Posts by toadsterama

    I agree wholeheartedly. I've lost count how many CD's I've ordered from John, and I've spent many a phone call talking to him about music. Buccaneer is second to none, in my experience. If he has to discontinue his service, that will be quite a blow to me and several others I know who count on him for new releases.

    Here's wishing John the best, and hoping he can come up with a solution that will help him stay on track with Buccaneer.

    Cheers...Todd

    I don't believe it! Honestly, Ritchie doesn't strike me as the social sort when it comes to greeting fans, etc. I'm amazed. That Candace Night sure has had an effect on Ritchie - he's making some of his most creative, emotional music in years. He seems genuinely happy.

    You're very lucky, Roberto, to shake the hand of the 'other' Man in Black.

    Cheers...Todd

    Esther, that was a very sweet, emotional review of Glenn's show. Your English is better than my Spanish, and your words made me remember how I have felt seeing Glenn sing.

    "I don't know how he gets it, but when he's singing (also in the albums, but specially on stage) you can feel the music flooding your body, traveling through your veins and filling your heart... I don't know if I've expressed it correctly, but this is the best words I've found to explain the sensation I've usually got when Glenn is singing."

    That says it all, doesn't it?

    Cheers...Todd

    It's not about liking Hendrix because he was part of the revolutionary, trippy 60's music scene. All one has to do is listen to his debut album to hear sounds that no one had ever come up with before. While the Doors were blowing minds with the Lizard King, and Grace Slick & co. were urging you to "feed your head", and the Grateful Dead were busy tripping out the masses at Ken Kesey's acid tests...Hendrix kicked open the door and laid down a blistering guitar sound that could peel the paint off the walls. Anyone with open mind and ears could hear that.

    I'm not a huge Hendrix fan, having only two of his albums. But I am willing to recognize what he did. Marty Friedman's comments come across as ignorant. Even if he knows only two or three songs, as he says, he does say that his favorite players were influenced by Hendrix. And so, by extension, would Marty Friedman be.

    Cheers...Todd



    I want to acknowledge the passing of a great man, Johnny Cash. I consider myself fortunate to have realized the value of his music several years ago. I am not, by most definitions, a country music fan. But Johnny transcends that barrier. His last four albums have been a revelation, and on occasion I have found myself looking to them for comfort.

    I'm thankful that I became a fan at a time when I could still look forward to new music from Johnny. There will never be another quite like him.

    Today, I am "the man in black". A toast to Johnny Cash.

    Cheers...Todd

    To each his own. I can't begrudge you that. And you DO get a point or two in your favor for that truly awful ending pun.

    By the way, I FINALLY mailed the package I've been alluding to for so damn long. It's on its way as we speak...er..type.

    Cheers...Todd

    I really like 'Bananas'! As I've said before, I feel like Steve Morse is a textural guitarist, whereas Ritchie Blackmore was all about the riff. On the new Purple CD, I think that assessment stands. If there's any one weakness that Purple now have, I think it's the lack of any defining riffs from the Morse era (except maybe Ted the Mechanic).

