The Album Review Club - Week #191 (page 1286) - Harlequin Dream - Boy & Bear

[bennyboy]

I'm sure he said the same about Rush.

Well I hope I do not say the same what I said about Rush.
At 65 this will be the first time I have heard an Deep Purple album.
Hope it is as good as the Rainbow pick.

 

[FogBlueInSanFran]

I have no inherent objection to live records. Hell, “Won’t Get Fooled Again” is my favo(u)rite song of all time, and I prefer the live version from “The Kids Are Alright” every time (as I do “What We All Want” by Gang of Four). However, live records enjoy a relative advantage in our scoring system over new studio releases like Greatest Hits records do. As such, they always are docked a point to stem grade inflation.

Amazing review by the way @OB1 !!

 

[threespires]

I have no inherent objection to live records. Hell, “Won’t Get Fooled Again” is my favo(u)rite song of all time, and I prefer the live version from “The Kids Are Alright” every time (as I do “What We All Want” by Gang of Four). However, live records enjoy a relative advantage in our scoring system over new studio releases like Greatest Hits records do. As such, they always are docked a point to stem grade inflation.

Amazing review by the way @OB1 !!

Not to derail things but the video of Entwistle's isolated bass on that performance must be my most watched YT video. You can tell which bits are challenging because just momentarily he doesn't look like he's working out what he needs to get from the shops for his tea. The other three seem to think stage presence is to do with having St Vitus Dance but the Ox knows what's what!

 

[GornikDaze]

@OB1 you absolute beauty!!!

 

[FogBlueInSanFran]

Not to derail things but the video of Entwistle's isolated bass on that performance must be my most watched YT video. You can tell which bits are challenging because just momentarily he doesn't look like he's working out what he needs to get from the shops for his tea. The other three seem to think stage presence is to do with having St Vitus Dance but the Ox knows what's what!

Townsend is so coked up in that video it’s frightening. I’ve always thought Daltrey was a bit of a poser and Moon a genius by a combination of luck, brain miswiring that allows each limb to move independently, and alcohol. The Ox, however, is an extreme talent, and I have such a blind spot for Pete that I even appreciate “All The Best Cowboys Have Chinese Eyes”, which every right-thinking person in the world detested.

 

[OB1]

I have no inherent objection to live records. Hell, “Won’t Get Fooled Again” is my favo(u)rite song of all time, and I prefer the live version from “The Kids Are Alright” every time (as I do “What We All Want” by Gang of Four). However, live records enjoy a relative advantage in our scoring system over new studio releases like Greatest Hits records do. As such, they always are docked a point to stem grade inflation.

Amazing review by the way @OB1 !!

I agree about that version of “WGFA”, worth the price of admission just for Moon’s kick drum blast in the intro.

I’m not concerned over points, especially as I expect some low scores e.g. some will thin the tracks are self-indulgently long, or people making horrid noises with their instruments, it’s got a drum solo, but those things very much differentiate from a greatest hits exercise, which at the time it certainly wasn’t: it was just the tour to promote their latest record, which turned out to be their best, IMO, but all the tracks off that album are, IMO again, better than the originals or, in the case of “Space Truckin’,” a very different beast. Also, Purple in its various forms went on to make plenty more tracks that would sit nicely on a career spanning best of.

 

[OB1]

Townsend is so coked up in that video it’s frightening. I’ve always thought Daltrey was a bit of a poser and Moon a genius by a combination of luck, brain miswiring that allows each limb to move independently, and alcohol. The Ox, however, is an extreme talent, and I have such a blind spot for Pete that I even appreciate “All The Best Cowboys Have Chinese Eyes”, which every right-thinking person in the world detested.

Entwistle is surely as good a bass player as there has ever been. Those preternaturally long spider fingers are like some otherworldly creation designed solely to excel at bass guitar.

Moon probably was from another planet.

There’s never been a rhythm section quite like those two.

