Turbolilihip am 17. Dezember 2005 in der Halle 101 in Speyer

Back in 1969, the lineup of Deep Purple had seen a drastic change: Jon Lord, Ritchie Blackmore and Ian Paice split up with singer Rod Evans and bass player Nick Simper and hired the former Episode Six musicians Ian Gillan and Roger Glover to complete the lineup.

One of the first shows to feature the new lineup was the live performance of Jon Lord’s “Concerto For Group and Orchestra”, an ambitious work to unite the different worlds of a rock band and a full orchestra which lay the foundation for Jon Lords career as composer / writer and solo artist. About a year later, the follow-up of the “Concerto” faced the light of day during a live performance at the Royal Festival Hall, again featuring his Deep Purple bandmates and conductor Malcolm Arnold.

Contrary to the “Concerto”, which took more than 40 years to be recorded in a studio, Jon Lord went to the studio in 1971 to record “Gemini Suite” as a studio project. At that time, the rock career of Deep Purple was in full flight and Ian Gillan and Ritchie Blackmore showed no interest in participating in the recording and were replaced by guitar player Albert Lee , multi talented Tony Ashton and singer Yvonne Elliman.

While the “Concerto” had its focus on band and orchestra as a whole, “Gemini Suite” did focus on the different instruments, dedicating a track to guitar, piano, drums, vocals bass guitar and organ respectively.

The first CD release was a straight release in 1987 on Line Records in Germany being the only official (and now long deleted) version until the remastered release on Purple Records more than 20 years later. The 2016 release is not based on any of those previous versions and features new artwork and a new remaster by Rob Cass, based on the original stereo mixes of the album.

Not owning the 2008 remaster, a comparison with the 1987 release shows quite some improvement in sound quality with more details being audible than on the original CD release. Luckily, the remaster doesn’t follow the popular trend of brick-walling every track and preserves the dynamics and overall feel of the original recording. The booklet gives no explaination why the original artwork has been dropped and was replaced by completely new design, but the new foreword by Roger Glover adds some enjoyable pages to the booklet.

Only thing to criticize is the record company did not use a proper Digipak for the release and decided to go with some LP-like fold-out papersleeve instead, resulting in your CD getting the first fingerprints and scratches before even being played.

Es ist schon traurig, nach Flops wie “Load”, “Reload” und “St.Anger” einem neuen Metallica-Release mit eher gemischten Gefühlen entgegenzusehen und gedanklich schonmal alles, was nicht unter Totalausfall fällt, als positive Überraschung zu verbuchen.

Das gemischte Gefühl bleibt leider auch nach den ersten Hördurchläufen, denn schnell ist klar, daß sich Metallica mit einer Doppel-CD, auf der wohl jede Idee der letzten acht Jahre verwurstelt wurde, deutlich übernommen haben.

“Hardwired… To Self-Destruct” ist eine Retro-LP mit einer guten “A-Seite” und einer “B-Seite”, auf die ein paar unnötige Füller gepackt wurden. Richtig knackigen Songs wie “Hardwired”, “Atlas, Rise”, “Moth Into Flame” oder “Halo On Fire” stehen Songs wie das nervige “Here Comes Revenge”, das langweilige “Murder One” oder das irgendwo zwischen diesen beiden liegende “Spit Out The Bone” entgegen.

Wie befürchtet, ist “Hardwired… To Self-Destruct” auch klangtechnisch keine Offenbarung, sondern bietet einen Mix aus dem “…And Justice For All” und “Death Magnetc”-Rumpelsound, dessen Wellenform über weite Strecken jegliche Dynamik vermissen lassen.

Wer sich das Album zulegt, sollte ein paar Euro mehr in die 3CD-Deluxe-Edition investieren, denn alleine das “Ronnie Rising Medley” (ursprünglich vom “This Is Your Life” Ronnie James DIO Tribute-Sampler stammend) ist den Aufpreis mehr als wert.

Ever since Ritchie Blackmore speculated about doing a couple of Rainbow shows in 2016, hopes and expectations have lead to very emotional disucssions between fans. To the disappointment of those hoping for one of the former lineups to reunite for the gig, Blackmore didn’t go the easy way and - as often - assembled a new team of musicians to accompany him on this adventure.

