Freedom to Music
Posts tagged Don Airey
Micky Moody – I Eat Them for Breakfast (2001) (@256)
17 Aug 2010
(Review from Blues Revue)
Micky Moody is a seasoned, and very experienced musician who has been a huge part of the British rock scene for many years, but is still an unknown musician to many.
With his first solo album, Micky Moody might surprise listeners who know him only from his past with Whitesnake by sharp, genre-appropriate playing from ’14-string rag’ (guitar and mandolin) to the via-Freddie King cover of ‘Me and My Guitar’. Nothing earthshaking here but great playing and vocals
His backing band include the usual suspects Bernie Marsden, Neil Murray and Don Airey.
Line-up:
- Micky Moody / Guitar, Dobro, Mandolin, Bass, Vocals
with
- Bernie Marsden / Guitar, Vocals
- Neil Murray / Bass
- Don Airey / Organ, Piano, Keyboards, Wurlitzer
- Robert Hart / Vocals
- Paul Williams / Vocals
- John Lingwood / Drums
- Andy Pyle / Bass
- Henry Spinetti / Bass, Drums
Track List:
01. On Common Ground – 4:48
02. Alimony – 4:51
03. Delta Bluesman – 4:08
04. Mixed-Up Blues – 2:29
05. My Lady Friend – 3:27
06. 14-String Rag – 2:19
07. Me And My Guitar – 3:39
08. Just Leave Me Alone – 3:50
09. Turning Point (Parts 1-5) – 10:09
10. Obsession – 3:16
11. Let This Boy Boogie – 3:41
12. My Word For Trouble (W.O.M.A.N.) – 4:24
13. Journey Home – 2:20
Link in comments.
Ozzy Osbourne – Bark at the Moon (1983) (@256)
24 Oct 2008
(Review from metal-archives.com, wikipedia)
Ozzy Osbourne finds a permanent replacement for Randy Rhoads in Jake E. Lee. Like Rhoads, he came from a hair metal outfit. In Rhoads case it was Quiet Riot, whereas Lee came from Ratt. Whilst he doesn’t have the distinctiveness of Randy Rhoads, Jake E. Lee is a perfectly good guitarist in his own right. He does very well throughout the album, and plays a significant part in the album’s artistic success.
The classic title track, with a superb guitar riff and various screeching solos from Jake E. Lee, whilst Ozzy handles the vocals with aplomb and seems to be having great fun doing it. This is rightfully considered one of Ozzy’s best. Along similar lines is ‘Rock And Roll Rebel’, with another highly effective chorus and a driving, if predictable, guitar riff.
‘Centre Of Eternity’ has an aura of ‘Mr Crowley’ due to the dense layers of gothic keyboards and a chiming, funereal bell toll which is accompanied by an eerie vocal backdrop. It soon picks up into a hard rocking riff workout with a fine lead melody, however. The climactic ‘Waiting For Darkness’ is along similarly bleak and gothic lines, albeit with some added string arrangements to add texture.
The more straight forward melodic tracks here offer a very nice respite and show off Ozzy’s way with a melody superbly. While ‘Slow Down’ and ‘Now You See It (Now You Don’t)’ are perfectly good songs, the best of the bunch is ‘You’re No Different’, with a highly distinctive and effective lead keyboard riff that works well in conjunction with the chorus, and the lovely ballad ‘So Tired’. This is one of the best as far as Ozzy ballads go, revealing his Beatles influence for all to hear whilst the double tracked choruses and the gorgeous chord progressions.
Note : Bark at the Moon’s re-issue in 2002 is actually a remix of the album, not a remaster. Many fans were displeased with the remix, noting that some elements found in the original mix are not present in the remix, namely several lead guitar parts.
Line-up:
* Ozzy Osbourne – vocals
* Jake E. Lee – guitar
* Bob Daisley – bass guitar
* Tommy Aldridge – drums
* Don Airey – keyboards
Track List:
01. Rock ‘n’ Roll Rebel – 5:28
02. Bark At The Moon – 4:17
03. You’re No Different – 5:02
04. Now You See It (Now You Don’t) – 5:05
05. Forever – 5:24
06. So Tired – 3:58
07. Waiting For Darkness – 5:15
08. Spiders – 4:21
Link in comments.
Ozzy Osbourne – Blizzard of Ozz (1980) (@256)
14 Oct 2008
(Review from allmusic, wikipedia)
Though many bands have succeeded in earning the hatred of parents and media worldwide throughout the past few decades, Ozzy Osbourne has always been one of the best. Despite his outlandish reputation, however, one cannot deny that Osbourne has had an immeasurable effect on music. While he doesn’t possess a great voice (it’s thin and doesn’t have much range), he makes up for it with his good ear and dramatic flair.
