Month: March 2024

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Episode #258 – David Coverdale & Whitesnake – Restless Heart (Part 2)

Link to video episode on YouTube: https://www.youtube.com/watch?v=ndcJfsCbp2I

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Lead up to the Album:

  • DC put band on hold after 1990 tour.
  • Working with Jimmy Page revitalized him.
  • Whitesnake reformed in 1994 for a brief tour to support the Greatest Hits record but it didn’t last very Long
  • Coverdale Dog’s Bollocks Quote
  • Rudy Sarzo, Warren DeMartini, Denny Carmassi, Paul Mirkovic and, of course, The Flying Dutchman

Core Band:

  • Backing Vocals – Beth Anderson*
  • Backing Vocals – Maxine Waters
  • Backing Vocals – Tommy Funderburk
    • https://tommyfunderburk.com/
    • Worked with Barry MAnilow, REO Speedwagon, Frankie Valli, El DeBarge
    • Previously worked on Whitesnake’s Slip of the Tongue.
  • Bass – Guy “Starka” Pratt*
  • Drums, Percussion – Denny Carmassi
  • Guitar – Adrian Vandenberg
  • Harmonica – Elk Thunder
    • Credited on several Joe Satriani Albums.
    • David Coverdale: “Elk Thunder was at that time the medicine man for many Native American tribes. He came to the studio to help us shift some uncomfortable energy.”
    • “We had so many tech issues we couldn’t believe it. So, I thought, bugger it … it must be something we can’t fix. We held a Spirit Feast, and lo and behold, everything started working well again. We were very, very grateful to him.”
    • Adrian Vandenberg: “The recording of Restless Heart was rather different from any other recording experiences before or since for me. We started off rehearsing and recording in a cozy studio located in a charming Victorian style mansion in Reno, and later on moved to a mansion close to Lake Tahoe that used to belong to disco singer Donna Summer. A complete mobile studio was set up there to the specs of brilliant engineer and producer Mike Fraser. The place had a bit of a weird vibe about it. It could easily have made a fitting haunted house in a thriller movie. From day one we had some very unusual and weird experiences. Mike Fraser attributed a bunch of technical problems to the fact that the house might have been built on an. ancient Indian burial ground, and he wanted to bring in an Indian medicine man.”
    • “He told us that he has native Indian roots in his family. A string of pretty weird, unexplainable things happened. A medicine man by the name of Elk was flown. in and performed ritual dances around the estate. The band chewed on grilled buffalo testicles by a campfire while he barked ritual Indian songs and shook Toys R Us-like Indian percussion…”
    • “After the spirits left the building the recording went smoothly, and we laid down the tracks with a smile on our faces. Stories to tell! He convinced us that he was a great mouth harp player, and pretty much insisted on contributing his stellar playing to our album …”
    • “So we decided that Elk could double a slide guitar lick in Woman Trouble Blues’ with his mouth harp. This is an extremely simple lick, but apparently it still appeared to be pretty impossible for Elk to play it properly, and it ended up taking a whole afternoon. And after that breathtaking performance, it took another few hours for our experienced engineer Bjorn to edit it to a point that it’d be bearable. At least we escaped an ancient Indian curse.”
  • Keyboards, Backing Vocals – Brett Tuggle

Technical:

Album Art & Booklet Review

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Album Tracks:

All tracks written by Adrian Vandenberg and David Coverdale except where noted.

  1. You’re So Fine
  2. Your Precious Love
  3. Take Me Back AGain
  4. Woman Trouble Blues
  5. Anything You Want
  6. Can’t Stop Now
  7. Oi (instrumental) (Caramassi, Coverdale, Vandenberg)

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Bustin’ Out The Spreadsheet

Reception and Charts:

