"It's a good thing we have gravity, or else when birds died
they'd just stay right up there. Hunters would be all confused."
SOME CONCERTS EXPERIENCED
by Richard Karsmakers
Noorderligt, Tilburg, April 30th 1994, with Tiamat, Skyclad,
Voodoo Cult and Trouble.
A friend of mine, a dude called Andor who is fellow member of
the board of directors of "V.I.R.U.S." (~Society of Intensely
Rocking Utrecht Students) and who also writes for Avalanche 'Zine
(an underground thing) recently got the opportunity to go to the
"Metal Night" gig for free. He could even take a guest. Or at
least that's what the Avalanche 'Zine editor appeared to have
told him. He was on the guest list himself, together with a
friend, and because he couldn't make it he told Andor he could go
instead. Well, Andor just happened to think of me so off we were
to Tilburg. At the time we thought it would by a Skyclad gig with
Tiamat supporting. We thought it would be sufficiently prudent to
arrive at the scene at around half past 8.
It turned out to have started at six, and there were some other
bands. I'd never heard of Voodoo Cult and I didn't like Trouble
too much. I had heard some Tiamat stuff and I have all Skyclad
recordings. I had come for Skyclad.
Also, we weren't on the mailing list. Fuck-up, Avalanche 'Zine!
We won't be put off by those simple impracticalities and went to
the artist entrance. Some fat dude in a frightfully dilapidated
tour bus was asked whether he could perhaps fetch Johnny Hagel,
member of Tiamat and Avalanche 'Zine editor's contact.
After taking his time, the guy came back to tell us he couldn't
find Johnny but he told us there'd be no problem getting in as
there was no security control. So we went in searching for Mr.
Hagel, which we found instantly. That's when we found out Tiamat
had already played. And even as we spoke, Skyclad finished and a
couple of sweaty dudes came back in the dressing room. Too bad,
really, so we decided to grab some concert time in the hall.
On our way up I saw someone vaguely familiar. Wasn't that Dave
Lombardo? The Dave Lombardo, ex-drummer of Slayer?
"Excuse me, you're Dave aren't you?" was the first line of an
interesting short conversation with the amicable drummer who was
currently touring with Voodoo Cult, (one of) his new band(s). On
his arm sat a toddler boy some 18 months old, the reason for him
getting fired by Slayer in the first place after ten years of
faithful service. He made pretty clear the split hadn't been a
"Why don't you come back after the show and we can have another
chat?" was the last line of the conversation and Dave's euphemism
to "piss off 'coz I've got to go on stage in fifteen minutes".
So we went into the hall and after about fifteen minutes Voodoo
Cult came on. Well, Voodoo Cult is not a band I would buy a CD
of, even though some of their songs are quite good actually.
They are a gathering of ex-band-members, such as Dave "Taif" Ball
(Killing Joke) and Gaby Abularach (Cro-Mags guitarist). Further
assistance was yielded by Philip Boa and Waldemar Sorychta, but
don't ask me who did what because I wouldn't know.
The Slayer covers, amongst which the classic "Raining Blood" in
the encore, made the whole thing firmly enjoyable. Even the drum
solo was quite good - and certainly amazingly fast as far as the
bass drum was concerned. I even managed to get a few good band
Getting backstage for a second time proved more difficult. The
regular stage-to-backstage door was guarded by a rather
bureaucratic female who insisted we show our backstage passes -
which we didn't have. So we went out and in via the artist
entrance again. No security again, and we found a panting and
sweating Dave Lombardo. We exchanged some more words, his U.S.
fax number, a signature and his date of birth (I am ever doing
research for my "Brain Replacement Utility" (a utility to be used
as diary/event/calendar/appointment accessory I'll be doing in
the summer), after which I took a snapshot of him with the wife
(pregnant again) and son, and we left again.
