CHILD IN TIME

Vocalist Ian Gillan is best known as the powerful singer during DEEP PURPLE's most popular phase, D.P. being one of the legendary bands of early Hard-Rock/Proto-Metal. Becoming tired of doing the "same old thing ", Gillan tried to distance himself from the music bizz altogether. After spending a considerable amount of time as a motorbike mechanic, he decided on re- igniting his rock-singer career by assembling a band of professional musicians and set about recording an album , as he had many snippets of music and lyrics taunting his creative side. The band comprised of Bass-ace John Gustafson, guitarist Ray Fenwick, drummer/percussionist Mark Nauseef (whose instrument list would supply almost 50 words of this review !!) and keyboardist Mike Moran, whose rig consisted of the usual prog requirements of a Hammond, ARP 2600, Fender Rhodes, Solina String synth etc. The result was this album, 'Child In Time', named after an amazing D.P. composition from their superb 'In Rock' release, and also featured a spaced-out, meditative re-make of the song. But as it is, side 1 offered the listener with 5 short songs, funky, compact and commercial. The lyrics are rather trite "ooh, baby" done macho fashion. Lyrics aside, the track 'Shame' is the pick of the bunch here (at least for this listener) and the over-wrought, soulful ballad 'Down the Road' being quite repulsive. The best parts of these songs offer some inspired drum-work and mildly colourful keyboarding. Flip-side, the aforementioned version of 'Child In Time' is almost spiritual, beautiful and extremely relaxing. This shows an amazing contrast to the more aggressive original. Well worth hearing. The other track, 'Let It Slide', is an almost 12 minute piece showcasing atmospheric percussive arrangements, funky grooves backed with a flanged bass, and some Gilmour-esque slide guitar. The sung verses don't take up too much of the song. The lengthy instrumental break comprises of a slowly intensifying melody with a tasteful Rhodes e-piano, slide guitar and a simple but effective ARP synth solo (quite bluesy, though), and returns to the vocal section and jams out for the final few minutes with some more slide guitar and noticibly elaborate percussion. Overall, this is just a teaser of where Gillan and his band's direction was heading - their next album 'Clear Air Turbulence' would prove to be the fruits of their labour. 3 stars.