QUATERMASS – Quatermass (1970) [rated 3/5 by Ricochet]

Sounds like a lot of opinions make a listener believe Quatermass ’s 1970 piece of music stands out at a quality and awhisper similar to Emerson, Lake & Palmer or King Crimson, when both bands (most regarding the super trio) started theirgreat tact and leap of progressive force around the same period, therefore it is impossible for Quatermass to be of thesame excellent fiber – and it isn’t, not at all, part of the ELP-ian attitude, while the crimson link can be a purelyjudgmental view of hard music and esoteric prog, building up common superlatives. Surprisingly, some listeners turn outdisappointed by the music of Quatermass not being the usual blend of crispy ELP and art-ravishing Crimson pow(d)er. Mostthough are and should be disappointed only by such analogies ever been truthfully made, and focus on with the music – whichis progressive for sure.

If really a desperate need rather than a simple footnote to what is the music’s block of a character, Quatermass could atmost have taken some of the sober serene Deep Purple air, simply because it has a wild and unevolved (excessively) hard rockdominating sponge. But that doesn’t make the clearest and never is the most beautiful idea out of this band’s frain of musicand rock excitement. Maybe, just maybe, there’s a bit of Uriah-like or Rare Bird-like serenity and tangent mark, but that’sall there is, not out of Quatermass failing to be a confident strong band, but rather because there is no essential thing inregarding the music as made of influences.

To finish off the subject, the period makes this music a bit more side-strayed and uncommon. Very keen to general moods ofhardrock, Quatermass is surely not the band in love with any giant names, composing instead a bit of strong and flexiblemusic, of its own partly emphasized partly improvised characters. Its progressive purity, largely taken, has the attitude ofhuge styles and pondered expressions within the early classic movement, to the lights of Atomic Rooster, Alquin, CaptainBeyond, NOT as music (would be preposterous), but as energy and hot-touched pleasure of music. There is no psychedelicpost-nuances, no blues and brass crossovers, not even a more up-swinging cloudburst of rock ‘n’ rhythm, there only is astrange kind of pure rock, along a hard prog extreme admission. To a difference, this 1970 is the only thing you get from thetrio, as an interesting, but not pure (given a tedious kind of prog virtuosity), album, staying alive and fresh only if youreally like it.

This album is full of a rich and talented style, mostly reflecting a music keen on rhythms and adoring imagination. Thegeneral consensus (as oppose to the entire influence we’ve just discussed) is that this is an ensemble etching a greatkeyboard performance, and also having clear, discolored and simple vocals (John Gustafson has a soft voice) to enlarge thebeauty or the sudden veraciousness of different moments. The concept is hard, as the music tends to ultimately be (that is,to ultimately resign and become a familiar kind of rock), nevertheless the heat and heap of Quatermass stands between aprogressive art and an independent full quality of heavy rock and similar suspinations. Making it thrilling to listen,perhaps not essential to keep in mind.

Very good pieces are those that combine the idea of new music, strong style and simple mania – and they’re mostly epic.Black Sheep Of The Familybecomes a highly special groove-boom, carefully gripping you with special joys of lyric andan ordinary, but powerful rhythm of rock. A sum of long pieces alternate in making Quartermassfinest example, whetherPost War Saturday Echoallows a small amount of bluesy dream, to end on a usual illusion of ballad and hard rocktranspiration, whether Up The Grounddedicates time to pressure and heavy dynamics, made out of weak artistic idea,but punching energy. Make Up Your Mindis one of the most progressive, sketching a sort of bruished or rough symphonicpiece, with a lot of quality coming from keyboard’s ecstasy. Laughing Tickletends to be even more artistic,sufficient for any fan of heavy rock doses and dilatations. Entropy, perhaps the basic word for this heavy prog weirdand healthy manifest, ends up, just like it started up, the fast-orbital rock feeling of this album. Another record labelreleased two more bonus albums, which stick to the style, but are more easy and adapted.