After the 1978 album Never Say Die, Osbourne was fired from Black Sabbath, which led him to form his own solo project. With his new manager and wife, Sharon, Ozzy formed his own band with guitarist Randy Rhoads, bassist Bob Daisley, and drummer Lee Kerslake (ex-Uriah Heep).
Ozzy Osbourne’s 1981 solo debut “Blizzard of Ozz” is a masterpiece of neo-classical metal that became a cornerstone of ’80s metal guitar. Upon its release, there was considerable doubt that Ozzy could become a viable solo attraction. “Blizzard of Ozz” demonstrates not only his ear for melody, but also an unfailing instinct for assembling top-notch backing bands.
Onetime Quiet Riot guitarist Randy Rhoads was a startling discovery, arriving here as a unique, fully formed talent. Rhoads is just as responsible as Osbourne — perhaps even more so — for the album’s musical direction, and his application of classical guitar techniques and scales rewrote the rulebook radically. Rhoads can hold his own as a flashy soloist, but his detailed, ambitious compositions and arrangements reveales his true depth, as well as creating a sense of doomy, sinister elegance built on Ritchie Blackmore’s minor-key innovations.
All of this may seem to downplay the importance of Ozzy himself, which shouldn’t be the case at all. The music is a thoroughly convincing match for his lyrical obsession with the dark side; so, despite its collaborative nature, the album’s unequivocally stamped with Ozzy’s personality. What’s more, the band is far more versatile and subtle than Sabbath, freeing Ozzy from his habit of singing in unison with the guitar (and proving that he has an excellent grasp of how to frame his limited voice).
Nothing short of revelatory, Blizzard of Ozz deservedly made Ozzy a star, and it set new standards for musical virtuosity in the realm of heavy metal.
Note: The 2002 reissue of this album is derided by fans due to the substitution of the original bass and drum tracks of Daisley and Kerslake for new ones by Osbourne’s then-current drummer Mike Bordin and bassist Robert Trujillo (for royalty reasons). Fans and critics generally felt the move was dishonest, especially as no indication of the changes appears on the exterior packaging or sleeves of the altered albums.
Line-up:
- Ozzy Osbourne / Vocals
- Randy Rhoads / Guitar
- Bob Daisley / Bass, Gong, Back Vocals
- Lee Kerslake / Drums, percussion, Bells, Tympani
with
- Don Airey / Keyboards
- Rudy Sarzo / Bass
Track List:
01. I Don’t Know – 5:14
02. Crazy Train – 4:50
03. Goodbye To Romance – 5:34
04. Dee – 0:49
05. Suicide Solution – 4:16
06. Mr. Crowley – 4:56
07. No Bone Movies – 3:58
08. Revelation (Mother Earth) – 6:09
09. Steal Away (The Night) – 3:30
Link in comments.
Iommi – Dep Sessions (1996) (@256)
09 Oct 2008
(Review from amazon)
In 1996, Tony Iommi was trying to put together some solo material after deciding to take a break from Black Sabbath in 1995. 11 years after Seventh Star, Iommi & Hughes got together to write some more material. They recorded it with Dave Holland & Don Airey but the recordings got shelved. About a year or so later they surfaced as a bootleg named “Eighth Star”.
At last in 2004, Iommi finally decided to dust off the old 8th Star material and properly clean it up and finally release it. In addition to that, there was one track that was not on the original bootleg version, so we’d get a “new” track as well. The songs on here are of a uniformly high quality.
There are a few minor changes from the bootleg version – the track “Don’t you Tell Me” had it’s main riff appear on the song “Black Oblivion” on Iommi’s 2000 record. It’s apperance here has the riff altered slightly, so it’s not directly the same. Additionally, some of the vocals have additional lyrics on “I’m Not The Same Man”, and there is the aforementioned extra track. Additionally, the drums are re-recorded – the original drummer (Dave Holland) was removed in favor of Jimmy Copley.
After hearing these eight tunes, most will be starving for more, especially considering that it’s less than 40 minutes worth of music.
Line-up:
- Tony Iommi – Lead Guitar
- Glenn Hughes – Vocals, Bass
- Don Airey – Keyboards
- Geoff Nicholls – Keyboards
- Mike Exeter – Keyboards
- Jimmy Copley – Drums
Track List:
01. Gone – 4:29
02. From Another World – 5:56
03. Don’t You Tell Me – 4:14
04. Don’t Drag The River – 4:34
05. Fine – 5:05
06. Time is The Healer – 4:16
07. I’m Not The Same Man – 4:20
08. It Falls Through Me – 4:46
Link in comments.