 

[threespires]

Ever since St Augustine of Hippo wrote about distrust of the flesh and the subsequent categorisation of sin by Lombard and Aquinas, the Catholic church has had a (some would say unhealthy) obsession with masturbation. Though this obsession, if you’ll pardon the pun, climaxed in the 19th century, to some degree it still remains to this day.

However, the church has to date remained strangely silent on a type of masturbatory endeavour that I personally find significantly more disturbing. That which takes place between (typically) a man and a 25-inch piece of rosewood; or, for the more financially endowed musical onanist, ebony.

When technical capability spills over into self-indulgence or exhibitionism then generally speaking, I’m out. For me metal has too much vainglorious machismo masquerading as virtuosity and I’ve never got it. As Joey the Lips said (incorrectly about jazz) it’s musical wanking.

However, there is always something or someone who is the exception to a rule. The acceptable wanker. The wanker you can’t help but like despite the fact he’s definitely a wanker. For me one such wanker is Ritchie Blackmore. There are some specific reasons for this. I’m fairly sure he’s deranged. He’s always ploughed his own furrow. Oh and he’s very talented too. But most of all it’s never really been about playing with himself. He’s generally hung around with/tortured top notch bandmates and no more so than this bunch.

I have written previously about my complicated relationship with the wretchedly smelling metal heads at school and how I was never able to despise their music as much as their dress sense. So behind closed doors, in the darkness of my room where neither my new wave mates nor my parents could catch-me, I would indulge in Machine Head.

Over the years I tried to reconcile myself with this aberrant behaviour and through examination of conscience I discovered the, fairly obvious, answer. Deep Purple didn’t just rock, they grooved. Their origins in psychedelic rock, blues and even a bit of jazz never really disappeared. Paice and Glover could lay down a pretty deep rhythmic pocket for the rest of the band to respond to. It’s most obvious on this album in Strange Kind of Woman and Lazy but it pops up all over the place.

Any excess in this recording, of which there’s not as much as you might imagine, is absolutely legitimate. This is just a band of fantastic and complementary talents who are on it, maybe teetering on the edge of on it too much, but never going over the cliff. Is there some exhibitionism? Sure, but the type that draws a crowd rather than sticks it in your face whether you’re in the mood for it or not.

The fact that this was apparently released without overdubs and that band members were in some cases critical of their own performances speaks volumes. It’s one of those albums that is listenable to irrespective of equipment. It doesn’t really matter what genres you are into, some albums you just need to own, and this is one such album.

Everyone knows the songs and @OB1 has already done a fine job of describing the album. Other people much more qualified than me will be able to add further insight.

I obviously have to deduct points for the unwashed denim and straggly hair of their acolytes, but this is an 8.5/10 which trust me, in this category for me represents greatness.

 

[GornikDaze]

Ever since St Augustine of Hippo wrote about distrust of the flesh and the subsequent categorisation of sin by Lombard and Aquinas, the Catholic church has had a (some would say unhealthy) obsession with masturbation. Though this obsession, if you’ll pardon the pun, climaxed in the 19th century, to some degree it still remains to this day.

However, the church has to date remained strangely silent on a type of masturbatory endeavour that I personally find significantly more disturbing. That which takes place between (typically) a man and a 25-inch piece of rosewood; or, for the more financially endowed musical onanist, ebony.

When technical capability spills over into self-indulgence or exhibitionism then generally speaking, I’m out. For me metal has too much vainglorious machismo masquerading as virtuosity and I’ve never got it. As Joey the Lips said (incorrectly about jazz) it’s musical wanking.

However, there is always something or someone who is the exception to a rule. The acceptable wanker. The wanker you can’t help but like despite the fact he’s definitely a wanker. For me one such wanker is Ritchie Blackmore. There are some specific reasons for this. I’m fairly sure he’s deranged. He’s always ploughed his own furrow. Oh and he’s very talented too. But most of all it’s never really been about playing with himself. He’s generally hung around with/tortured top notch bandmates and no more so than this bunch.