We missed Trouble, of course, as we had to catch the last
intercity train back to Utrecht. I doubt that we missed much. All
in all this otherwise mediocre evening had a touch of greatness
about it. It was only on the way back that I realised that I had
been in the same dressing room as Skyclad. Their manager is
former Venom drummer Abaddon, someone whom I would have loved to
meet if only to get to my all time Heavy Metal hero, Cronos
(former bass player and vocalist of Venom). Too bad.
Tivoli, Utrecht, May 8th 1994. Support act Entombed.
When I interviewed Paradise Lost, mid March, the Tivoli stage
manager had already told me there would probably be a Napalm
Death gig at some later date. I was glad to notice this wasn't a
false rumour when I saw the posters hanging in Utrecht a month or
so later. I got a ticket and at the same time started to try and
get an interview done. This interview thing worked out, so I
could even sell my ticket to a friend too (interviewers generally
get put on the guest list too).
After having interviewed Napalm Death (an experience covered in
a separate article, elsewhere) I got to the main hall where
people where gathering already. I could get right up against the
stage, virtually at the middle. Camera ready. I had been in a
similar position about a year prior when they performed at "Het
Paard" in The Hague, and it had been severely intense. I just
hoped my camera (and my f*@king glasses - I swear I'm going to
get contact lenses soon!) would survive.
A mere five minutes late, Entombed kicked off. The mass of
people that had thus far been standing in the back now came up to
the front. It was a fairly intense concert, even though it was
only about 45 minutes long. They played some stuff off their
latest album ("Wolverine Blues", "Hollowman", "Out of Hand"),
their latest EP ("Serpent Speech") and some older classics such
as "Stranger Aeons", "Sinners Bleed" and, to wrap things up, the
ultra-classic "Left Hand Path". They probably played more, but I
had to divide my attention between fending off a few stage
divers, protecting the camera, taking snapshots, stretching out
my hand in between song so they could put a guitar pick in it if
they wanted, and listening to the music. The band seemed to be
having fun, plenty of smiles as opposed to the sortof grim looks
on their faces when I had previously seen them and the positively
boring attitude heard on the "The Truth Beyond" bootleg (see
elsewhere). In the end I indeed procured a guitar pick - Alex
Hellid's - and off I went backstage to interview the band. This
interview experience is covered in full elsewhere in this issue.
After having interviewed Entombed I went straight back into the
hall where Napalm Death was already playing their fourth song or
something. Next was "The Kill" - great! Same as with Entombed,
the band seemed to be having great fun. Barney banged his head a
lot more than usual, and they were obviously having a great time,
possibly with the exception of guitarist Jesse Pintado. It was
quite a different experience from what I would have thought after
remembering the "Live Corruption" video.
Stagediving was extremely intense now. At the sides people
were constantly getting on the stage, diving off again in the
middle. At one time I got one straight in my face, sending me
reeling, knocking off my glasses and nearly making an imprint of
my camera on my nose (I had been about to make a picture and
hadn't seen him coming). I've been walking around with a bruised
nose for three days, and at the moment it felt like I had at
least two teeth knocked out as well as a bloody nose.
Awesome! Masochism rules!
Erwin made the most awesome dive of all. He made a take-off run
starting at the drumkit and then flew clean over the entire mosh.
Quite an awesome sight, and it's a miracle he didn't half kill
the group of people he crashlanded on. Christ, it looked as if he
was taking a running leap into a swimming pool - no holds barred,
full-on gravity onslaught. Think about the ground when it hits
you, not before. If Douglas Adams' theory about flying is
correct, he would surely have flown now; his mind was clearly not
focussed either on the floor nor the prospect of hitting it.
I can't remember all the songs they played, but I know I heard
them all brilliantly. Sound volume was the usual Tivoli too-loud-
ness, so I had earplugs in. There's nothing like earplugs, I can
tell you, to make sure you hear everything almost as if from a
live CD. Anyway, some of the tracks that cling to mind were
"Remain Nameless" (a most excellent track), "Contemptuous"
(personally I think this is the worst song they've ever
composed), "More than Meets the Eye", "I Abstain", "Unchallenged
Hate" (my favourite track off "From Enslavement to
Obliteration"), "Hung" (the most poignant song off "F.E.D.") and
"Scum". They did about 15 songs before the first encore. This
first encore consisted of three songs, amongst which one Dead
Kennedies cover I think was called "Nazi Pigs Fuck Off".