Black Sabbath – Never Say Die (1978) (@256)
21 Sep 2008
(Review from wikipedia, progarchives.com)
After the tour for “Technical Ecstasy” Ozzy quit the band. Former Fleetwood Mac and Savoy Brown vocalist Dave Walker was brought into rehearsals in October 1977 and the band began working on new songs.
Three days before the band were due to go into the studio, Ozzy wanted to come back to the band. He wouldn’t sing any of the stuff the band had written with the other guy, so it made it very difficult. Black Sabbath went into the studio with basically no songs. They’d write in the morning so they could rehearse and record at night. It was so difficult, like a conveyor belt, because the band couldn’t get time to reflect on stuff. It was very difficult for Iommi to come up with the ideas and putting them together that quick.
The band’s last album of the 70s, “Never Say Die” has it’s own qualities and distinct sound which sets it apart from all previous Black Sabbath albums. Perhaps the most glaring example of this is the instrumental “Breakout” which sounds more like the Stan Kenton Orchestra than the kings of metal. “Air Dance” touches on other jazzy progressions which had lalways been subetly present on even ther heaviest of Sabbath numbers.
The rhythmical “Hard Road” features vocal harmonies by Butler and Iommi for the first time while “Johnny Bade” gets as dark as the band ever were. “Shock Wave” is a straight rocker with some cool wah wahed out guitar.
Don Airey shines with his Hammond organ in “Over to You”. Just like in their previous album, Bill Ward takes over vocals on a single track, “Swinging The Chain”. The pop metal title track “Never Say Die” put the band on the charts for the first time since 1970′s Paranoid.
However tongue-in-cheek “Never Say Die” might be, it is an interesting record which should be taken on it’s own rather than compared to Black Sabbath’s earlier material including the previous “Technical Ecstacy”.
Following the tour of the album, Black Sabbath spent nearly a year working on material for the next album. With pressure from the record label, and frustrations with Osbourne’s lack of ideas coming to a head, Iommi made the decision to fire Ozzy Osbourne in 1979.
Line-up:
- Tony Iommi / Lead Guitar
- Geezer Butler / Bass
- Ozzy Osbourne / Vocals
- Bill Ward / Drums, Vocals (9)
- Don Airey / Keyboards
- John Elstar / Harmonica
- Will Malone / Brass arrangements
Track List:
01. Never Say Die – 3:49
02. Johnny Blade – 6:28
03. Junior’s Eyes – 6:43
04. A Hard Road – 6:06
05. Shock Wave – 5:16
06. Air Dance – 5:18
07. Over To You – 5:24
08. Breakout – 2:35
09. Swinging The Chain – 4:05
Link in comments.
Bernie Marsden – Look At Me Now (1981) (@256)
10 Jun 2008
(Review from purplerecords.net)
By 1981 three quarters of Whitesnake’s material was emanating from guitarist Bernie Marsden, and in the same year he finally managed to find time to record his second solo album.
Aside from Marsden on guitar and vocals, fellow Whitesnake members Ian Paice, Neil Murray and Jon Lord were the backbone of the band for the sessions, with Simon Phillips depping as the second drummer (Marsden even persuaded Micheal Schenker to come in and supply hand-claps to the end of one song!).
The album isn’t much different in style, it is the pretty ho-hum bluesy hard rock, we’ve come to know Marsden for.
There were plans for some live shows but Whitesnake were so busy these couldn’t be sorted out. Marsden did manage to get the musicians together again in August 1981 for a radio session, two of them are included in this edition of the album as bonus tracks.
Line-up:
- Bernie Marsden / Lead Vocals, Guitars
with
- Neil Murray / Bass
- Jon Lord / Keyboards
- John Cook / Keyboards
- Don Airey / Keyboards
- Ian Paice / Drums
- Simon Philips / Drums
- Cozy Powell / Drums
Track List:
01. Look At Me Now – 3:58
02. So Far Away – 3:39
03. Who’s Fooling Who – 3:54
04. Shakey Ground – 4:04
05. Behind your Dark Eyes – 4:42
06. Bylbos Shack Pt 1 & 2 – 4:03
07. Thunder & Lightning – 4:21
08. Can You Do It? (Rock City Blues) – 4:18
09. After All the Madness – 4:04
10. Always Love You So (Bonus B-Side) – 3:41
11. Look At Me Now (Bonus Radio Live) – 4:21
12. Bylbos Shack (Bonus Radio Live) – 4:36
Link in comments.
Company of Snakes – Burst the Bubble (2002) (@256)
06 Jun 2008
(Review from amazon, metal-temple.com)
“Burst The Bubble”, made up of new studio material, picks up where early Whitesnake left off. With their timeless hard rock Made in Britain that is based on blues, boogie and traditional rock influences, “Company Of Snakes” reduce possible arguments about trends and fashions to absurdity, while proving that there will always be an audience for their brand of classic rock.