I have written previously about my complicated relationship with the wretchedly smelling metal heads at school and how I was never able to despise their music as much as their dress sense. So behind closed doors, in the darkness of my room where neither my new wave mates nor my parents could catch-me, I would indulge in Machine Head.

Over the years I tried to reconcile myself with this aberrant behaviour and through examination of conscience I discovered the, fairly obvious, answer. Deep Purple didn’t just rock, they grooved. Their origins in psychedelic rock, blues and even a bit of jazz never really disappeared. Paice and Glover could lay down a pretty deep rhythmic pocket for the rest of the band to respond to. It’s most obvious on this album in Strange Kind of Woman and Lazy but it pops up all over the place.

Any excess in this recording, of which there’s not as much as you might imagine, is absolutely legitimate. This is just a band of fantastic and complementary talents who are on it, maybe teetering on the edge of on it too much, but never going over the cliff. Is there some exhibitionism? Sure, but the type that draws a crowd rather than sticks it in your face whether you’re in the mood for it or not.

The fact that this was apparently released without overdubs and that band members were in some cases critical of their own performances speaks volumes. It’s one of those albums that is listenable to irrespective of equipment. It doesn’t really matter what genres you are into, some albums you just need to own, and this is one such album.

Everyone knows the songs and @OB1 has already done a fine job of describing the album. Other people much more qualified than me will be able to add further insight.

I obviously have to deduct points for the unwashed denim and straggly hair of their acolytes, but this is an 8.5/10 which trust me, in this category for me represents greatness.

No extra deduction for the overwhelming stench of patchouli oil - something I never actually indulged in back in the day? I did however sport a very nicely embroidered denim jacket with collection of pin badges.

Agree about Blackmore being a massive sulky wanker, but he is an absolute master of his instrument (cough).

Gillian’s vocal range is awesome on this album, obviously we’ll showcased on SKoW and his interaction with Blackmore is masterful.

Throw in those intro little keyboard runs that Jon Lord throws in are just wonderful little cameos and compliment his amazing solos.

I love this album, I suppose I will reluctantly give it the ‘suggested’ three plays, but it’s probably been less than a week since I played it in the car. Highway Star is just an incredible live performance and such a great opener.

Solid 9/10 for me - if I hear anything new, I reserve the right to change my score before voting closes next week.

@OB1 do you prefer this to Live and Dangerous? I’m thinking you’ve previously suggested L&D is your favourite live album?

 

[OB1]

Ever since St Augustine of Hippo wrote about distrust of the flesh and the subsequent categorisation of sin by Lombard and Aquinas, the Catholic church has had a (some would say unhealthy) obsession with masturbation. Though this obsession, if you’ll pardon the pun, climaxed in the 19th century, to some degree it still remains to this day.

However, the church has to date remained strangely silent on a type of masturbatory endeavour that I personally find significantly more disturbing. That which takes place between (typically) a man and a 25-inch piece of rosewood; or, for the more financially endowed musical onanist, ebony.

When technical capability spills over into self-indulgence or exhibitionism then generally speaking, I’m out. For me metal has too much vainglorious machismo masquerading as virtuosity and I’ve never got it. As Joey the Lips said (incorrectly about jazz) it’s musical wanking.

However, there is always something or someone who is the exception to a rule. The acceptable wanker. The wanker you can’t help but like despite the fact he’s definitely a wanker. For me one such wanker is Ritchie Blackmore. There are some specific reasons for this. I’m fairly sure he’s deranged. He’s always ploughed his own furrow. Oh and he’s very talented too. But most of all it’s never really been about playing with himself. He’s generally hung around with/tortured top notch bandmates and no more so than this bunch.

I have written previously about my complicated relationship with the wretchedly smelling metal heads at school and how I was never able to despise their music as much as their dress sense. So behind closed doors, in the darkness of my room where neither my new wave mates nor my parents could catch-me, I would indulge in Machine Head.