Assuming they had gone as far as they were prepared to go, I
dashed off backstage again to stay ahead of the crowd and perhaps
procure a drum stick. As it turned out, however, they still had
some time left so they threw in a second encore session what with
the crowd having displayed utter enthusiasm and all. I remained
backstage and got to one of the stage exits, close to Danny's
drumkit. When they kicked off "Siege of Power" I made some
unbelievable shots of Danny drumming as if haunted by the
combined demons and underworld beings mentioned in a whole occult
library filled with Necronomical tomes. They played a second song
in their second encore - though I will be damned if I know which
it was - after which Danny gave me a drum stick (like the Dutch
say "kicken!") and headed, I assume, for the showers. By the way,
he didn't strike me as tired at all. Mitch asked me if I had
caught "The Kill", a song that I had told him earlier was my
favourite track off "Scum", which I confirmed. After that I went
back home to try and sleep off my adrenalin overdose.
Nighttown, Rotterdam, May 12th 1994. Surprise support act
After having interviewed Mr. Malmsteen (see elsewhere) I went to
Nighttown with Theo-Hans. Miranda went home to look at our guest
Joey (the dog) and drop off my guitar and other stuff at home,
to meet me again at 19:30 when she'd come back. There were
already a few other people standing there, fans like us, waiting
for Malmsteen to arrive in a fashion similar to me about a year
ago when I wanted to meet Joe Satriani. I had a bite to eat and
at a quarter to four we went to the side entrance. The other
members of the band arrived on the dot, and Malmsteen and tour
manager Dave Hulme arrived by cab about five minutes later. Both
Theo-Hans and me were allowed in. A security dude tried to
prevent us, but Malmsteen said, "it's OK, they're all right" so
we entered from the backstage area.
I walked onto the back of the stage, Mike Terrana's impressive
drumkit straight before me and about a dozen Fender Stratocasters
to my left. I touched one of them and it was a little bit like
magic. I think I was in a state of utter enthrallment as I
crossed the stage and walked off it at the front. Theo-Hans and
me got out CD liners and gold/silver pens for signatures in case
any of the musicians had time to spare later on.
There was a small drum kit standing in front of the stage with a
"SKYCLAD" box lying near. I thought no more of it for the time
being. I was too busy being totally enawed. There's only so much
you can truly concentrate on.
It was a cool soundcheck. They just played some songs while the
sound was being adjusted, ranging from some Van Halen ("Ain't
Talking 'Bout Love" and "Mean Streets"), Hendrix ("Spanish Castle
Magic" and a bit of "Red House"), Deep Purple ("Burn") and
Queen/Metallica ("Stone Cold Crazy") to some of his own stuff
("Pyramid of Cheops", "I'll See the Light Tonight", "Crash &
Burn", "Hairtrigger", "Forever One" and some more). At the
instant when he took out a Gibson Flying V to play "Pyramid of
Cheops", one of my favourite tracks off "The Seventh Sign", I
truly thought I was dreaming. Not in the metaphoric sense, but
actually truly. I found myself blinking my eyes, pinching my arm,
but I wasn't asleep. This was reality, incredible though it was.
Yngwie even practised his guitar pick kicking'n'hurling so in
turns we got them off the floor. I got four. I value these higher
than the concert ones, because in concert he plays with them for
something like 30 seconds whereas these were used for almost a
whole song, like.
The soundcheck took quite a while, and each of the musician
became available for signing at one time or other. Especially the
drummer and the bass player (Barry Sparks) were amicable fellows.
Mats Olausson (keyboards) was friendly, too, but was more busy.