Songs like the opener ‘Labour of Love’, the melodic ‘Sacrificial Feeling’, ‘Little Miss Happiness’ with its good-time rock’n'roll attitude, ‘Back To The Blues’ (which really doesn’t require further explanation), or the ballad ‘Those Days’ bear the unmistakable mark of the Moody and Marsden. Stefan Berggren stands out with his bluesy, clear timbre. Berggren’s voice and vocal style follow in the footsteps of David Coverdale or Paul Rodgers (Free, Bad Company).
Other standouts include “Ride Ride Ride (Run, Run, Run)”, an amazingly catchy song that makes you keep tapping your foot no matter how hard you try to stop and “Can’t Go Back” which creates such a great atmosphere that imposes to be listened while you drink bourbon, smoking heavy cigarettes.
After the release of this album, Stefan Berggren left and the band slowly evolved into M3 with the incorporation of new vocalist(s).
Line-up:
* Neil Murray – bass
* Micky Moody – guitar, back vocals
* Bernie Marsden – guitar
* Don Airey – keyboards
* Stefan Berggren – vocals
* John Lingwood – drums
Track List:
01. Ayresome Park
02. Labour Of Love
03. Ride Ride Ride (Run, Run, Run)
04. Burst The Bubble
05. Sacrificial Feelings
06. What Love Can Do
07. Little Miss Happiness
08. Hurricane
09. Kinda Wish You Would
10. Days To Remember
11. Back To The Blues
12. All Dressed Up
13. Can’t Go Back
14. She
15. Ayresome Park – Reprise
Links in comments.
Company of Snakes – Here They Go Again (Live 2000) (@320)
05 Jun 2008
(Review from amazon, allmusic)
Neil Murray (another ex-Whitesnake of the classic line-up) and seasoned keyboardist Don Airey joined in the “Snakes”. After several vocalist changes, the band settled for Stefan Berggren evolving into the “Company of Snakes”. The band cut a live album culled from concerts between August and September, 2000.
On this crisp sounding double live album, the group performs almost exclusively material that they wrote with Whitesnake, and it sincerely smokes. Although they do not have vocalist David Coverdale in the lineup, Stefan Bergren amply handles the vocal chores. There’s room for a couple of new songs, though, as well as a great rendition of Rainbow’s “Since You Been Gone”.
“Here They Go Again” provides a great opportunity to enjoy once more the “old” Whitesnake songs, but it isn’t just for Whitesnake nostalgics – this fine live album should appeal to all fans of hard, bluesy, guitar-heavy rock n’ roll.
Line-up:
* Neil Murray – bass
* Micky Moody – guitar, back vocals
* Bernie Marsden – guitar
* Don Airey – keyboards
* Stefan Berggren – vocals
* John Lingwood – drums
Track List:
CD1
01. Come On – 4:25
02. Walking in the Shadow of the Blues – 5:01
03. Trouble – 6:30
04. Kinda Wish You Would – 5:55
05. Rough An’ Ready – 3:24
06. Don’t Break My Heart Again – 6:35
07. Moody’s Blues – 4:01
08. Slow An’ Easy – 6:57
09. Sweet Talker – 5:06
10. Ready An’ Willing – 6:32
CD2
01. Would I Lie to You – 4:32
02. Ain’t Gonna Cry No More – 7:08
03. Silver on Her Person – 5:00
04. Lovehunter – 5:14
05. Is This Love – 5:42
06. Since You Been Gone – 3:39
07. Here I Go Again – 9:27
08. Wine Women An’ Song – 6:42
09. Fool for Your Loving – 5:07
Links in comments.
Whitesnake – Slip of the Tongue (1989) (@256)
18 May 2008
(Review from amazon, rollingstone.com, wikipedia)
Following the success of 1987, Adrian Vandenburg became a permanent member of Whitesnake. He and Coverdale co-wrote most of the songs of the upcoming successor album. Unfortunately Vandenberg suffered a debilitating hand injury related to isometric exercises and was unable to participate in the album sessions. With all of the foundation tracks completed, guitarist Steve Vai was called in to record all the guitar parts. The rock world and guitar fans everywhere waited with batedbreath for the result of this union.
The problem with Vai is that he always tries to sound like himself, because he’s a very authentic player. In doing this, he tries to avoid using blues and pentatonic-based licks. Instead of playing standard metal cliches, he overplays with his killer (but rather progressive) chops, going for unexplored avenues. The result is that, in a band like Whitesnake, he frequently moves away from the main song’s focus.