Over the years I tried to reconcile myself with this aberrant behaviour and through examination of conscience I discovered the, fairly obvious, answer. Deep Purple didn’t just rock, they grooved. Their origins in psychedelic rock, blues and even a bit of jazz never really disappeared. Paice and Glover could lay down a pretty deep rhythmic pocket for the rest of the band to respond to. It’s most obvious on this album in Strange Kind of Woman and Lazy but it pops up all over the place.

Any excess in this recording, of which there’s not as much as you might imagine, is absolutely legitimate. This is just a band of fantastic and complementary talents who are on it, maybe teetering on the edge of on it too much, but never going over the cliff. Is there some exhibitionism? Sure, but the type that draws a crowd rather than sticks it in your face whether you’re in the mood for it or not.

The fact that this was apparently released without overdubs and that band members were in some cases critical of their own performances speaks volumes. It’s one of those albums that is listenable to irrespective of equipment. It doesn’t really matter what genres you are into, some albums you just need to own, and this is one such album.

Everyone knows the songs and @OB1 has already done a fine job of describing the album. Other people much more qualified than me will be able to add further insight.

I obviously have to deduct points for the unwashed denim and straggly hair of their acolytes, but this is an 8.5/10 which trust me, in this category for me represents greatness.

There’s a fine line between exhibitionism and entertainment.

 

[threespires]

There’s a fine line between exhibitionism and entertainment.

You referring to the album or my review?

 

[OB1]

No extra deduction for the overwhelming stench of patchouli oil - something I never actually indulged in back in the day? I did however sport a very nicely embroidered denim jacket with collection of pin badges.

Agree about Blackmore being a massive sulky wanker, but he is an absolute master of his instrument (cough).

Gillian’s vocal range is awesome on this album, obviously we’ll showcased on SKoW and his interaction with Blackmore is masterful.

Throw in those intro little keyboard runs that Jon Lord throws in are just wonderful little cameos and compliment his amazing solos.

I love this album, I suppose I will reluctantly give it the ‘suggested’ three plays, but it’s probably been less than a week since I played it in the car. Highway Star is just an incredible live performance and such a great opener.

Solid 9/10 for me - if I hear anything new, I reserve the right to change my score before voting closes next week.

@OB1 do you prefer this to Live and Dangerous? I’m thinking you’ve previously suggested L&D is your favourite live album?

“Live & Dangerous” is not my favourite live album but, in some quarters, it is thought of as the greatest double live album. I like it a lot of course and it is one of the very best; it is also the best thing Lizzy ever released.

I don’t know that it is truly possible to pick a greatest anything in music because, ultimately, it is subjective and a matter of taste. I also think it is nigh on impossible to rank albums or songs as favourite, second favourite etc. I do have a favourite (studio) album but any ranking after that is a construction. These things for me are mostly a bit of fun and not to be taken too seriously; although I objected hugely to Rolling Stone last pick of a greatest album.

I do at times try to distinguish between what I think is the greatest and what is my favourite.

In this case, I think “Made in Japan” is the greatest double live album. The first time I heard it, I was astonished and it never ceases to impress me. The recent box set I bought includes a DVD with various versions on it, including some Steven Wilson surround sound mixes, which are a joy.

My favourite live album? Not sure, MIJ is right up there but so are “KISS Alive!” and Rush’s “All The World’s a Stage” both of which I wanted to review but went for studio albums because they are both greatest hits type releases and very different animals to MIJ. They are however my favourite albums by the two bands I have see live most frequently.

 

[OB1]

You referring to the album or my review?

LOL - just music in general. Your review was excellent and entertaining.

 

[BimboBob]

LOL - just music in general. Your review was excellent and entertaining.

Thank goodness. Didn't want a mental image of anyone's exhibitionist tendencies thank you very much.