The singer (Michael Vescera) was less apt to talk, but most
importantly we got him to sign all necessary stuff.
Around this time I found out that Skyclad was actually the
support act. I didn't have any Skyclad CD liners with me but got
all band members to sign on a piece of paper. I had a talk with
their singer, Martin Walkyier, an incredibly small man, and made
use of this golden second opportunity to ask him what the address
of their co-manager, Tony Bray, might be. He was pleased to give
it, which means you might expect an interview with this Venom
drummer (and possibly old members Mantas and Cronos (!!) too) in
an ST NEWS issue coming soon.
At something like 18:45 the Skyclad soundcheck was over. In the
mean time we had also caught a heavily painted glimpse of Amber -
Yngwie's new photomodel wife - but we hadn't sortof had the
courage nor quickness to ask her to sign the "The Seventh Sign"
CD liner too (she'd written the lyrics to "Prisoner of your
Love", not at all a good song actually, but who cares). She could
barely walk because of the height of her heels, and if she hadn't
been wearing a large coat we might actually not have seen her at
all as she moved her almost absurdly slim form between a few air
molecules and disappeared.
Theo-Hans stayed inside when, at 19:00, Nighttown opened its
doors. I got something to eat outside and fetched Miranda from
Rotterdam Central Station at 19:30. Because I had a photo pass
and we were on the guest list we could get in for free.
Incredibly I found two of my close "V.I.R.U.S." friends without
tickets (hi Thomas and Bo!) standing in front of us in the queue
so I could sell them our tickets and get in with the photo pass.
We got into the crowd and somehow succeeded in meeting up with
Theo-Hans again, right in front at the right, where Malmsteen
would stand. I was basically one or two feet off the stage, a
more than OK position for the experience I was going to have.
Last time I had seen Malmsteen I had been something like 10 or
15 metres off the stage and my photocamera had been a throw-away
one. Of the 36 pictures I had taken, a mere 4 had something
discernible on it. This time I had a proper camera (with zoom)
and I was close. This couldn't go wrong (and, as it would turn
out, it didn't).
Skyclad had the exceedingly thankless task of opening before a
sold-out audience that had come for Malmsteen only. I think there
was only one true Skyclad fan, and one semi-fan (and that was
me). They played a good set including two of my favourites,
"Spinning Jenny" and "Widdershins Jig". They played for about 45
minutes after which they had, remarkably, received quite a good
Almost ten minutes early, Malmsteen started with the usual
guitar antics. When he came on I realised he still hadn't changed
that much - he was still wearing extremely tight trousers and he
had made up his eyes, though he had left off the uniform stuff.
Why on earth does he do the make-up? After three songs it started
to blotch and all pictures have him looking like a severely
sleepy drug addict.
I had never seen Malmsteen this active on stage before. He was
constantly running from left to right and posing in all kinds of
ways (yes, he definitely is a poser, but that's what my camera
wants!), throwing his guitar about, playing with his teeth, and
generally not standing still for a second except when an acoustic
guitar on a stand forced him to stay at one spot. I made some
terrific pictures, all the time trying to evade the fanatic
jumping of some of the even more zealous fans who seemed to want
to touch Yngwie at every possible instant. I had earplugs in for
most of the concert which made everything brilliant. It's
unbelievable how notes played in rapid sequence give you the idea
what you're hearing is totally out of tune when heard without
earplugs. Never again!
