Posts Tagged ‘glenn hughes’


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10 Best Deep Purple songs

I remember as a teen, reading in the Guinness Book Of World Records, that Deep Purple set a new record, registering themselves as the loudest band on Earth – Purple’s live show in 1970 reportedly throwing out 110 decibels (thank you Marshall stacks!) of blistering sound at those brave enough to saunter front and center stage. Well, any band capable -and willing – of such auditory excess was one I had to hear. And I did, delving into the band’s back catalog and seeking out any live Deep Purple record I could. From Shades Of Deep Purple to Rapture Of The Deep, it’s been a tremendous hard rock ride. Now, I must share my findings.

Although Purple have undergone many lineup changes over the years, some things remain constant – the thick wall of Hammond organ and Ian Paice’s energetic and perfectly played drumming. Hammond and Paice have always blanketed the best of the band – some of the loudest and deliriously fabulous tracks in the rock catalog. Whether it be Ritchie Blackmore, Tommy Bolin or Steve Morse on guitar; Nick Simper, Roger Glover or Glenn Hughes on bass; Rod Evans, Ian Gillan or David Coverdale on vocals, or Jon Lord or Don Airey on keyboards, Deep Purple are as in rock as any band. And their sound is unmistakable. To celebrate, now, more than 40 years of great music,  I’ve picked my 10 favorite songs, across a range of time and in no order. As they once said, “Come Taste The Band.”

1. “Child In Time” (In Rock) – The quintessential Ian Gillan vocal that, along with Jon Lord’s chording, builds up with an oh-so-slow burn. Just when you think Gillan couldn’t go one note higher, he goes five, and then another, and another, and another…

2. “Rat Rat Blue” (Who Do We Think We Are) – One of the nastiest grooves the band ever laid down, from the very underrated Who Do We Think We Are album.

3. “Mistreated” (Burn) – I still dig David Coverdale’s reading of this simmering blues number, really unlike anything else in the Deep Purple catalog. Though the lineup also featured the amazing talents of Glenn Hughes at the time, only Coverdale could put the stamp on this one.

4. “The Mule” (Fireball) – The cosmic sweep of sound from Ian Paice’s drumming and the wash of guitar from Blackmore make this the best “psychedelic” Purple tune in the catalog.

5. “Loosen My Strings” (Purpendicular) – Twelve years after Perfect Strangers, Purple came back with guitarist Steve Morse in tow and released the incredible Purpendicular album. Morse certainly re-energized the band, and this track shows the Purples once again smoking on the water.

6. “Sometimes I Feel Like Screaming” (Purpendicular) – The second standout track from Purpendicular ranks right there with any “classic” Deep Purple song you care to put on the table. The guitar could only be Morse, the vocal and lyrics only Gillan. Superb!

7. “Perfect Strangers” (Perfect Strangers) – Could this be the greatest Deep Purple track of them all? Jon Lord’s intro could petrify wood – and probably did. It’s like a Hammond organ having an orgasm.

8. “Highway Star” (Machine Head) – I hear you saying, “Where all the songs from Machine Head”? Well, most of them are still on that album, as far as I know. “Highway Star” houses my favorite Ritchie Blackmore solo of all, one that you and everyone can hum in their sleep. All the “classically influenced” guitarists that sprang up in the ‘80s owe a massive debt to this song – and Blackmore.

9. “Knocking At Your Back Door” (Perfect Strangers) – Ian Gillan’s wordplay culminated here into perfect rock and roll poetry. The second classic track off Perfect Strangers. Blackmore’s forbidding guitar pizzicatos open, before the maelstrom ensues.

10. “Lazy” (Machine Head) – This song was custom-made for live performance – with plenty of space for jamming and improv – and it became one of Deep Purple’s staple concert numbers. No one writes riffs like Blackmore. Great drumming by Paice (as always) and Gillan goes through the roof again.

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Glenn Hughes – Soul Mover

\Ex-Trapeze, ex-Deep Purple, ex-Black Sabbath bassist and vocalist Glenn Hughes has released several solo albums since his 1978 debut, Play Me Out. His 2005 effort, Soul Mover, may be my favorite of the lot. Hughes gets a little help from his friends, guitarist Dave Navarro and drummer Chad Smith of Jane’s Addiction and Red Hot Chili Peppers fame, along with keyboardist Ed Roth and guitarist J.J. Marsh. They provide the perfect complement to Hughes’ blend of soulful hard rock.

Whether it’s the slippery riffing of the title track, the Prince-like funk of “High Road,” the rising fury of “Let It Go” or the anthemic “Last Mistake,” Hughes grabs each song by the anatomy and doesn’t let go. The songs are killers, the arrangements dead-on and the grooves cut deep as a glacier. He sings high and low, hard and soft, however he wants, with power, soul and emotion. And he could be the best hard-rock singer alive. Hughes has completely ruined karaoke for me.

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Iain Ashley Hersey – Nomad

Iain Ashley Hersey\'s \"Nomad\"

If you ever wondered what happened to old-school hard rock – the kind you used to plunk into the car’s 8-track or cassette player before dropping the pedal on a Friday night – you’ll find it in spades on Iain Ashley Hersey’s latest album, NomadIain Ashley Hersey, you ask? Granted, Hersey is no household name, but his music quickly brings bands such as Deep Purple, Rainbow, Led Zeppelin and Bad Company to mind. Hersey is a Fender-Strat-totin’ rocker who deserves a much wider audience. Although Hersey wears his influences on his sleeve, on Nomad (Perris Records), in many ways, he’s bettered the more recent efforts of his classic rock forefathers.

The 10 tracks on Nomad are heavy, bluesy and damn good. They abound with meaty Hammond organ chords, tasty guitar riffs and plenty of attitude. Hersey’s backing band – Holger Seeger (keyboards), Carsten “Lizard” Schulz (vocals), Frank Kraus (drums) and Jochen Mayer (bass) – lock down tight on these tunes and make them jump out of the speakers. Schulz is a terrific singer, with a Glenn Hughes vibe that’s perfect for this material. I love his ability to shift from the golden “Vintage Love,” to the nasty crawl of “Flesh, Blood & Bone.” Hersey’s guitar riffs and tone will resonate with anyone who fell under the spell of Ritchie Blackmore or Jeff Beck, and his solos are the epitome of taste, always serving the music.

Songs such as “Sacrifice The Sun” and “Vintage Love” could have been recorded 25 years ago, but they sound fresh and vital in 2008, a real testament to the strength of the music. But there are plenty of surprises, too: I dig the the opening chords of “Bloody Waters,” which sounds a bit like The Mahavishnu Orchestra’s “Birds Of Fire”; the following track, “Voodoo Spirits,” opens with a playful accordion line straight out of the bayou, before charging ahead with an organ-heavy riff and powerful Schulz vocal. The tune also features a sweet Hersey solo. Played live, I imagine the song brings down the roof. My favorite track is “We’ve Lost The Rhythm,” a real burner that showcases the best of the band, and features some extraordinary singing by Schulz. Nomad closes with a fantastic cover of Rainbow’s “L.A. Connection,” brought to life by guest vocalist Doogie White. Blackmore and Dio would be proud. Hersey, as well, should be proud.

Iain Ashley Hersey’s Nomad is highly, wildly recommended.

The video below of Hersey playing live in 2005 gives you some idea of his sound and style, but get Nomad, nonetheless. You won’t be sorry.

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