Reviews roundup – Whitesnake vs. Royal Quest vs. Jimmy McIntosh vs. Driftglass vs. SoundDiary
WHITESNAKE
The Purple Album
Frontiers
So, here it is. The final Whitesnake album. Fitting then, that Sir David Coverdale should go full circle then, and return to his time with Deep Purple. But, hold hard, I hear you cry. Final album? Well the man himself has said “Even though we’re playing songs I recorded with ‘Purple’ over 40 years ago, it has all the classic ‘Whitesnake’ elements people who support us have come to expect…” says Coverdale, “I thought it would be cool to go out, as it were, the way I came in to this music business.” So there.
This actually came about after Jon Lord fell ill and Coverdale discovered that Jon’s wish on his recovery would be that they put together a Purple reunion of sorts. Of course, Lordy didn’t make it, but Coverdale made overtures to one Ritchie Blackmore and they discussed the possibility of some kind of a Purple reunion or a ‘Blackmore/Coverdale’ project. While that would be the best possible outcome, it’s no surprise to learn that it didn’t work out, which meant that we ended up with this. And, as you would expect it’s a bit of a mixed bag.
No-one will deny that Coverdale has lost a lot of his vocal chops over the last ten years or so. However, you expect that from a man in his sixties, so it’s the songs that have been changed most to suit his voice that come out best. I was especially looking forward to him revisiting songs from “Stormbringer“, as that had a dreadful production first time around. So, pause for effect, the absolute winner on this album is ‘Sail Away’! It’s stripped right down and Coverdale pulls out his best vocal performance of the album. It’s run a close second by ‘Holy Man’, which was a Glenn Hughes lead the first time around (hah!), but this version is fabulous.
Elsewhere, the full metal effect of ‘Lady Double Dealer’ is the best of the uptempo tunes, although the bluesy flavour to ‘Might Just Take Your Life’ is very enjoyable. Then, there is a big surprise when Coverdale takes on ‘Mistreated’. And doesn’t lose! So if this the last ever Whitesnake album, then it ended up a lot better than I expected it to. As always it’s out in a multitude of formats with ‘Comin‘ Home’ and ‘Lady Luck’ from “Come Taste The Band” on the deluxe edition and an alternate mix of ‘Soldier Of Fortune’ reserved for the Japanese issue. The deluxe edition also comes with a DVD containing four videos, a behind the scenes thing, and the electronic press kit.
ROYAL QUEST
The Tale Of Man
independent
Off to Greece now for some symphonic power metal, courtesy of Royal Quest, whose debut album this is.
It’s taken some time as they originally formed way back in 1998 in Athens when Yannis Androulakakis (guitars/vocals) and Dennis Bekatoros (bass) started putting their musical and lyrical ideas together. They released a demo shortly afterwards but have spent the ensuing 15 years working on this concept album with an original story inspired by the “Eternal Champion” (Michael Moorcock).
In fact, it’s taken so long that Dennis gave up around 5 years back, leaving Yannis to finish things up on his own. And was it worth it? Well, yes. I mean I’m a sucker for a metal opera, especially if you manage to throw in the Lords of Law and Chaos. And if you’re familiar with the work of Tobias Sammet’s Avantasia or Arjen Lucassen’s Ayreon then you will know exactly what to expect from this.
Across fourteen tracks, Yannis (guitars, programming, vocals for “Lord Of Chaos”), Vasilis Axiotis (vocals for “Man”), Angeliki Frangos (vocals for “Cassandra”) Basil (vocals for “Lord Of Law”) and Kalliopi Mitropoulou (violin) take you on an engaging if not quite entralling romp. One to keep you going until the next Ayreon album arrives.
JIMMY McINTOSH
Jimmy McIntosh and
Arizona Club Records
And who is Jimmy McIntosh? Well, someone who can call in Ronnie Wood, Mike Stern and John Scofield to guest on his solo, instrumental album, that’s who.
It’s actually an enjoyable album, split between originals and covers, that takes in jazz, fusion and even some blues. Like a lot of musicians McIntosh earns a crust playing in the pit – he worked on “Mamma Mia” for five years and is now playing “Jersey Boys”, but this is what he likes to do. The Ronnie Wood tracks don’t actually sparkle, unlike his version of the Duke Ellington classic, ‘Sophisticated Lady’, which is just lovely.
Ivan Neville is also along for the ride, and his work on the funky ‘The Logue’ is just fabulous. Saxophonist Albert Wing also puts in a couple of appearances and is best appreciated on a run through of the Keith Richards song ‘Demon’ from his “Main Offender” album. It’s the sound of top class musicians playing what they want to, and is certainly worth repeat plays.
DRIFTGLASS
All That Remains
independent
It’s back to prog metal land now, and this time it’s Toronto-based progressive metal band, Driftglass. It’s their debut album, although they had an EP out about five years back, and it’s an excellent sounding release.
They’re pretty much old school when it comes to their music as they head off into the world inhabited by Pink Floyd, Dream Theater, and early Rush. It’s awash with keyboards, heaving riffing and some really good vocals from Alvin Ihsani.
Sometimes they do veer towards a more commercial hard rock sound, but they always manage to pull it back to the prog, thanks to the guitars. Check out ‘My Last Lament’ or ‘Insect In A Jar’ and you’ll have an idea of what I’m talking about. All the musicians seem to pull out the stops, and it has a really full sounding production, which helps lift the songs and push them on. A couple of the songs slightly outstay their welcome, but as modern prog metal goes, this is good stuff.
SOUNDDIARY
A Book In My Hand
independent
I love a bit of hyperbole and when Austrian band, SoundDiary proclaim their new album as “featuring epic Rocksongs for friends of extraordinary songwriting”, I can’t help but lead a small smattering of applause.
The oddly named SoundDiary come from Vienna and as well as the usual instruments have the added bonus of someone who can have a bash at flute and glockenspiel, which is always a bonus. This is their second album, following on from “Inverse” in 2010, and despite the verbose claims, it’s actually some rather good prog rock.
For sure, the vocals are a bit on the fey side, considering the Porcupine Tree vibe they seem to be going for, but on the opening eight minutes of ‘Mercury Syndrome’ they really do turn on the mellow, fragile side of their music to great effect. It jumps around a wee bit after that, veering between early Roxy Music,mid period Genesis and modern prog, but it was an interesting listen. However, it’s the first song I keep going back to.
The Rocker - The Artist Formerly Known As Zeitgeist. TAFKAZ 
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