Mike Mettler

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Mike Mettler  |  Jan 17, 2018
Photo by Neil Zlozower

To celebrate the 30th anniversary of 1987’s mega-multimillion-selling Whitesnake — the album that spawned such massive FM hits as “Here I Go Again” “Is This Love,” and Still of the Night” — Rhino has uncoiled an exhaustive 4-CD/1-DVD box set featuring a disc of demos titled 87 Evolutions, properly mastered live bootlegs, and four of-era videos remastered in surround sound on DVD. Singer/frontman David Coverdale discusses a critical change in his vocals, how Tina Turner came thisclose to singing “Is This Love,” and why those core Whitesnake songs retain such universal appeal.

Mike Mettler  |  Jan 27, 2023

David Crosby spoke extensively with music editor Mike Mettler just a few months before he sadly passed away at age 81 on January 18. The voice of a generation, Croz discusses his knack for recognizing the chemistry he had with certain musicians, how the song “Compass” helped recalibrate his songwriting acumen, what album of his he’d like most to be listened to a half-century into the future, and much more.

Mike Mettler  |  Feb 28, 2020
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Subtitle it The Ballad of Never-Easy Rider. Produced by Cameron Crowe, David Crosby: Remember My Name is a self-actualized love letter to one of rock's most significant rollercoaster-ride careers. Croz's admitted goal for the film's wished-for postscript is some level of interactive redemption with his chief collaborators of years past—i.e., Stephen Stills, Graham Nash, and Neil Young—all of whom he doesn't speak with to this day. (Why? As he readily admits, the combination of anger and adrenaline always turn him into "instant asshole.")
Mike Mettler  |  Nov 13, 2024

Immersive music, thy name be David Gilmour. Though Pink Floyd may be a semi-distant active memory, lead guitarist/vocalist David Gilmour has seen fit to issue some quite intriguing solo projects here and there over the past five or so decades. His fifth solo studio effort, Luck and Strange, which was released by Sony Music in multiple formats on September 6, 2024, may indeed be his best outing under his own name—most especially in its Dolby Atmos incarnation. Read Mike Mettler’s review to find out just how good that L&S Atmos mix really is. . .

Mike Mettler  |  Mar 12, 2014
“I didn’t have the courage to go back to any of the masters and try to recreate those beautiful, real echoes,” says Justin Hayward of The Moody Blues about the surround-sound mixes he supervised for six of The Moodies’ “Classic Seven” albums: Days of Future Passed, On the Threshold of a Dream, To Our Children’s Children’s Children, A Question of Balance, Every Good Boy Deserves Favour, and Seventh Sojourn. (In case you were wondering, there weren’t any multitrack masters available for In Search of the Lost Chord.) All six of those 5.1 mixes — done by Paschal Byrne and Mark Powell and built on the original quad mixes supervised by producer Tony Clarke and constructed by engineer Derek Varnals — appear in Timeless Flight (Threshold/UMC), the band’s mighty, 50-year-career-spanning 17-disc box set. Yes, there is a more economical 4-disc version available, but the mondo box is the only way to fly in 5.1 — if you can find one, that is. “I think Universal needs to press a few more copies,” chuckles Hayward.
Mike Mettler  |  Aug 27, 2021
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As acclaimed as Crosby, Stills, Nash & Young's 1970 magnum opus Déjà vu is, it somewhat helplessly plays perpetual second fiddle to the sea change garnered by the stacked-harmonic conver- gences in evidence on 1969's Crosby, Stills & Nash, which preceded it by 10 months. Granted, CSN was a breath of fresh vocal-arrangement air and instinctual instrumental accompaniment, but Déjà vu fostered the initial intersection of the volatile four-way street of headstrong artistic personalities with the addition of Neil Young into the fold.
Mike Mettler  |  Oct 08, 2014
Photo by Neil Lupin
“Souls, having touched, are forever entwined.” It’s a lyric penned by vocalist Ian Gillan in honor of his dear friend and late bandmate Jon Lord, the original keyboardist for Deep Purple who pioneered merging rock music with classical themes. Jon Lord, Deep Purple & Friends: Celebrating Jon Lord (earMusic/Eagle Rock), recorded at The Royal Albert Hall this past April 4, showcases the breadth of Lord as both composer (“All Those Years Ago,” “Pictured Within”) and rock legend (“Soldier of Fortune,” “Perfect Strangers,” “Hush”). Here, Deep Purple drummer Ian Paice, 66, and I discuss the challenges of getting great sound in such a storied venue, how he adapts to working with different bass players, and what the future might hold for Deep Purple. After listening to and watching all that went into Celebrating Jon Lord, there’s one word in the Purple canon that one absolutely cannot use to describe Paice’s energy and tireless work ethic: “Lazy.”
Mike Mettler  |  Jun 07, 2024
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Machine Head is one of those perfect storm albums. As Deep Purple entered the 1970s, they undertook a creative shift from the psychedelic blues/pop of their late-’60s origins — embodied by hits like 1968’s perpetually catchy “Hush” and their cover of Neil Diamond’s “Kentucky Woman” — to move into full-on rock overdrive with June 1970’s Deep Purple in Rock and July 1971’s Fireball. With that tableau firmly set, Deep Purple ramped it up yet another notch to construct March 1972’s truly seminal Machine Head, which features enduring hardrock staples like “Smoke on the Water” (ahh, that right-of-passage guitar riff), “Highway Star” (their 8-cylinder vehicular love letter), and “Space Truckin’” (“Come on!”) among them.

Mike Mettler  |  Aug 14, 2020
Bands that are chock-full of virtuosic performers often need that one key anchor player who literally holds down the fort while the superstars show off their chops. In the case of veteran British rock stalwarts Deep Purple, that anchor is bassist Roger Glover.
Mike Mettler  |  Feb 14, 2018
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When the phrase “beast mode” entered the vernacular, it was intended mainly as a descriptor for a singularly focused level of energy and drive as exhibited by certain football players. But it just as easily could have been used to describe the laser focus Def Leppard displayed in the face of innumerable odds while recording the 1987 juggernaut known as Hysteria. It may have taken them 34 months of on/off studio time and a hefty price tag of 2 million pounds to get to the finish line, but the ensuing album sold over 25 million copies worldwide and became the defining sonic template for the scores of pop-metal crossover hybrids that followed.

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