Unlike any Whitesnake album, there’s a lack of deep emotion all along this album — like the proverbial Ice Queen. Not passionate enough to evoke pleasure, not rude enough to spark contempt, it is an album that shies from both ends of the emotional spectrum.
Nevertheless, the re-recording of the earlier hit from “Ready An’ Willing” album, “Fool For Your Loving”, became an MTV favourite; while such raunchy rockers as the album-opening title track, “Cheap An’ Nasty”, and “Kittens Got Claws” fitted in well with the then-thriving party/glam metal climate. Even core fans found comfort in hard rockers like “Judgement Day” and “Wings of the Storm”.
A world tour of “Slip of the Tongue” was followed by a period of inactivity. It was no secret that Coverdale wanted out of the business at that point. He’d grown uncomfortable with the corporate, image-driven entity he felt Whitesnake had become. In a candid period interview, Coverdale sums it up in one sentence: “It got louder and louder, and so did I, to the point now where I have to get dressed up as a ‘girly man’ and tease ones questionable pants or hair and it’s all getting a bit … boring”.
Whitesnake officially went on hiatus in 1991.
Line-up:
* David Coverdale – vocals
* Steve Vai – Guitars
* Rudy Sarzo – bass
* Tommy Aldridge – drums
with
* Glenn Hughes – back vocals
* Tommy Funderburk – back vocals
* Richard Page – back vocals (4)
* Don Airey – keyboards
* David Rosenthal – keyboards
Track List:
01. Slip Of The Tongue – 5:20
02. Cheap An’ Nasty – 3:28
03. Fool For Your Loving (1990 version) – 4:11
04. Now You’re Gone – 4:12
05. Kitten’s Got Claws – 5:02
06. Wings Of The Storm – 5:01
07. The Deeper The Love – 4:22
08. Judgment Day – 5:16
09. Slow Poke Music – 3:59
10. Sailing Ships – 6:03
Link in comments.
Whitesnake – Whitesnake (1987) (@256)
17 May 2008
(Review from amazon, wikipedia, planetrock.co.uk)
At the end of the “Slide It In” tour, Cozy Powell left to form Emerson, Lake & Powell. Veteran drummer Aynsley Dunbar (of Journey & Jefferson Starship fame) was brought in, as was ex-Ozzy and Rainbow keyboardist Don Airey. John Sykes’ collaboration with Phil Lynott had transformed Thin Lizzy’s sound into a heavier rock band, bordering on metal. His collaboration with David Coverdale did pretty much the same to Whitesnake.
The band’s eighth studio album titled 1987 or simply Whitesnake is the fruit of a concerted effort to break the US market. The recording is power drenched, the band and production sound light years ahead of most other releases of the time and this album is noteworthy not only for the blistering feel of the tracks but also for the blend of ballads and rockers. With his wonderful set of pipes and great backing band Coverdale can attack stuff like “Here I Go Again” and “Is This Love” yet still happily turn around and crank serious wattage with the likes of “Children of the Night”, “Bad Boys” and the plaintive “Crying in the Rain” – a power ballad with the emphasis on the power and a tune above the norm for this style of song.
All that’s without mentioning the mighty Zeppelin-esque “Still of the Night”. Seriously, a strong so strong that it blitzed just about every other hard rock track doing the rounds from other contemporary bands. A flagship tune and there ain’t no doubt – a track any band would be proud to have in it’s armoury with which to lay waste to their audience with.
Unfortunately this line-up too didn’t last long as Coverdale sacked all the other members of the band before even the album was released.
Line-up:
* David Coverdale – lead vocals
* John Sykes – guitar, backing vocals
* Neil Murray – bass
* Aynsley Dunbar – drums
with
* Don Airey – keyboards
* Bill Cuomo – keyboards
* Adrian Vandenberg – guitar solo (10)
Track List:
01. Still Of The Night – 6:36
02. Bad Boys – 4:06
03. Give Me All Your Love – 3:31
04. Looking For Love – 6:33
05. Crying In The Rain (1987 version) – 5:37
06. Is This Love – 4:43
07. Straight For The Heart – 3:39
08. Don’t Turn Away – 5:10
09. Children Of The Night – 4:24
10. Here I Go Again (1987 version) – 4:34
11. You’re Gonna Break My Heart Again – 4:11
Link in comments.
Michael Schenker Group – Michael Schenker Group (1980) (@256)
15 Dec 2007
(Review from allmusic)
The concept may seem patently absurd, but guitarists were held in such high regard during the late ’70s and early ’80s that many elite players were given to tantrums and notions of self-worship usually reserved only for singers and divas. And maybe no one better exemplified this six-string megalomania than German guitarist Michael Schenker, whose turbulent flights of emotional fancy had already earned him the “Mad Michael” nickname during his mercurial tenure with Brit rockers UFO.
