Product Description Since 1973, the year when Glenn Hughes was enlisted by Deep Purple as their new bassist and vocalist, he has brought out numerous solo albums, stylistically at the interface of rock, metal, funk, and soul. Fans and media have given British-born Hughes the nickname ‘The Voice of Rock’, a moniker that once again proves to be well deserved on Building the Machine, which includes a new version of the Deep Purple classic ‘High Ball Shooter’ (from his masterpiece Stormbringer). Review The Voice of Rock (who now proclaims himself Supplier of the Funk ), as expected, chalks up another winner. -- GLASS EYE sept 2000 (Toledo,OH) 3.5 out of 5 Mark Tinta About the Artist Glenn Hughes has always crossed musical boundaries. Since 1973, the year when he was enlisted by Deep Purple as their new bassist and vocalist, catapulting him into the limelight of a hysterical rock scene practically over night, Hughes has brought out numerous solo albums, stylistically at the interface of rock, metal, funk, and soul, while making his mark as a studio guest on countless projects by other illustrious musicians. Hughes’ current album is called Building the Machine – another colourful mix of diverse styles, with Hughes’ characteristic voice standing out repeatedly. Fans and media have given British-born Hughes the well-deserved nickname ‘The Voice of Rock’, a moniker that once again proves to be well-deserved on Building the Machine. From the powerful opener, ‘Can’t Stop the Flood’, which comes along with some thunderous riff work and a resounding organ, demonstrating that Glenn Hughes is a very contemporary musician who is not about to be outdone by the new guard of ambitious rock and metal artists, and the funk rocker, ‘Inside’, which would have suited the repertoire of Jimi Hendrix, to the mythical, experimental ‘Beyond the Numb’: Building the Machine is an arch of stylistic expression, spanning different moods, eras and genres. The new version of the Deep Purple classic ‘High Ball Shooter’ (from his masterpiece Stormbringer) underlines his undiminished penchant for straightforward rock music, while the grooving ‘I Just Want to Celebrate’ – recorded with the assistance of Pat Travers – reminds the listener of the great Rare Earth era. The riffs and rhythm of ‘Out On Me’, on the other hand, could easily have been penned by the Stones or the Black Crowes in this or a different manner, while still bearing this versatile musician’s unmistakable signature. ‘Don’t Slip’ shows Hughes as the custodian of undiluted funky tunes, while the song lives, next to the typical Fender guitar sound, mainly off its bass groove (also recorded by Hughes). ‘Feels Like Home’ and ‘Big Sky’ – both delivered with an acoustic guitar and a lot of passion – display the full sensitivity of Hughes’ vocals and guitars, just like ‘I Will Follow You’, which features some fine piano sounds courtesy of John Beasley (Miles Davis, among others) and quotes some definite blues references. Building the Machine was recorded in Los Angeles, the current band consisting of guitarist J.J. Marsh, drummer Gary Ferguson and keyboarder Vince Di Cola. The new material was produced by Michael Scott, who made a name for himself with his work on Van Halen’s For Unlawful Carnal Knowledge. Next to the afore-mentioned John Beasley, Hughes enlisted the support of his friend, guitarist Brett Ellis, and former Toto vocalist Bobby Kimball for background vocals (‘Inside’ & ‘Don’t Let It Slip’). All those who had a chance to witness the band’s enthusiasm during their recent European tour already got a taste of Glenn Hughes’ amazing form on Building the Machine. See more