  • hh

Reviews

  • Darker Than Blue Issue 50  February 1998
  • RESTLESS HEART
  • EMI TOCP 50090: UK/Europe : June 2nd 1997 CD It’s getting a hit like the old times again – what with a Gillan (the man – not the band) album out, Lordy’s effort due any day, and offerings from the man in black. If it all seems increasingly less vital than it did fifteen years ago, that’s probably just me feeling my age, but sadly there’s not a vast amount on David’s new offering to stop me getting all nostalgic about Whitesnake classics of yore. Things became a little overblown on the last two Whitesnake albums (to say the least) so it’s good to find David toning things down in favour of a more basic approach. Out too has gone the sponsorship by L’Oreal, and a more craggy wet look David Coverdale adorns the front of what is billed as the final Whitesnake album. And Ritchie could well take a leaf out of David’s book, or at least call him for the name of the photographer. as it’s a great moody image. Some things never change though, and the old poorly executed paintings of concrete heraldry still adorn the rest of the package. Still, let’s persevere. People had, after all, being calling me up claiming this to be his best vocal performance in years.It has to be said that by and large they were right. Perhaps the time off has done him good. It’s still uniquely Coverdale, but somehow a little richer in tone, a little smoother in delivery – and it suits him very well. That then is the good part. The downside of it is that sadly very little else on display here is up to this vocal return to form. Musically it lacks memorable tunes, melodies, riffs – anything really. It just kind of washes over one in a stream of fairly bland metal. The opener, Don’t Fade Away. is very typical -plenty of recognisable AOR Rock signatures but nothing too deep or original. All In The Name Of Love sparkles at the start with a few bars of grungy Hammond, but ditches this in favour of a plodding, pedestrian beat. A good production to be sure, but largely lifeless. Title track time, and some good deep vocal lines growl promisingly, but are dissipated via a really inept band performance. Try the last minute or so though, and see how it might have sounded. Strings sneak in, must be time for a tearjerker. Too Many Tears – more excellent vocals, but a very obvious guitar solo, wet drums and a conservative feel to it all. The best you can say is that the tracks could sound stronger in a live situation. There is no doubt that this is an important album in that while it may not be the strongest he has ever recorded, it does mark a return to the Coverdale most of us like to hear best, and so holds some promise for the future. The fact that David has discovered his voice again also prompted more reviews of the album from readers than we would normally expect.”Mercilessly slagged off in the music press (well in ‘Kerrap’ magazine at least) and old D.C. stating in publicity interviews that this ‘final”Snake album summarising 20 years of the band, I feared a ‘Stranger in Us All’ type hotch-potch / self-rip-off. However, whilst there are certainly plenty of reminders of David’s post-Purple works (ranging right from Northwinds era to Coverdale/Page) they fall far short of self-parody. Indeed Coverdale goes less for the ‘Slip of the Tongue’-screaming and more for a back to his blues / Paul Rodgers-type phrasing and style, to great effect. Backing is courtesy of the Coverdale/Page touring band with Vandenberg ‘replacing’ Page, but the material is generally quite laid-back as compared to the C/ P album, and all in all quite in keeping with ‘Whitesnake’. I should say that fans of early to late-middle period ‘Snake (“true Whitesnake”?!) should not be disappointed by this album. Indeed, had this followed ‘Slide It In’, Coverdale’s credibility-rating might not have taken the nose-dive which it did with many ‘older’ ‘Snake fans. Lyric-wise David manages to rise above the groin for the most part, and the production (credited to D.C.) is somewhat brighter than the old Martin ‘Boring’ Birch produced efforts.” Tim Summers.I think it fair to say Tim’s views are common to just about everyone who ventured their opinion.

NEXT EPISODE SLIGHT DELAY! MACHINE HEAD SUPER DELUXE! – will be out on Monday approximately 12 hours later than normal!

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Episode #257 – David Coverdale & Whitesnake – Restless Heart (Part 1)

Link to video episode on YouTube:  https://www.youtube.com/watch?v=Yca9FxCcbLo

Disclaimer: The video used on YouTube is a byproduct of producing our audio podcast. We post it merely as a convenience to those who prefer the YouTube format. Please subscribe using one of the links below if you’d prefer a superior audio experience.

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Core Band:

Technical:

Album Art & Booklet Review

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Album Tracks:

All tracks written by Adrian Vandenberg and David Coverdale except where noted.

  1. Don’t Fade Away
  2. All in the Name of Love
  3. Restless Heart
  4. Too Many Tears
  5. Crying
  6. Stay With Me (Jerry Ragovoy, George David Weiss
    1. Cover of song by Lorraine Ellison
    2. Jerry Ragovoy
    3. https://en.wikipedia.org/wiki/Jerry_Ragovoy

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Episode #256 – Smoke on the Water (Isolated Tracks)

Link to video episode on YouTube: https://www.youtube.com/watch?v=xiW4xf_lJIk

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Isolated Tracks:

Listen to the isolated tracks used on this episode here.