Quatermasssounds like a very good musical moment, not too rare neither too spicy, disrupting a bit the impressionthat heavy rock went by compromising strict values and meteoric adrenalines. Without exaggerations nor by holding back theenthusiasm, the music is really strong and alternates the language of hard prog with keyboard art and lyrical conciseness.The band splits, the musicians head on over many projects and bands, becoming sort of an eclectic progressive artists.There’s a second Quatermass album, far deep in 1990, but it’s most likely a depressing kind of new-fuse rock, making thisone, from 1970 and having all the good grains of prog smoking rock, the essential one.

Jethro Tull: Live at Montreux 2003 – CD

The first question out of your mouth may be “Why did he title this Jethro Tull: Live at Montreux 2003- CD?” [because if your first question was either "Who?" or "Are they still alive?" you should be shot and your stereo taken away.] The reason for placing the word CD after the title of the newest Montreux Festival release is because i have been fortunate enough to receive the CD and the DVD. I have only been lucky enough to listen to the music, so I`ll let you know if there are any differences when I watch the DVD.

To begin with, lead singer/co-founder/flautist/guitarist, gives a very whimsical and entertaining tale of how it came about that Tull played the ultimate festival in Switzerland. Made famous not only by the number of extremely talented bands who have played the notorious jazz fest over the past 5 decades, but also given a mention in Deep Purple`s “Smoke On The Water” when the original location at the Montreux Casino was burned down during a Zappa concert. (Some stupid with a flare gun… or his brother, Skip.)

This 2003 performance features Anderson alongside his buddy Martin Barre, who has been playing guitar with the band since the dawn of time, Andrew Giddings on keyboards, Jonathan Noyce on bass, Doane Perry on percussion and Masha on some vocals. Anyone who may believe that this legendary group has lost any steam in their “Locomotive Breath” or run out of air in their “Aqualung” is thick as a brick. And the band aren`t just “Living In The Past.” Not only do they play the songs I just horribly mutilated in the last couple of sentences, but they play some of their more recent material, including “Dot Com” which was the title song of an album that came out around the turn of the 21st century.

They also throw out some songs that you don`t hear on the radio everyday, such as “Some Day The Sun Won`t Shine For You,” “Life Is A Long Song,” and “Bourée” just to open this splendid show. There are plenty of other songs from their lengthy catalog that fall amongst the well-known to the semi-obscure on this 2 -disc, 18 track CD. Some other favorites include “Eurology,” “Hunting Girl” and “Budapest.” Without a doubt, the band is still crisp, entertaining and on top of their game.

Both the CD and DVD are due out around the end of August. This is a must have for any Tullhead. If you don`t own any Tull and want to see/hear what they are all about, this is a great opportunity to see some legends with a lot of life still left in them.

DEEP PURPLE – Bombay Calling (2000) [rated 4/5 by ZowieZiggy]

This concert was filmed during an unexpected concert in Bombay. India is not really a country known for the live albums recorded there (but sincePurple already did a few in Japan you might have have heard of, why not ? It still features a long haired Gillan and the very good Steve Morse. Several songs that were not (or less) played like “Fireball or less known songs will be integrated into this set : “Maybe, I’m A Leo” for instance (the latter being too heavy to really please me).

It’s also amazing to discover the place of “Black Night” in this set list. Third position. It was usually an encore in their early days (but they have reverted to this tradition nowadays again). During this period, it was also the occasion of a karaokee session which is no longer my cup of tea (even when I attend). Actually, it is not too long here, so it’s alright.

The whole set list is quite similar to the one available on “Come Hell or High Water” in the full lenght of these concerts (like featured on “Live In Europe – 1993″). A few additions like the new ” Purpendicular Waltz” (not really great and unreleased at the time of this recording) or “The Battle Rages On” for instance.

It’s a real pleasure to discover this live version of “When A Blind Man Cries”. Very emotional and so different from their traditional repertoire. Almost prog intro ! A fantastic rock ballad (it comes from the “Machine Head” sessions but did not really fit on this somptuous album). Very good guitar solo preformance from Steve Morse.