I didn't get any additional guitar picks and didn't actually try
to, either. I had four of them in my wallet already. Now it was
time for the masses to get them (which they did most
Well, what did he play? I am quite sure he didn't play
"Hairtrigger" even though he did it during soundcheck, and he
played nothing off "Fire & Ice" (which is more than all right
with me, and says all about what he thinks of that album himself,
though he could have played "Perpetual" for all I care). He did
play "Rising Force" (the only one off "Odyssey" not counting a
"Krakatau" excerpt in the extended guitar solo spot), "See the
Light Tonight" (the only song off "Marching Out"), "Bedroom Eyes"
(the only one off "Eclipse"), "You Don't Remember, I'll Never
Forget" (the only song off "Trilogy" not counting the bit of
"Trilogy Suite Op:5" in the guitar solo spot) and for the rest
his set concentrated on "The Seventh Sign" with the title track,
"Never Die" (the first track), "Forever One" (introducing a
terribly shy Amber on the stage to give him some white wine, to
the whistling sound of male libidos wanting to make themselves
heard), "Bad Blood", "Pyramid of Cheops" and "Crash and Burn". Of
course he also did "Far Beyond the Sun" and the various pseudo-
classical bits (Albinoni, etc.), whereas the encore had "Black
Star" (with prolonged acoustic intro), a second Amber appearance
and some covers - "Burn", "Stone Cold Crazy" and "Spanish Castle
Magic" that I can recall. I really like him playing cover songs,
very much actually, but if that's his excuse for not playing some
of his own older stuff I'd rather have them skipped and instead
have Alcatrazz' "Kree Nakorie", "Crying", "Soldier Without Faith"
and the full "Trilogy" or "Krakatau".
The whole experience lasted about 2 hours and a quarter and was
a thoroughly enjoyable one. I even discovered that what had
started off with a cigarette in the guitar head Hendrix-style
during "Deja Vu" on the "Odyssey" tour had now evolved into
chainsmoking and a cigarette butt hurling act. I forgot the
cigarette brand, but during the interview he had already remarked
a whole package of them had a much tar and nicotin as one
We didn't bother buying a T-shirt (all designs concentrated too
much on Yngwie's face for our taste) and crossed the street for
some French Fries with mayo, curry and onions ("Grote friet
speciaal"!). Some time later we got into a train literally filled
with Feyenoord Football Club supporters (they had won some sort
of cup earlier that evening). But even that didn't succeed in
spoiling this great day.
Dynamo Open Air
Eindhoven, May 21st/22nd 1994. A lot of bands, including in no
particular order Sick of it All, Life of Agony, Die Krupps, Urban
Dance Squad, Danzig, Prong, Cynic, and Last Crack. Despite
earlier announcements no Fates Warning, and rumours including
Napalm Death, Pantera and Sepultura proved false.
It was dry when I arrived at the Dynamo Open Air festival after
having spent half an hour in a bus filled with Germans. I was
glad to have come by Public Transport, because for some reason or
other the biggest traffic jams in history had arisen around
Eindhoven starting Friday afternoon. Over 100,000 people were
reported to have spent two drenched-through days atop a field of
grass that had transformed into a large pool of mud after a few
Anyway, when I arrived the first two or three bands had already
played, including Cynic who I heard played only an absurdly
meagre 20 minutes or so. Too bad, they were probably one of the
best bands. In the train I had already heard that the performance
I had been most looking forward to, that of Fates Warning, had
been cancelled a couple of days ago. That meant Dynamo Open Air
was to enter history as the worst of all, with only two somewhat
interesting bands on the entire 15+ band bill - Prong and
Danzig - both playing the headline slot on the respective days.
When I found some members of "V.I.R.U.S." it started to rain.
Last Crack started playing. I didn't like them.
It started raining cats and dogs, the kind of rain that throws
back dirt up your trousers. I had been well prepared, having
brought with my a rain jacket and umbrella, but it was getting
quite cold too. I would have had no problem standing in the
pouring rain stark naked if the bands had been any good, but as
it was I was feeling pretty despirited.
Last Crack ended not too long afterwards, after which the stage
was changed for Die Krupps. They didn't play one song off
"Tribute to Metallica" and the rest of the music was a bit too
industrial to me. On top of that they said the arrogant quote of
the day, "We will talk in English because there are not only
Germans here." Fuckin' twats! Also, the rain had not abated and
actually only increased. With no band worth while staying -
except possible for Prong late in the evening - I decided to head
home. I had better things to do.