Drums

Bass

Guitar

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Hammond

Vocals

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Posted on

Episode #255 – Glenn Hughes – From Now On… (Part 2)

This week’s episode (this half of the album) is BANNED on YouTube this week.

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Album Tracks:

  1. You Were Always There
  2. If You Don’t Want Me To (Allyson’s Song)
  3. Devil in You
  4. Homeland
    • Written-By – Glenn Hughes, Mel Galley
    • https://ramzine.co.uk/news/trapeze-the-story-so-far/
    • When this version of the band underwent one of their intermittent reformations in the 90s, they also began to lay down tracks. Strident hard rocker ‘Breakdown‘ on Lost Tapes Vol 1 comes from that latter period, the song sounding immensely fresh and contemporary even today. “This is from what we might call the second coming period, around ’93. The three-piece recorded it at Garage Studios, with Glenn singing, where they also recorded the original version of Homeland.” The latter a rare Hughes-Galley co-write surfacing on Welcome To The Real World: Live At The Borderline a live album released in ’93 documenting the previous year’s tour, then Hughes’ own solo album  From Now On… the following year.
  5. From Now On…
  6. Burn
  7. You Keep On Moving

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Bustin’ Out The Spreadsheet

Reception and Charts:

  • Originally released in Sweden on January 29th, 1994 by Empire Records (ERCD-1001).
  • Later the same year Zero Corporation released it in Japan (XRCN-1080) on April 23, 1994.
  • In 1996 there was also a USA release on Explorer Records (EXC2 44810).
  • Wikipedia lists 29 January 1994 (Sweden)[1] March 1994 (International)[2]
  • Recorded: July-September 1993[3] November 1993 (bonus tracks)[4]