Of course this behavior simply went into overdrive when the guitar legend launched the Michael Schenker Group with a 1980 self-titled album, which was at times as unstable as the man himself.
Witness the downright weird, Jimmy Buffet-like calypso melodies that introduce “Cry for the Nations” or the absurd title bestowed upon the delicate solo guitar piece “Bijou Pleasurette.” But fear not, as for the most part the album is dominated by straightforward hard rockers very much in the UFO vein. Highlights like “Looking out From Nowhere” and “Lost Horizons” are laced with the pomp and bombast typical of the era, and storming opener “Armed and Ready” is arguably Schenker’s finest solo track. Vocalist Gary Barden wisely stays out of the way, his understated style (not unlike that of UFO singer Phil Mogg) placing all emphasis where it is intended: Schenker’s stunning axe work.
Line-up:
* Michael Schenker – Guitar
with
* Gary Barden – Vocals
* Mo Foster – Bass
* Don Airey – Keyboards
* Simon Phillips – Drums
Track List:
01. Armed & Ready 4:05
02. Cry For The Nations 5:08
03. Victim Of Illusion 4:41
04. Bijou Pleasurette 2:16
05. Feels Like A Good Thing 3:44
06. Into The Arena 4:10
07. Looking Out From Nowhere 4:28
08. Tales Of Mystery 3:16
09. Lost Horizons 7:04
Link in comments.
Rainbow – Finyl Vinyl (1978-84) (@256)
30 Jul 2007
(Review from wikipedia, amazon)
By April 1984, Blackmore and Glover had reformed the Deep Purple “Mark II” line-up and Rainbow was disbanded. A final Rainbow album, Finyl Vinyl, was pieced together from live tracks and B-sides of singles. The album contained the instrumental Weiss Heim, widely available for the first time.
Primarily culled from the Joe Lynn Turner era but also featuring selections with Ronnie James Dio and Graham Bonnet, Finyl Vinyl offers a haphazard alternate history designed for hardcore fans. For those fans, the album is actually quite a treat. Rainbow always sounded better on stage than they did on the studio — rawer, harder, alive — and songs that sounded half-baked in the studio, such as selections from Difficult to Cure, sound right here. That’s not to say that it’s a perfect album — the outtakes are interesting, but not particularly remarkable, the sequencing doesn’t make sense. But it rocks harder and more convincingly than many latter-day Rainbow releases. For the devoted, it’s a welcome addition to the band’s canon and it’s a nice way to close a career.
Line-up:
* Vocals: Joe Lynn Turner (1-5,9,10) , Graham Bonnet (6,7), Ronnie James Dio (11,12)
* Guitar: Ritchie Blackmore
* Bass: Roger Glover (all except 11,12), Bob Daisley (11,12)
* Drums: Chuck Burgi (1,2,3,8), Bobby Rondinelli (4,5,9,10), Cozy Powell (6,7,11,12,13)
* Keyboards: David Rosenthal (1,2,3,8,9,10), Don Airey (4,5,6,7,13), David Stone (11,12)
Track List:
01. Spotlight Kid (Live Tokyo 1984)
02. I Surrender (Live Tokyo 1984)
03. Miss Mistreated (Live Tokyo 1984)
04. Jealous Lover (1981/B-side of Can’t Happen Here Single)
05. Can’t Happen Here (Live Boston 1981)
06. Since You’ve Been Gone (Live Monsters Of Rock Festival, Castle Donington, England 1980)
07. Bad Girl (Outtake/B-side of Since You’ve Been Gone Single)
08. Difficult to Cure (Live Tokyo 1984)
09. Stone Cold (Live San Antonio 1982)
10. Power (Live San Antonio 1982)
11. Man on the Silver Mountain (Live Atlanta 1978)
12. Long Live Rock’n'Roll (Live Atlanta 1978)
13. Weiss Heim (Outtake/B-side of All Night Long Single)
Links in comments.
Rainbow – Down to Earth (1979) (@256)
27 Jul 2007
(Review from wikipedia, amazon, allmusic.com)
Blackmore attempted to replace Dio with Ian Gillan, but Gillan turned him down, so after a series of auditions ex-Marbles vocalist Graham Bonnet was recruited instead. Cozy Powell stayed but Daisley and Stone were both fired, replaced by keyboardist Don Airey and bassist Roger Glover. It is somewhat ironic as Blackmore had instigated the sacking of Glover from Deep Purple in 1973.
The departure of Ronnie James Dio gave Ritchie Blackmore a chance to reinvent Rainbow, which he does to a certain extent on “Down to Earth”. Blackmore tones down some of the excess of the Dio years, particularly in terms of fantastical lyrics, and turns to straight-ahead hard rock, only occasionally adorned by prominent synthesizers.
