Arthur Brown opens the new album with a cover of Pink Floyd’s “Lucifer Sam.” This is a song from Pink Floyd’s first album, and it was written by Syd Barrett, which means it’s good Pink Floyd. And Arthur Brown delivers a wild, heavy rendition, a terrific ride. Deep Purple’s Ian Paice is on drums, certainly adding to the track’s power, and Steve Hillage is on guitar, along with James Booth adding some more guitar work. The talented and seemingly indefatigable Fernando Perdomo is on guitar, organ, mellotron and bass. (Is there any artist that hasn’t called on Perdomo for help?) Fernando Perdomo also produced this track. But of course it is Arthur Brown’s voice that is the star here. That he still manages to produce those glorious screams I think is proof that there is something otherworldly about this character. And speaking of screaming, Arthur Brown follows “Lucifer Sam” with a cover of “Screamin’ Ball (At Dracula Hall),” a song written by Jimmy T. Willams and Johnny Brandon, and recorded by The Duponts in the late 1950s. And he delivers a rocking version. Alan Davey (of Hawkwind), who produced the track, plays bass, guitar, theremin, and drums on this one, and provides some backing vocals. Steve Leigh is on organ and piano.
Seeming to break with the dark theme of the album, he next offers a cover of Cream’s “I Feel Free.” Though honestly, while listening to his vocal performance, you might imagine some fiend or creature or specter being unleashed and now free to terrorize the populace. We should perhaps be worried that this guy feels free. This track features James Williamson (from The Stooges) on guitar, and Rat Scabies (from The Damned) on drums, with Jürgen Engler (from Die Krupps) on bass. Engler also produced this track. It is certainly a far cry from Belinda Carlisle’s rendition. That is followed by a cover of “Bucket O’ Blood,” written and originally recorded by Ervin Groves Jr. (under the name Big Boy Groves). Arthur Brown makes the place sound a whole lot more dangerous than it did in the original recording. Nik Turner (from Hawkwind) joins him on saxophone and flute on this track. Turner died just a few weeks after this album’s release. Alan Davey plays bass, guitar and drums, and provides backing vocals on this track.
“Zombie Yelp” is an original composition by Arthur Brown and Alan Davey. Mark Stein (from Vanilla Fudge) joins Arthur Brown on organ for this song, delivering some delicious work. Also performing on this one is Roye Albrighton (of Nektar) on lead guitar. I’m not sure when this track was recorded, but Albrighton died in 2016. Of course, it would be fitting for him to come back to record this particular song. It’s a cool track, featuring Alan Davey on bass, oud and synths, with Adam Hamilton on drums and percussion. And if you’re looking for more vocal gymnastics by the God of Hellfire, you will not be disappointed. This track features some strange and twisted lyrics about transformation and boiling some maggots. This track was released as a single in 2020, and then was included as the flip side on the 2021 7-inch of his new version of “Fire,” available on both yellow and red vinyl. “Well, it’ll probably be quick, because I’m beyond help/Because I just swallowed the zombie yelp.” Next Arthur Brown turns to Tom Waits, covering his “Whistlin’ Past The Graveyard,” a song from his 1978 LP Blue Valentine. This is a perfect choice for Arthur Brown. And when he delivers the lyrics, they ring true, rather than sounding like tempting fate or boasting. And Alan Davey gives it more of a spooky vibe with his work on theremin. Alan Davey also plays bass, rhythm guitar, organ and mellotron. Arthur Brown is also joined again by Rat Scabies on drums, and by Billy Shinbone on guitar. There is a bit of spoken word at the end: “Dead people got their dignity/They like to lie down and not be disturbed/So I don’t whistle too loud.”
Arthur Brown then delivers that new rendition of his most famous song, “Fire,” the song in which he introduces himself as the God of Hellfire. James Williamson and Jürgen Engler again join him on guitar and bass respectively. Carmine Appice is on drums and Brian Auger is on organ. What a band! And yeah, these guys are basically trying to top the original. Do they? This is an unbridled rendition, and the guys do jam on it. I’m not sure if they top the original or not, but it’s certainly one hell of a fun ride. That’s followed by a cover of Bert Convoy’s “The Monster Hop,” a song from 1958. Arthur Brown delivers an unusual, interesting rendition. It begins with some eerie sounds, and then the first lyrics are delivered as if coming from an old radio or something, while synths give us the sounds of strings. Then it kicks in like a metal track, a great departure from the original recording. Shuggie Otis is on lead guitar, driving things forward toward a raging oblivion where all the monsters are enjoying themselves, and Adam Hamilton is on drums.
“Curse Of The Hearse” is a song written and originally recorded by Terry Knutson (as Terry Teene). This is a song that gives Arthur Brown plenty of opportunities to make scary sounds. “Here comes the hearse,” he warns us as the song begins, and then he just completely delights us with his vocal performance. “Never laugh when the hearse comes by/For you may be the next to die.” Wait, who is laughing at hearses? On this one, he is joined by only Alan Davey, who plays all the instruments, including bass, rhythm guitar, slide guitar, synths, electric piano, and drums. Alan Davey also plays all the instruments on Arthur Brown’s rendition of “Mad Witch.” With that rhythm, this one comes at us like some haunted western tune, but then also with progressive rock elements. It’s a really cool rendition. Then Steve Leigh returns on organ and piano for Arthur Brown’s recording of Archie King’s “The Vampire,” and Josh Metcalf is on drums. Alan Davey plays the rest of the instruments. This one has an interesting beginning too, making us feel like we are in some mad scientist’s lair, which is perhaps odd for a song about a vampire. But, hey, maybe this vampire is also a mad scientist. No rules against that, right? Anyway, once it kicks in, this track becomes fun, with Steve Leigh delivering some really nice touches on keys.
“Late Last Night” is a song credited in the liner notes to Arthur Brown and Alan Davey. As it begins, it is like a slow dance, as if some monsters had a romantic moment at the prom, almost paradise for the creepy sect. Though this track is credited to Arthur Brown and Alan Davey, its lyrics come from The Cadillacs’ “The Boogie Man.” “You get up at night/Making weird sounds,” he sings. Hey, that’s what it’s all about, right? Roye Albrighton is on lead guitar, so this track must have been recorded several years ago. Gilli Smyth is credited with providing the “space voice.” Like Albrighton, Smyth died in 2016. Steve Hillage is on guitar, and Joel Vandroogenbroeck is on flute. The disc then concludes with a cover of Emerson, Lake & Palmer’s “Karn Evil #9: 1st Impressions Pt. 2.” This track is only available on the CD, and is not included on the vinyl version of this release. Jordan Rudess (from Dream Theater) is on keyboards, and Billy Sherwood plays bass. When Arthur Brown sings that the show is “Guaranteed to blow your head apart,” we get the feeling he might it mean it literally. So be careful, friends.
CD Track List
- Lucifer Sam
- Screamin’ Ball (At Dracula Hall)
- I Feel Free
- Bucket O’ Blood
- Zombie Yelp
- Whistlin’ Past The Graveyard
- Fire
- The Monster Hop
- Curse Of The Hearse
- Mad Witch
- The Vampire
- Late Last Night
- Karn Evil #9: 1st Impression, Pt. 2
Monster’s Ball was released on October 21, 2022 on Cleopatra Records.
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