Reviews

  • http://www.deep-purple.net/DPASmags/dtb46.htm#5
  • Glenn and his band have been gigging throughout 1993 in Scandinavia, having decided to set up base there to record his new album. He went into the studios on August 16th with The King Siguurd Band – the guys he’s been working with since January – and 12 songs were already written. They had three weeks of rehearsing before the session, which lasted a month. Vocals were done separately, and they booked a show in Skara (about 80 miles from Gothenburg), where the studio is, for Sept.11th. This was to be taped, with the idea of adding some bonus tracks to the Japanese version of the CD when it comes out. In the end the live recordings didn’t turn out too well, so they went back to the idea of taping new studio versions, and this they did in Stockholm on November 17th. “Burn” and “You Keep On Moving” were the chosen songs. Blackmore declined to appear – he’d expressed some interest in doing the solos when asked about it earlier in the year. Glenn had hoped to get Ian Gillan in to guest on a couple of tracks, but the timing was out. Glenn’s band has a new drummer, Ian HaugIand,another Europe member, making three in all. Ian joined in time to play on the Stockholm session.
  • http://www.deep-purple.net/DPASmags/dtb47.htm#6
From Now On – Album Review
GLENN HUGHES : FROM NOW ON : UK : Roadrunner RR 09007: 1994 CD
The Japanese version (Xero XRCN 1080) includes “Burn” and “You Keep On Moving”; the UK version just has “Burn”, while the original Swedish issue has neither!”I’m a little perplexed and slightly confused as to the mish-mash of styles, suggesting that the tracks were written over a long period of time. I expected more of a strident hard-hitting funk-metal album, something like Living Colour or Chilli Peppers, and I’m surprised he played no bass on the album. As with “Blues” last year, the vocals stand out as the highlight of the album. The really important thing is that Glenn is back and singing well. ‘ Walkin’ On Water” is my favourite. Funk-metal as only GH can do it. A basic groove, with deft touches of rock guitar and great bass variations.” Roy DaviesThe album does cover a wide range of styles, and is much better than the LA Blues set. Here we go from Purple stompers like “Pickin’ Up The Pieces” (the keyboards especially), to the bluesier based Brit-rock as on “Lay My Body Down”. That said, little here really begins to break new ground, but perhaps that wasn’t the intention – it’s more of a reaffirmation of Glenn’s return to the fray. “Walkin’ On The Water” and “The Liar” both hold out some promise. The former is interesting both lyrically and in its musical structure, lots of varying time changes (though these perhaps show up certain weaknesses in the drum dept), while the sampled keyboards on the latter are a bit out of the ordinary, and the ending where Glenn is working with the guitarist might have been worth making rather more of. As someone else said of the new take of “Burn” – “Why fix something that ain’t broken”!
  • https://www.glennhughes.com/ctc/issues/ctc_002.pdf
  • Glenn Hughes has added to his already prodigious output of the last several years with another new disc, “Burning Japan Live.” Proclaiming himself substance and alcohol free since 1991, Glenn has never looked, or more importantly, sounded better. Although he has said in numerous recent interviews that his Deep Purple days were not necessarily the best days of his life, seven of the fifteen tracks here are indeed Deep Purple songs from the MK III and IV era. There are also four tracks from his studio release of earlier this year, “From Now On…,” two from the 1982 Hughes/Thrall album, “Coast To Coast” from his Trapeze period, and the newly written “Still In Love With You.” And despite quotes from Glenn for years that he wants to break away from the hard rock that he’s done for most of his career and move toward a funk and soul direction, this disc rocks as hard as any he has ever done. In true Deep Purple MK III and IV tradition, the opening number of the show is the classic “Burn.” With an appropriate introduction as “The Voice of Rock,” Glenn and band launch into a very spirited and uptempo version of this 20 year-old tune. Because Glenn does all the lead vocals during the show, I feared that the impact of his original entrance into the song would be lost. This was not the case though, as he let the loud enthusiastic crowd sing the chorus intro, “All I heeeeeeeeear!” Fist-pumping stuff! Guitarists Thomas Larsson and Eric Bojfeldt don’t alter the song’s basic riff, but do interpret Blackmore’s solo their own way, resulting in a sound somewhere between Ritchie himself and Yngwie Malmsteen, although it would be unfair and futile to compare these guys to either of those legends. Drummer Ian Haugland, with a driving open hi-hat beat, and keyboard man Mic Michaeli, with his Hammond B-3, both sound close enough to the original to be passable. Hearing Glenn performing all the vocals in this song, his fans no longer have to dream about what Deep Purple would have sounded like had Ian Paice and Jon Lord got their wish of having Hughes as the lead vocalist of Deep Purple [note: Ian and Jon were outvoted by Ritchie, who wanted two vocalists]. Like all his previous live work, and even more so now without the encumbrance of a bass guitar hanging from his neck, Hughes displays his immense vocal talents at every opportunity. In this song alone, I stopped counting at ten upper-register full-throated screams, and this count seemingly increased as the show went on. Hughes fans who live for the screaming-at-the-top-of-his-lungs-at-the-upper-end-of-his-formidable-range will think that this is the finest effort of his storied career. Conversely, those who think a subtler singing style is a preferable philosophy should steer clear of this disc and head straight for the Michael Bolton/Barry Manilow section of the record store. Next up is “The Liar,” a song from his latest album that sounds somewhat like Led Zep’s “Immigrant Song” with its frenetic throbbing riff and the banshee wail background vocals. This