I didn't even get back on Sunday.
Next year Dynano Open Air will celebrate its 10th anniversary.
Let's hope they'll kick some serious ass. Obituary, Sepultura,
Entombed, Gorefest, Paradise Lost, perhaps even Metallica? And a
few of the smaller bands could be Pan-Thy-Monium and My Dying
Bride perhaps. With around 100,000 paying visitors they would
certainly have the funds...
Well I can dream, can't I?
Landgraaf, May 23rd 1994. Lots of bands including the Levellers,
Urban Dance Squad, Hans Dulfer, the Afghan Wigs, Crowded House,
Rage Against the Machine, Smashing Pumpkins, the Orb and Björk.
I woke up at about 11 AM. I had no desire to go to Pinkpop to
spend another day in the rain and listening to assorted Germans
misbehaving around me. Also, the bill seemed pretty uninteresting
making it not worth the 50+ guilders you had to pay to get it (at
least Dynamo Open Air was still 10 guilders for two days, or 25
if you also spent your nights on the camping).
I switched on the TV and saw a dingerydoo (or whatever) solo by
the Levellers. I had never heard of this band but they weren't
bad at all. This aboriginal windpipe thingy instrument also made
them quite unique.
I spent the entire day doing things with the TV in the
background. I saw various performances, or parts of them, and
wasn't particularly impressed with anything further. The Urban
Dance Squad had done an extremely interesting gig a few years ago
on Pinkpop which made their current performance pale heavily. No,
they were not a bands I would have to check out at some later
date. Crowded House's "Anywhere you go, always take the weather
with you" was greeted by the collective raingods.
Things got interesting in the evening when I saw Björk (ex-
Sugarcubes). I was totally taken away by her incredible voice and
her incredibly sexy accent (she's from Iceland). And that doesn't
even mention the fact that she is a kind of girl I could fall
heavily in love with - a kindof ripe young woman with the
appearance of an 18 year old girl. She was beautiful in many
respects and it has haunted me ever since. I will most certainly
check out her CD, "Debut", one of these days.
I had my video recorder geared up for Rage Against the Machine,
the penultimate band before the ambient house things done by The
Orb. Although I seem to recall them being more enthusiastic last
year (when they were the Pinkpop sensation) they still did an
interesting set even though it included no new songs. Crowd
response was great and I found myself crying "you've got a
fucking bullet in your head" and "fuck you I won't do what you
tell me" on the couch. I can't wait for their next album.
All in all Pinkpop was not more than averagely impressive but
better than Dynamo (which was terrible).
De Kelder, Amersfoort, June 4th 1994.
On June 4th Stefan came to my place to co-write "Oh Yeah III"
and do some small bits of ST NEWS re-programming. In the evening
we went to a Whistler gig at De Kelder in nearby Amersfoort to
sortof relieve the tension. It wasn't that much of a good move
because it prevented us from getting drunk earlier in the
Anyway, at around 21:30 we went and we arrived at about 22:00.
After over an hour they started playing. I don't feel like
writing much about it. It was a good gig, with Cyril being
decidedly less sloppy than he was last time I saw him (at
Plaspop). New bass player Stefan Lievestro (from Antwerpen) was
actually a lot better than I had expected, not worse than Barend
Courbois but just different. The bass solo was quite spectacular
and the old songs were performed adequately. He also just seemed
a friendly chap and that helps. I think things may have turned
out for the better for all parties involved.
Whistler concentrated a lot on the new CD, "Words Communication
Wisdom". The songs gained a lot of energy on stage, except for
one song that came across as much like background music as the CD
original. From the old CDs they played "Fata Morgana",
"Privilege" and "Compendium Malificarum", and the rest they
played new stuff. I wasn't disappointed because I knew they
weren't going to play "Desert Storm" and "Elephants" anyway. A
few individuals - most notably a petite female with long rasta
hair - flipped out most severely and sound quality was good and
not too loud. The drum solo was different than usual but a tad
too long. Also, it was quite distinctive that someone had armpits
who wasn't me.