 

[Blumooniac]

“Live & Dangerous” is not my favourite live album but, in some quarters, it is thought of as the greatest double live album. I like it a lot of course and it is one of the very best; it is also the best thing Lizzy ever released.

I don’t know that it is truly possible to pick a greatest anything in music because, ultimately, it is subjective and a matter of taste. I also think it is nigh on impossible to rank albums or songs as favourite, second favourite etc. I do have a favourite (studio) album but any ranking after that is a construction. These things for me are mostly a bit of fun and not to be taken too seriously; although I objected hugely to Rolling Stone last pick of a greatest album.

I do at times try to distinguish between what I think is the greatest and what is my favourite.

In this case, I think “Made in Japan” is the greatest double live album. The first time I heard it, I was astonished and it never ceases to impress me. The recent box set I bought includes a DVD with various versions on it, including some Steven Wilson surround sound mixes, which are a joy.

My favourite live album? Not sure, MIJ is right up there but so are “KISS Alive!” and Rush’s “All The World’s a Stage” both of which I wanted to review but went for studio albums because they are both greatest hits type releases and very different animals to MIJ. They are however my favourite albums by the two bands I have see live most frequently.

The live album I think has aged the best, and is a fantastic body of work, is Strangers in the Night. UFO really were a fantastic band. But for criminal mismanagement and a collective dysfunctionality, akin to shooting themselves in both feet on a regular basis, they should've been huge.

 

[mrbelfry]

Ever since St Augustine of Hippo wrote about distrust of the flesh and the subsequent categorisation of sin by Lombard and Aquinas, the Catholic church has had a (some would say unhealthy) obsession with masturbation. Though this obsession, if you’ll pardon the pun, climaxed in the 19th century, to some degree it still remains to this day.

However, the church has to date remained strangely silent on a type of masturbatory endeavour that I personally find significantly more disturbing. That which takes place between (typically) a man and a 25-inch piece of rosewood; or, for the more financially endowed musical onanist, ebony.

When technical capability spills over into self-indulgence or exhibitionism then generally speaking, I’m out. For me metal has too much vainglorious machismo masquerading as virtuosity and I’ve never got it. As Joey the Lips said (incorrectly about jazz) it’s musical wanking.

However, there is always something or someone who is the exception to a rule. The acceptable wanker. The wanker you can’t help but like despite the fact he’s definitely a wanker. For me one such wanker is Ritchie Blackmore. There are some specific reasons for this. I’m fairly sure he’s deranged. He’s always ploughed his own furrow. Oh and he’s very talented too. But most of all it’s never really been about playing with himself. He’s generally hung around with/tortured top notch bandmates and no more so than this bunch.

I have written previously about my complicated relationship with the wretchedly smelling metal heads at school and how I was never able to despise their music as much as their dress sense. So behind closed doors, in the darkness of my room where neither my new wave mates nor my parents could catch-me, I would indulge in Machine Head.

Over the years I tried to reconcile myself with this aberrant behaviour and through examination of conscience I discovered the, fairly obvious, answer. Deep Purple didn’t just rock, they grooved. Their origins in psychedelic rock, blues and even a bit of jazz never really disappeared. Paice and Glover could lay down a pretty deep rhythmic pocket for the rest of the band to respond to. It’s most obvious on this album in Strange Kind of Woman and Lazy but it pops up all over the place.

Any excess in this recording, of which there’s not as much as you might imagine, is absolutely legitimate. This is just a band of fantastic and complementary talents who are on it, maybe teetering on the edge of on it too much, but never going over the cliff. Is there some exhibitionism? Sure, but the type that draws a crowd rather than sticks it in your face whether you’re in the mood for it or not.

The fact that this was apparently released without overdubs and that band members were in some cases critical of their own performances speaks volumes. It’s one of those albums that is listenable to irrespective of equipment. It doesn’t really matter what genres you are into, some albums you just need to own, and this is one such album.