Rainbow has a distinct idea, primarily through the guitar artistry and mystical sensibility of Ritchie Blackmore. He sounds invigorated on the album, turning in muscular performances and strong solos on each cut; clearly, the reunion has revitalized him.
The album is kicked off by the awesome opening rocker, “All Night Long”. The stylings in this track are strongly reminiscent of seventies Kiss. Bonnet even sounds like he’s mimicking Paul Stanley in places. “Eyes Of The World”, is one that rightfully gets a lot of praise. A keyboard/organ solo kicks off the track, and backs the rest of the hard-rocking song. The song is similar to Gates Of Babylon from the band’s album that came immediately before this one. Next up “No Time To Lose”. Of all the tracks on this album, this is probably the one that sounds the most like David Coverdale-era Deep Purple. The fourth song the album serves up is the classic “Makin’ Love”. On this song, the band slows down the pace of the music dramatically, but still rocks hard. Track five is the big hit on the album, “Since You’ve Been Gone”. Interestingly, this isn’t a Rainbow original, but rather a cover of a Russ Ballard song. Next comes “Love’s No Friend”. This is more straight-up classic hard rock, this one featuring an awesome backing organ pattern paired up with Blackmore’s guitar mastery. We get more straight-up hard rock in the next track, the Ufo-esque Danger Zone. Back when Blackmore rocked hard, he rocked with the best of them, and perhaps no track epitomizes that the way this one does. And closing things out is “Lost In Hollywood”. The fast-paced guitar riffs and fast vocals from Bonnet make this an excellent rocker. In the middle of the track, we even get some keyboard usage not unlike that of Electric Light Orchestra! The closing track on an album should be one that will leave a lasting impression on the listener, and this one does just that.
After this album; Cozy Powell quit, disliking Blackmore’s increasingly pop metal direction. Bonnet subsequently became disgruntled at the domination of Blackmore and Glover and also left to go solo. Once again strapped for a vocalist, Blackmore found his man in American singer Joe Lynn Turner, who along with new drummer Bobby Rondinelli signaled a true career rebirth for Rainbow.
Line-up:
* Graham Bonnet – vocals
* Ritchie Blackmore – guitar
* Don Airey – keyboard
* Roger Glover – bass
* Cozy Powell – drums
Track List:
01. All Night Long – 3:53
02. Eyes of the World – 6:42
03. No Time to Lose – 3:45
04. Makin’ Love – 4:38
05. Since You Been Gone – 3:25
06. Love’s No Friend – 4:55
07. Danger Zone – 4:31
08. Lost in Hollywood – 4:51
Link in comments.
Rainbow – Difficult to Cure (1981) (@256)
25 Apr 2007
(Review from progarchives.com, wikipedia, amazon.co.uk)
“Difficult to Cure” was Rainbow’s fifth studio album, marked a further change of Rainbow’s sound to album-oriented-rock (AOR). Blackmore openly stated his liking for Foreigner and erstwhile ex-Rainbow vocalist Ronnie James Dio has referred to this period of Rainbow as “Foreigner Junior”. It is, however, a popular album with many fans, despite it being markedly different to albums which preceded it.
“I Surrender” is the album’s featured single and the group’s bid at FM success. Blackmore’s riffs are less evident and the background vocals and slick production are symbolic of the era. “Spotlight Kid” is a return to rockin’ form, and features wonderful interplay between Blackmore and keyboardist Don Airey. The group’s transformation to AOR is evident in the Billy Squier-sounding “No Release”. “Can’t Happen Here” expresses the sense of paranoia so common in an increasingly technological world. The drumming by new member Bobby Rondinelli’s may more about power than precision, but he is relentless on “Freedom Fighter”.
The crowning instrumental mini-masterpiece “Difficult to Cure” rounds off the album perfectly – this is Blackmore’s tribute to Beethoven, and one of his finest symphonies, the “Ninth”, using the famous tune from the chorus “Ode to Joy”, and is indeed a joy to hear, too! Using the central theme to work round with his amazing soloing, Blackmore excels here, some amazing playing which also includes some great playing from Don Airey.
Line-up:
* Joe Lynn Turner – vocals
* Ritchie Blackmore – guitar
* Don Airey – keyboard
* Roger Glover – bass
* Bobby Rondinelli – drums
Track List:
01. I Surrender (Ballard) – 4:10
02. Spotlight Kid (Blackmore/Glover) – 5:04
03. No Release (Blackmore/Glover/Airey) – 5:42
04. Magic (B.Moran) – 4:15
05. Vielleicht Das Nachste Mal (Maybe Next Time) (Blackmore/Airey) – 3:23
06. Can’t Happen Here (Blackmore/Glover) – 5:09
07. Freedom Fighter (Blackmore/Glover/Turner) – 4:28
08. Midtown Tunnel Vision (Blackmore/Glover/Turner) – 4:44
09. Difficult To Cure (Beethoven’s Ninth) (Trad. arr. by Blackmore/Glover/Airey) – 5:58
Link in comments.