    I wasn't sure what I was going to think about 'Bananas' after reading some varied reviews by others. But having listened to it twice now (and keep in mind I'm still developing my feelings about many of the songs) here is my breakdown so far:
    HOUSE OF PAIN - Nice scream from Ian at the beginning. Classic Purple sound, with the addition of background vocals. Nice tandem work between Don Airey's hammond and Steve Morse at the end of the solo.
    SUN GOES DOWN - Without losing themselves in it, Purple takes on a contemporary edge with this one. The song almost sounds sinister.
    HAUNTED - Acoustic at its core, this one might best be described as a cousin to Gillan's 'Naked Thunder' track "Loving On Borrowed Time". Female background vocals, and a tasty ballad from Ian - whose ghostly vocal fades away toward the end.
    RAZZLE DAZZLE - This one doesn't grab me as much. The song almost sounds like they had the title first, liked it, and wanted to taylor a song around it. Not sure what it's really about, either.
    SILVER TONGUE - This could almost be Blackmore doing the opening riff, but then Don Airey comes in with a bit of (wait for it)...synthesizer. So now there's a sort of underlying electronic vibe, a la ZZ Top's "Legs", beneath the proceedings. And that means Paicey is sounding a bit different here, too. I think this is what many Purple fans were afraid producer Michael Bradford was going to do to the whole album. Not bad, maybe not everyone's cup of tea. Cool bass work from Roger.
    WALK ON - A bit of atmospheric keyboard in the intro, Steve Morse joins in with a nice relaxed repeating motif, and Gillan ices it with a nice melody. A bit out of character for Purple, but it works nicely.
    PICTURE OF INNOCENCE - A Morse groove starts things out, and settles into a low-key rhythm not unlike Ted the Mechanic on downers. The pre-chorus works, but the chorus isn't as catchy as the verses.
    I GOT YOUR NUMBER - The opening solo reminds me of another song, but I can't place it. Catchy, though. As is the descending chord work behind the chorus. You've heard this before, but it still works here. Don Airey tosses a few synth touches. Luckily, he's sparing with them, not only here but on the whole album. The hammond is foremost in the proceedings, but the synth brings a few different textures out here and there.
    NEVER A WORD - Church organ intro, and we're eased into what sounds like an acoustic song that would be welcome on any Windham Hill collection. Gillan's vocal can best be described as a nod to Simon & Garfunkel, as he harmonizes with himself. VERY different for Purple. And I like it.
    BANANAS - Interesting lyric. More tasty tandem work between Don and Steve, much like Jon and Steve tended to do in recent years. Extended solos for both, trading back and forth. Nice to hear Don Airey stepping up to bat, after being relegated to the dugout on album after album and tour after tour with Ozzy, Gary Moore, etc. He hasn't sounded this alive since his days with Colosseum II.
    DOING IT TONIGHT - The only problem I have with this song is the spoken "breakdown" portion. It sounds awkward, like Gillan's attempt at...well, listen for yourself. Otherwise, the rhythm is really catchy. You'll find yourself bebopping along with it.
    CONTACT LOST - A beautiful guitar instrumental piece by Morse, which wins the award for the most key changes in a single song on this album. Short and sweet. This song ends the album, and may seem like a lackluster way to end it. A big rocker might have been the way to go for some, but the band quietly leave us in a reflective mood at the end. Either way, I like it.

    So that's my assessment of the new Deep Purple. They have thankfully learned that not every Purple album needs to sound like "Woman From Tokyo" or "Perfect Strangers". As they've gotten older, their music has become more mature and personal. I think this album is hands-down better than 'Abandon', which I still find very hard to listen to. I'm not sure this is on a par with 'Purpendicular', but it's not too far below it. This is obviously an album that will take a few listens to fully soak in. The classic sound is there, and some new sounds are there. Mike Bradford did a great job with production, and maybe getting the band to try out a few new ideas. Most of them work. I think if you invest time in a serious listen or two, you'll be pleasantly surprised with this album.

    Gillan is in good voice. Roger's creative bass work is nice to hear. Ian Paice is in the pocket. Don Airey and Steve Morse continue to infuse the band with fresh ideas. If the band decided to call it a day tomorrow, they could be proud of this CD as the capper to a great run.

    Those are my thoughts...yours?

    Cheers...Todd

    Can we talk about Joe's sexy pout then, Shirean?



    I just want to say that some of those HTP promo photos of Glenn look really great. Pity they weren't all in the booklet of the CD, which IS a great album as Ad said. And as a matter of fact, I think I'll have another listen now.

    Cheers...Todd

    PS Glenn's assessment of Purple's "Bananas" album is a bit off - it's actually quite a good record. The biggest difference between Blackmore and Morse (IMHO) is that Morse is a more textural guitarist, whereas Ritchie is all about the riff. "Bananas" is in many ways a more relaxed Deep Purple, but Ian Gillan is in fine voice - as proven from the opening seconds of the album. So with regard to Glenn's opinion on the album, to borrow from Shirean...we'll just have to agree to disagree!

    PPS Gillan does not appear to have as light-sensitive lips as Glenn and Joe, either

    Hey folks, don't forget that our very own Satan will be appearing with Jeff Scott Soto THIS SATURDAY NIGHT, Sept. 6th in LA!

    If you, or anyone you know, will be in the LA area (that means as far east as Phoenix, too) you owe it to yourself, Jeff & the band not to miss this show.

    It's a rare US show, it's twelve bucks, it's on a weekend, what more do you need?!

    Hop on over to http://www.jeffscottsoto.com for more info!

    Cheers....Todd