The band finally announced consisted of current Blackmore’s Night drummer David Keith, former Blackmore’s Night bass player Bob Nouveau, Blackmore’s Night contributor Jens Johansson and LORDS OF BLACK singer Ronnie Romero, which lead to even more discussions between fans and even former Rainbow members with Joe Lynn Turner claiming the planned lineup will be “a Ritchie Blackmore band, but certainly not Rainbow” overlooking the fact that RAINBOW has always been what Ritchie Blackmore wanted it to be.

Three shows took place, two open air shows in Germany at Loreley and Bietigheim while the third show was staged at the Genting Arena in Birmingham, UK. While the two German shows were recorded on audio and video for a later (November 18, 2016) release, the UK show wasn’t recorded, which is unfortunate as it did not only feature the most consistent band performance of all three evenings but also was the only show featuring “Soldier Of Fortune” and “Burn”.

Sadly, the CD booklet doesn’t explain which song has been taken from from Loreley and which song has been taken from Bietigheim which is odd as the second CD contains some bonus tracks from the “alternative night” (which one?) and introductions like “You wanna sing with me, Loreley?” are still included.

Despite all the discussions about the musicians on stage, the setlist had been the major point of criticism, including way too many DEEP PURPLE songs while leaving out a bunch of Rainbow classics. I won’t repeat details about the performance which have been already covered in my review of the Loreley show, but one of the major surprises on the CD is Jens Johansson which - now being clearly audible - does a far better job than my memories of the show suggested. For a current release, the CD offers an enjoyable sound with clear dynamics and a well-balanced mix between each instrument.

Is “Memories in Rock - Live In Germany” an album worth buying? That’s a question hard to answer. It’s a good live album, but for a band as Rainbow, good just isn’t good enough. There are more impressive live versions of almost every song out there which leaves the group of potential buyers to completists, people being curious how Rainbow sound in 2016 and those who attended at one of the shows now being offered a perfect souvenir.

Ziemlich genau elf Jahre liegen zwischen meiner ersten EPICA-Show im Le 5 in St.Avold und der “The Holographic Principle”-CD-Präsentation im 013 in Tilburg. Elf Jahre, in denen sich bei Epica jede Menge getan hat: war die Band seinerzeit unterwegs, um den Zweitling “Consign To Oblivion” live zu präsentieren, so ist man nun fünf Studioalben (den Soundtrack “The Score - An Epic Journey” nicht miterechnet) und einige Besetzungswechsel weiter, wobei das aktuelle Lineup seit rund viereinhalb Jahren zusammen agiert.

Große Brüche sind in der Historie von Epica auch durch die Besetzungswechsel nicht zu verzeichnen. Seit dem Erstling “The Phantom Agony” entwickelt die Band ihren Sound kontinuierlich von Album zu Album weiter und verfeinert konsequent ihre Trademarks. Gleichzeitig ist - beginnend mit “The Quantum Enigma” auch eine gesteigerte Experimentierfreunde hörbar: egal, ob das coole Keyboard-Intro von “Natural Corruption” oder das griffige “Omen - The Ghost Malady” - was auf dem Vorgänger nur einige Momentaufnahmen waren, findet sich auf “The Holographic Principle” deutlich häufiger wieder und gliedert sich stimmig ins Gesamtkonzept.

Epica haben den Spagat geschafft, mit “The Holographic Principle” gleichzeitig progressiver, härter, aber auch poppiger und eingängiger zu werden, eine Entwicklung die - wie bei manch anderer Band auch (OPETH, anyone?) - nicht von jedem Fan der ersten Stunde begrüßt wird. Orchester und Chor sind an vielen Stellen mehr als schmückendes Beiwerk und bei einem Song wie “Beyond the Matix” neben dem Bass die eigentlich treibende Kraft, die Mischung aus cleanen Vocals der Leadsängerin Simone Simons und den akzentuiert eingesetzten Grows von Mark Jansen gibt dem Album eine stimmige Balance zwischen Melodie und Härte.

Als ungewohnt spannende Dreingabe entpuppt sich die Bonus-CD “The Acoustic Principle”, die mit insgesamt fünf komplett neu arrangierten “The Holographic Principle”-Tracks einen nicht unbedingt rockenden, aber dafür umso mehr rollenden und groovenden Mehrwert liefert. Spätestens, wenn aus dem “Universal Death Squad” das mit Akkordeon und Akkusikgitarre untermalte “Universal Love Squad” wird, ist man auch als Metal-Fan versucht, mit einem breiten Grinsen im Gesicht mitzuschunkeln.