Colosseum II – Wardance (1978) (@256)
24 Feb 2007
(Review from progarchives.com)
The 3rd and (sadly) final album from this remarkable ensemble came shortly after their second album, “Electric Savage”. It sounds more mature than the other two records. The rhythm-section is amazing, what a dynamic and propulsive sound. Don Airey plays lots of great solos (minimoog, fender rhodes, hammond organ) and Gary Moore delivers his best work, his guitar play is more varied and subtle than during his blues – and heavy metal days (a blistering, wah-wah drenched solo in “Star Maiden/Mysterioso/Quasar and a mind blowing guitar-overdub duet with Spanish guitar and fiery electric guitar). But the most thrilling element on this album is the interplay between Don Airey’s spectacular Minimoog flights and Gary Moore’s biting electric guitar. The crappy “Castles” (boring vocals and boring climate) is the downside of the album but the other seven instrumental tracks are splendid symphonic jazz rock!
Line-up:
- Don Airey / keyboards, synthesizers, tubular bells
- Jon Hiseman / drums, percussion, tympani, gongs
- John Mole / basses
- Gary Moore / guitars, vocals
Track List:
01. Wardance (6:09)
02. Major keys (5:18)
03. Put it this way (3:42)
04. Castles (5:50)
05. Fighting back (5:54)
06. The inquisition (5:50)
07. Star maiden / Mysterioso / Quasar (6:24)
08. Last exit (3:30)
Link in comments.
Colosseum II – Strange New Flesh (1976) (@256)
23 Feb 2007
(Review from progarchives.com)
Gary Moore aaarrgghhh!?? No, no, not at all. The good Mr. Moore actually plays some superb fusion/jazzrock/prog guitar here!
This debut album of a newly reformed band was truly a progressive rock band to the corner! The music is a blend of jazz rock fusion in the vein of Return To Forever (“Romantic Warrior” album, especially), Gong as well as classic rock music in the vein of James Gang (“Bang”, “Straight Shooter” albums, especially) and also Trapeze – Glenn Hughes era (Medusa album, especially) or Tommy Bolin (“Teaser” album, especially) or collaboration work of Beck, Bogert and Appice, or Frumpy. But of course there are plenty of progressive elements of their own that cannot be compared with others. The vocal quality of Mike Starrs is similar to Glenn Hughes with a more jazzy style. Each track has a very unique music style.
The opening track “Dark Side of the Moog” blew me at first listening. It has a dazzling and powerful keyboard / moog works combined with stunning guitar fills. Honestly, it was this track that caused me to buy the CD in the first place.
Line-up:
- Don Airey / keyboards, synthesizers
- Jon Hiseman / drums, tympani, gongs
- Gary Moore / guitars, vocals
- Neil Murray / bass
- Mike Starrs / lead vocals
Track List:
01. Dark Side of the Moog (6:17)
02. Down to You (9:05)
03. Gemini and Leo (4:48)
04. Secret Places (3:59)
05. On second thoughts (7:30)
06. Winds (10:23)
Link in comments.
Colosseum II – Electric Savage (1977) (@256)
05 Jan 2007
(Review from progarchives.com)
I’m afraid I absolutely love everything about this record; Don Airey on searing keys, John Mole thundering on his Fender jazz bass, Gary Moore giving his best performance on record, and Jon Hiseman reclaiming his jazz-rock god status as he leads it all with measured fury. Mostly instrumental and filled with tight, red-hot numbers, this has to be among the best live-in-studio albums in fusion history. But it was much more– it was also heavy prog at a time when most music was either heavy or progressive, with little serious blending of the two. Colosseum II brought the aggression of metallic rock together with the precision of symphonic jazz fusion in a way no one else could touch, not even Mahavishnu, and the result is one of the most electrifying sessions I’ve ever heard. Absolute dynamite.
Line-up:
- Don Airey / keyboards, synthesizers
- Jon Hiseman / drums, tubular bells, Latin percussion, gongs
- John Mole / bass
- Gary Moore / vocals, guitars
Track List:
01. Put it this way (4:54)
02. All skin and bone (3:49)
03. Rivers (5:48)
04. The scorch (6:02)
05. Lament (4:38)
06. Desperado (5:58)
07. Am I (4:15)
08. Intergalactic strut (6:00)
Link in comments.
