New album: Now What?
Artist: Deep Purple
Label: Edel
Rating: 4 stars out of 5
For their first album since 2005’s “Rapture of the Deep,” musical members of Deep Purple enlisted veteran producer Bob Ezrin (Pink Floyd, Alice Cooper, Kula Shaker). Although Ezrin is known for well-crafted studio albums, the veteran producer wisely chose to channel Deep Purple’s live interplay and ferocity into the new album.
Deep Purple created several landmark heavy rock albums in the early 1970s that have been a blessing and a curse in the ensuing years. There’s no denying “In Rock,” “Fireball” and “Machine Head” contain some of the best knuckle-busting rock ever committed to tape, thus justifying the group’s reputation.
The downside of creating such behemoth successes is that lazy journalists are still asking the band to tell the story of how “Smoke on the Water” was written 40-plus years after the fact.
Thankfully, Deep Purple survived more upheavals than a third world country and experienced a rebirth beginning in the late 1990s. “Now What?” sits nicely alongside modern triumphs such as “Purpendicular” and “Abandon,” and in many ways recaptures the sound that made them legends in the first place.
What people tend to forget about Deep Purple’s music is that it’s funky. If you don’t believe me, do a YouTube search for the tribute given to Purple drummer Ian Paice by Red Hot Chili Pepper Chad Smith. The album opens with the ethereal strains of “Simple Song” — which may be a nod to the recent passing of Purple charter member Jon Lord.
After about 40 seconds, though, the soothing playing of Morse and keyboardist Don Airey give way to a thundering slice of hard rock. Paice drives the song forcefully, but with funk and taste.
“Wierdistan” proves the band still has a knack for humorous wordplay, and singer Ian Gillan’s now has the seasoned sound of a tenured professor that all the students like. “Above and Beyond” is a healthy dip in the prog rock pool, but the band pummels and soars in its execution.
Hopefully, “Above and Beyond” will make its way into the set list for the upcoming tour, as one could imagine Morse, Airey and bassist Roger Glover tossing solos back and forth with suitable aplomb.
Replete with surging chord progressions, theremin-like guitar and horror-movie inspired lyrics, “Vincent Price” is fresh territory for Deep Purple. Featuring the best lyric in the Purple cannon since “Ted the Mechanic,” “Vincent Price” is as bone-rattlingly superb as anything from their supposed early 1970s prime.
“Now What?” is proof that veteran rock acts don’t have to put on a tuxedo and start singing Cole Porter songs to remain relevant. Rod Stewart may make more money pretending to be Tony Bennett, but he’s not as cool as Deep Purple, and isn’t that what really counts?
Also recommended: “Live in Montreux 2011,” by Deep Purple
Classic album: Poison
Artist: Bell Biv Devoe
Label: MCA
Rating: 3.5 stars out of 5
Bell Biv Devoe was a trio consisting of former New Edition members Ricky Bell, Michael Bivins and Ronnie DeVoe. Bobby Brown was the New Edition member pegged for further stardom, but this trio delivered an album in “Poison” that surpassed anything Brown did as a solo artist.
“Poison” stands out from other R&B of its day (1990) because of its inventive production. Led by producers Eric Sadler, Keith Shocklee and Hank Shocklee, “Poison” was a new hybrid of R&B, rock, pop and funk. The overall attack was light years away from the syrupy puppy-love sound of New Edition, yet it was still viable to a pop and R&B audience.
Although the slang hasn’t aged very well, lead-off track “Dope!” (as in “she’s dope,” not Tommy Chong “dope”) was a catchy tune that was the perfect progression for the 15-year-olds who had outgrown New Edition. “I Thought It Was Me” sounds like Michael Jackson singing over the “Fresh Prince of Bel Air” theme song, which at the time would have been a license to print money.
Any pop album worth its salt needs at least one ballad, and this album has two. “I Do Need You” and “When Will I See You Smile Again” are diabetically sweet, well-executed songs that were tacked onto the end of the lp.
Artistically, these songs have no business on what was at the time a moderately hard-hitting funk-pop album. From a business point of view, it just made sense to keep any holdover New Edition fans happy.
The jewel of this album (and the group’s career) is the song “Poison,” featuring an almost jazzy vocal hook and a beat that inspired millions (including “Scrubs” star Donald Faison) to attack the dance floor. Written by “Dope!” author Elliot Straite, “Poison” was as inventive as mainstream pop got in 1990, and in 2013 it still gets many a high school reunion jumping.
Aside from the pair of saccharine infested ballads, “Poison” was a high-water mark in modern R&B.
Also recommended: “The Reviva,” by Tony! Toni! Toné!
Jon Dawson’s album reviews appear every Thursday in The Free Press. Contact Jon at 252-559-1092 or jon.dawson@kinston.com. Purchase books, music and neon spandex at jondawson.com.