Everyone knows the songs and @OB1 has already done a fine job of describing the album. Other people much more qualified than me will be able to add further insight.

I obviously have to deduct points for the unwashed denim and straggly hair of their acolytes, but this is an 8.5/10 which trust me, in this category for me represents greatness.

That opening paragraph should be hanging in the Louvre

 

[mrbelfry]

I agree about that version of “WGFA”, worth the price of admission just for Moon’s kick drum blast in the intro.

I’m not concerned over points, especially as I expect some low scores e.g. some will thin the tracks are self-indulgently long, or people making horrid noises with their instruments, it’s got a drum solo, but those things very much differentiate from a greatest hits exercise, which at the time it certainly wasn’t: it was just the tour to promote their latest record, which turned out to be their best, IMO, but all the tracks off that album are, IMO again, better than the originals or, in the case of “Space Truckin’,” a very different beast. Also, Purple in its various forms went on to make plenty more tracks that would sit nicely on a career spanning best of.

Whilst it's technically a drum playing unaccompanied I think to describe it as a drum solo isn't quite accurate. It's like describing covid as a bit of a sniffle

 

[chesterbells]

I know this album is often mentioned as amongst the best live doubles but as OB1 says these things are especially subjective, even among fans of the band. For example on the subject of Lizzy, I much prefer their second live double and the playing of John Sykes. For Scorpions I’d take World Wide Live over Tokyo Tapes, and for Genesis I’d take Seconds Out over Three Sides Live, etc.

Overall, I’d have to include Supertramp’s Paris, Dire Straits’ Alchemy, Seconds Out, Strangers In The Night, Molly Hatchet’s Double Trouble Live and probably Maiden’s Live After Death as my top half dozen live albums, but the order changes on a regular basis.

Purple’s Japan album is excellent but for them the FM radio broadcast Radio 1 did of their Knebworth 84 show actually sounds better to me, with the added bonus of Perfect Strangers and Knocking At Your Backdoor on the set list.

It’s a statement of the obvious to say ‘each to their own’, but it’s a large part of my general reluctance to post much in threads like this (though I do enjoy reading them from time to time)!

Edit. Made In Japan is an 8 for me.

 

[OB1]

Whilst it's technically a drum playing unaccompanied I think to describe it as a drum solo isn't quite accurate. It's like describing covid as a bit of a sniffle

Well, I think I described it in the review as more than a drum solo. Paice is a wonderful drummer. He doesn’t get the mentions Moon, Bonham, Baker and Peart get but he is right up there.

 

[OB1]

I know this album is often mentioned as amongst the best live doubles but as OB1 says these things are especially subjective, even among fans of the band. For example on the subject of Lizzy, I much prefer their second live double and the playing of John Sykes. For Scorpions I’d take World Wide Live over Tokyo Tapes, and for Genesis I’d take Seconds Out over Three Sides Live, etc.

Overall, I’d have to include Supertramp’s Paris, Dire Straits’ Alchemy, Seconds Out, Strangers In The Night, Molly Hatchet’s Double Trouble Live and probably Maiden’s Live After Death as my top half dozen live albums, but the order changes on a regular basis.

Purple’s Japan album is excellent but for them the FM radio broadcast Radio 1 did of their Knebworth 84 show actually sounds better to me, with the added bonus of Perfect Strangers and Knocking At Your Backdoor on the set list.

It’s a statement of the obvious to say ‘each to their own’, but it’s a large part of my general reluctance to post much in threads like this (though I do enjoy reading them from time to time)!

Edit. Made In Japan is an 8 for me.

Naturally, I attended the Knebworth gig. I was also at the NEC one that was released as a live album. That was quite amusing because the band started the gig without Blackmore, who was hacked off that it was being filmed, and when he did eventually appear during Highway Star, he turned into an axe wielding maniac and chased a cameraman off stage.

Perfect Stranges was a live highlight because apart from being an awesome track, the stage presentation made great use of lasers.