It did not really fit the band’s persona. “Fault Line/The Painter” combined a short instrumental, followed by keyboards and more guitar solos. “Bird Has Flown” was psychedelic rock, which the group would soon leave behind.

Deep Purple found the band in a transition period. Blackmore’s guitar sound was moving front and center, with Jon Lord joining him in the beginning to create the basis for a long and successful career. The album was a fitting conclusion to the band’s formative years.

Article first published as Music Review: Deep Purple – Deep Purple In Rock on Blogcritics.


Life is A Good Place by Danny Click

November 28, 2011

When the youngest of nine children sees his mother play the slide guitar using a butcher knife, he is destined to become either a guitarist or something far more nefarious. Luckily for all involved, Danny Click is now one of the better, if underrated, guitarists on the music scene today.

He began playing the guitar at the age of six and by the time he reached high school, he was playing with his older sister’s band, covering songs by such artists as Buck Owens, Johnny Cash, and Willie Nelson. Beginning in the 1990s in Austin, Texas, and continuing on the west coast, he developed an interest in the blues and has since settled into a guitar-oriented brand of rock/blues fusion.
Life Is A Good Place is his fourth album. His music has attained a maturity after years on the road and in the studio, featuring lyrics that explore themes of life’s struggles and ultimate redemption. Still, no matter how creative are Click’s lyrics or music, it all comes back to his guitar virtuosity, which is some of the best in all of contemporary rock and blues.

Click has surrounded himself with a stellar group of musicians for the project, including keyboardist Mark Goldenberg (Jackson Browne), bassist Kevin Kevin McCormack (Jackson Browne), drummer Mario Calire (Wallflowers), and pedal and lap steel guitarist Greg Leisz (Emmylou Harris); he also uses some backing singers and strings in places to fill in the sound.

The album’s most poignant tracks are “Ten Years” and “Blue Skies,” which deal with the loss of family members. On the other hand, “Wait My Turn” is an infectious country/blues rocker.

Whether acoustic or electric, Click’s equally emotional and passionate guitar playing remains the centerpiece of the album. He is one of those guitarists who can play the instrument almost in the vein of a vocalist to carry the tune. Having played his brand of rock and blues for several decades now, Click draws upon his experience to form an accessible and ultimately enjoyable album.

Article first published as Music Review: Danny Click – Life Is A Good Place on Blogcritics.