version is pretty faithful to the studio recording, although anyone familiar with Glenn’s performances knows that his live versions always include added vocal pyrotechnics. Glenn primes the audience for the next tune by saying, “We’re gonna get funky now,” and the band rips into the muscular riff of “Muscle And Blood” from the Hughes/Thrall album. This song is probably the heaviest track from that album, and the dual guitars here keep it that way with a chunky sound much like that of Gary Moore back in his metal period. Hughes ends the tune with a short a capella break, “I’m a man, I’m a man, I’m a man made of muscle and bloooood!” The next three tracks, “Lay My Body Down,” “From Now On…,” and “Into The Void,” are all from the “From Now On…” album, and the band plays them all very close to the originals. Again, the difference between the live and studio interpretations of these songs is mainly the variety of vocal stylings added by Glenn in the concert setting. It’s really a pleasure to hear Glenn reinterpret these songs live if you are familiar with the studio recordings, because of all the subtle variations he is able to do on the original. He seemingly has an infinite assortment of vocal shades, and often changes the texture of the original. The one new song during the set, “Still In Love With You,” is introduced by Glenn as, “I was fooling around with something today at soundcheck – figured you might want to hear it.” It is also the only song where he plays an instrument – surprisingly keyboards! The tune is performed by Glenn alone, and is a nice ballad-type thing, although it’s not really a song on its own yet, but more of an intro to the next tune, “Coast To Coast.” For those who get into such things, Glenn really loosens up the vocal chords in this intro, and hits his highest notes of the show – I could imagine all the dogs in my neighborhood perking up their ears while I was playing it. 🙂 “Coast To Coast” is perhaps Glenn’s best-ever writing achievement – a truly beautiful song. No one can touch him when he’s singing this one, and he doesn’t disappoint in this show. Nothing short of an Yngwie guitar solo could ruin this song, yet that’s exactly what the guitarist tried to do! The original solo laid down by Trapeze guitarist Mel Galley was a simple, yet elegant solo that actually enhanced the song with its melody. The live solo here is an unnecessary speed display that doesn’t even follow the melody of the song. Fortunately, the solo is short. Following “Coast To Coast” is a block of four Deep Purple MK IV tunes. After a dedication to Tommy Bolin, Glenn delivers a soaring “This Time Around” to an appreciative crowd. Michaeli has Lord’s keyboard work down on this song. Like on the “Come Taste The Band” album, the song segues into the instrumental “Owed To ‘G’.” Again, like in “Coast To Coast,” a hyper-kinetic guitar solo almost ruins things. Some things are meant to be left as is. Aside from the solo, the song is performed crisply, and the band acquits themselves well. “Gettin’ Tighter” is next, and I’m not sure what to make of this version. The rhythm guitar has been funkified to the point that it would work on an Isley Brothers record, yet the opening guitar solo is in the neoclassical vein. Hmmm? The song does settle into a cool wah-wah guitar funk piece the rest of the way. Can’t blame them for trying a new approach, but gun to my head, I’d have to say that I prefer the original Tommy Bolin version. “You Keep On Moving” is a masterpiece however. I thought I would miss the Coverdale/Hughes harmonies here, but Glenn survives on his own just fine. The crowd gets in the act during the reprise of the verse after a “Sing it with me” urging from Glenn, and responds impressively with a loud “You Keep On Moving, Far Away, Far Away.” The last three tracks are two MK III tunes sandwiched around another Hughes/Thrall number. “Lady Double Dealer” – nice job. The Hughes/Thrall tune, “I Got Your Number” really showed how enthusiastic and knowledgeable about Glenn’s music the audience was. A loud cheer greeted the opening notes, and this time they didn’t need any urging to complete the opening line – [Glenn] “How ya been?” [crowd] “Alright!” This crowd knew and loved the song! “Stormbringer” closes out the show – pretty much the same as the original, and the guitar solo captures the mood of Ritchie’s excellent solo quite nicely. So what’s left to say? Well, before the obvious comparisons to Deep Purple, it should be made clear that this is not a permanent band as Deep Purple was. The concerts, as well as the albums, are promoted and marketed as “Glenn Hughes” – not “The Glenn Hughes Band,” or even “Glenn Hughes and band.” It’s just Glenn Hughes. The main job of the band here is to not get in Glenn’s way. I don’t mean to disparage the band in any way, as they are very competent and talented professionals who do a fine job supporting Glenn. It’s just that this music will not go down in history as one of the all-time performances. That’s the way it is. As far as showcased hard rock singers go, the list of singers with with Glenn’s versatility is very small or non-existent. His voice has an appealing pure quality to it, his range is legendary, and his sense of pitch is right on. The endless arsenal of tonal variations is what keeps his work interesting – he is able to improvise at will, and perhaps never will perform a piece the same way twice. This unpredictability is what keeps the man intriguing. The bottom line is that this album is a definite must-have for Glenn’s fans, hard rock vocal fans, and even Deep Purple fans, even if the music isn’t quite up to their lofty standards. Glenn has given a monstrous performance here, with the vocals of every song exceeding those of the original renderings. Maybe in the future he will join another supergroup like he had in Deep Purple, but for now, this is his best vocal effort to date. I had a lot of fun reviewing it, and will be grooving to it for a long time to come. reviewed by Bill Jones for the newsgroup alt.music.deep-purple Sept 24, 1994

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