“Perfect Strangers” sounds not really great, I’m afraid. Too heavy again (but the original sounded like that as well).There were better songs from this album that should have been featured on stage like “Mean Streak”, “A Gypsy’s Kiss” or “Wasted Sunsets”.

And there is nothing to do; when you listen and compare with the next one, it just sounds really shy. Of course “Pictures Of Home” is one of their great songs (but almost each one of “Machine Head” was a great one). It opens a magical trio : both “Child In Time” and “Anya” will follow. This is heaven !

Of course, Gillan might not be any longer as great on the high notes as he used to be twenty-five years before this recording but he is still very good. He will play the bongos as during the early days during the fabulous guitar solo. Steve might not be Ritchie, he is a fabulous guitar player. With Kansas before and now with Purple.

At this time of their career, Purple scaled “Space Truckin’ ” a bit down to a more decent format. But it is followed by a guitar solo with Steve alone on stage. I have to say that this is not my max. He will introduce the great “Lazy” which will be the showcase for Ian Paice and another solo. I always have counted Ian as one of the best drummer in the rock history. He is not as demonstrative as Keith Moon or John Bonham but he is very skilled. This is an occasion to visualize this. It is seriously shorter than the ones available in their seventies concerts.

The last three numbers are absolute killers. The devastating “Speed King” (with no intro – sorry guys, I didn’t decide), and then two encores : the incredible “Highway Star” (my Purple fave; on par with “Child In Time”) and its demoniac introduction. I’m just nuts about it.

I am a lot less positive with the closing number : “Smoke” has never been a fave of mine. When I discovered “Machine Head” in 1972 it was just a track as another one; inferior to many others. As Roger Glover mentions in his interview in the “Classic album” DVD for “Machine Head” they didn’t figure out of this growing stardom for this track until they reached the States were it was aired quite a lot. And the fans did the rest. They created an anthem the band was not aware of.

This DVD is a pretty good concert. Some weaker moments but not really much as you could have read. Four stars.

DEEP PURPLE – Machine Head – Classic Albums (2002) [rated 4/5 by

This DVD is not only a “Machine Head” story. It starts back in the early days of Mark II and covers as well (very briefly) their concerto stuff which was not really a band decision. It was actually performed more to please Jon Lord than anything else. About the early years (well the end of it) Rictchie tells us that they found their way while listening to Led Zep. This was what they wanted to do : heavy music.

Now : “Machine Head”…Lots of time dedicated to “Highway Star”. This track was born in a few hours while seating on a bus during a tour. “It is the ultimate Deep Purple song” says Roger Glover. This song is the one of Ritchie and Ian (Gillan).

About “Smoke”. Townsend said once to Ritchie that he had to keep it simple to keep the audience with him. The whole story available on the cover of the original album as well as on the booklet of the CD edition will be detailed. But everybody knows it by now, I guess. The whole being immortalized by the lyrics. Simple track, mythic status (dixit Roger again).

Some interesting technical explanations about it as well from Roger Glover (a great producer by the way). The band had actually to rush recording it because the Swiss police was coming to stop the session because of the noise…

“Sheer Madness” is the reaction of Roger again while talking about “Pictures Of Home”. The same and valuable information about the music will be explained by the different band members even if both Ians are less interviewed. Some short (but already known) live footage as well is diplayed. I quite like this mix.

Some considearations about the need (or no need in this case) of a hit-single from “Machine Head” even if the band was not a hit machine. This fantastic album was recorded in just over three weeks. Roger tells that the “Fireball” lessons had well be remembered and Purple got back to simpler music (!).

A few words about the split (and its gestation as well which lasted for about eighteen months). At the end of the DVD, some notes of “From A Blind Man Cries” (but not explanation whatsover why it did not make the album). Not a word about “Lazy” might be the only negative remark I could find about this very good piece of documentation. A must have for any Purple Mark II fan of course