We arrived back at my place at 01:05, just in time to see most
of "Poltergeis 3" on TV (which is actually quite a good film even
though leading character Heather O'Rourke was quite unhealthy-
looking) and get quite drunk on Plantiac and Muier Schipperbitter
(excellent stuff!!) and write some more on "Oh Yeah III". At
about 4 AM we called it a day (or, rather, a morning).
Brabanthallen, Den Bosch, June 24th 1994, Deep Purple featuring
Joe Satriani. Support act Uriah Heep.
Although attempts to get an interview with Deep Purple and/or
Joe Satriani stranded, I did get permission through BMG/RCA to
take pictures during the show. I had to meet someone from the
record company at 8, not too long after which I actually met her
and I could go inside. Uriah Heep (who had replaced Bad Company
as planned support act) had already finished playing by the time
I got in. Security officials insisted my pass was not in order so
there was a bit of a verbal battle of wills which, in the end, I
I tried to get as much up-front as I could, which wasn't much
initially. Then, at about 20:40, Deep Purple got on stage. They
kicked off with "Highwar Star", probably the set starter since
literally years ago, following by the first surprises of the
evening, "Maybe I'm a Leo" ("This is a song about a cat. A cat
called Leo. Maybe.") and "Pictures of Home" (including Roger
Glover's great bass riff solo). These two songs are rather
infrequently heard items off "Machinehead", and to my knowledge
these songs have last been played early in the seventies.
However, there were going to be more surprises, amongst which
"When A Blind Men Cries" (incredibly subtlely played guitar part
by Joe), "Into the Fire", "Fireball" and "Satch Boogie" (the only
Satriani song). A surprise taken over from the last Ritchie-
involved appearance was "Anyone's Daughter", whereas further
classic set components were "Lazy", "Speed King" and a "Space
Trucking'/Woman From Tokyo" medley. Of course they also played
"Knocking At Your Back Door" and "Perfect Strangers", and from
their latest album ("The Battle Rages On") they did "Ramshackle
Man", "The Battle Rages On" and the single release, "Anya".
They even threw in a cover, the Rolling Stones' "Paint It Black",
and the last song in the encore was, suitably, "Smoke on the
Water". I've never heard the guitar bit played as meticulously as
this time, which in general goes for all guitar parts of the
whole gig. Whereas Blackmore seemed bored and overly confident,
bordering beyond the overtly sloppy, Joe Satriani gave faithful
renditions of the songs with a bit of his own added. You could
hear it was him, but at the same he was more conscious of the
original Deep Purple studio recordings than Blackmore ever was.
The guitar parts were spun out rather more than usual, too, which
never disturbed the set continuity and, indeed, enriched it
tremendously. Gillan's vocals, by the way, were quite excellent.
They left off doing "Child in Time", but I didn't really miss it
- whereas, at the same time, I would have liked to hear Joe's
version of the guitar solo.
Although the gig started out with some rather extremely active
people around me, threatening to make it a rather not unjoyable
experience, after about half an hour things settled down enough
for me to get more to the front, make some photos and witness the
concert as well as I could. I had earplugs in so the sound was
perfect. I have never witnessed Deep Purple like this. Joe
Satriani is just the ingredient they needed to come across like a
coherent, classic live band. I know for one that I'll be looking
hard for a bootleg off this tour!
After the gig I bought a Joe Satriani "Time Machine" T-shirt -
the most beautiful Satriani T-shirt I've ever seen - and went
home. Once home, I visited a "V.I.R.U.S." party with death
metallers Malicious Obscurity, which made for an interesting end
to a really nice concert day.
Gaasperpark, Amsterdam, June 26th 1994.
Not much to say here, really, as it got cancelled. Had it not
been, I would have seen, among others, Nembrionic Hammerdeath,
Excision and Donor (who released a new album around that time).
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