Don Airey – Pushed to the Edge
It’s been quite the Purple patch of late for luminary rock keyboardist Don Airey (now a 24 year, 7 studio albums veteran of Deep Purple) and guitarist Simon McBride.
Having featured on Deep Purple’s 2024 multi-chart topping album =1 (McBride’s first as a member of the band) and undertaking the subsequent world tour, both musicians have now released new solo albums within a couple of weeks of each other.
While Simon McBride’s Recordings 2020-2025 was a collection of recently released material coupled with some new tracks and clutch of choice covers, Don Airey’s Pushed to the Edge is a hard rock tour-de force, one that takes its lead from previous solo album, One of a Kind.
The comparison to Airey’s 2018 solo offering are both welcome and valid, given the quality and continuity between the two - both are built around that Classic Rock/ Purple/ Rainbow sound (with a touch of prog), and both feature Nazareth front man Carl Sentance and the outstanding six-string work of McBride.
Pushed to the Edge also features singer Mitchel Emms (The Voice UK) and a none too shabby rhythm section of drummer Jon Finnigan and bassist Dave Marks.
The album opens in fine, (organ) pedal down fashion, with the fast-paced punch of 'Tell Me.'
Carl Sentance is in full rock voice early, while Messrs McBride & Airey deliver impressive back to back solos. What really makes the song work however, helping separate it from the power-down classic rock pack, is the contrasting, melodically shaped chorus part.
The brooding, mid-tempo groove of 'They Keep On Running' is straight from the Musical Book of Dio.
While it thus becomes a rock style and arrangement we’ve all heard before, it carries enough light and shade to work; and work well.
'Moon Rising,' the first number to feature Mitchel Emms, opens with a guitar & Hammond harmony riff before becoming a strong, up-tempo hard rock offering with harmonised choruses.
There’s also some nifty drum work here, especially in support of the solos from Airey & McBride.
Having featured on Deep Purple’s 2024 multi-chart topping album =1 (McBride’s first as a member of the band) and undertaking the subsequent world tour, both musicians have now released new solo albums within a couple of weeks of each other.
While Simon McBride’s Recordings 2020-2025 was a collection of recently released material coupled with some new tracks and clutch of choice covers, Don Airey’s Pushed to the Edge is a hard rock tour-de force, one that takes its lead from previous solo album, One of a Kind.
The comparison to Airey’s 2018 solo offering are both welcome and valid, given the quality and continuity between the two - both are built around that Classic Rock/ Purple/ Rainbow sound (with a touch of prog), and both feature Nazareth front man Carl Sentance and the outstanding six-string work of McBride.
Pushed to the Edge also features singer Mitchel Emms (The Voice UK) and a none too shabby rhythm section of drummer Jon Finnigan and bassist Dave Marks.
The album opens in fine, (organ) pedal down fashion, with the fast-paced punch of 'Tell Me.'
Carl Sentance is in full rock voice early, while Messrs McBride & Airey deliver impressive back to back solos. What really makes the song work however, helping separate it from the power-down classic rock pack, is the contrasting, melodically shaped chorus part.
The brooding, mid-tempo groove of 'They Keep On Running' is straight from the Musical Book of Dio.
While it thus becomes a rock style and arrangement we’ve all heard before, it carries enough light and shade to work; and work well.
'Moon Rising,' the first number to feature Mitchel Emms, opens with a guitar & Hammond harmony riff before becoming a strong, up-tempo hard rock offering with harmonised choruses.
There’s also some nifty drum work here, especially in support of the solos from Airey & McBride.
'Rock the Melody' opens, and continues with, a widescreen/ eastern motif (recalling classic era Rainbow). There’s also a tasty Moog solo and a short, downtempo bridge that allows the song to reset and revisit its main theme. An album highlight.
'Flame in the Water' is the album’s balladeering/ iPhones in the air moment.
Truth be told, however, it’s too on the schmaltzy, "I gave you my heart" nose, albeit there is some tasteful piano play from Don Airey and a rock finale/ Simon McBride feature fade-out.
By contrast, 'Out Of Focus' is 21st century Purple rock par excellence, to the degree that you’re surprised Ian Gillan hasn’t grabbed the mic. The rhythm section puts in a serious shift on this one, and the extended instrumental section is worth the admission fee on its own. Another highlight.
Ther’s a splash of the colour Purple on 'Power Of Change' too, but in reality it’s a purposeful, strings-backed mid-tempo, led by the voice of Mitchel Emms, that’s as contemporary as it is classic rock. Yet another winner.
Strings also play a part on delicate instrumental 'Girl From Highland Park,' a light and jazzy piano-led number that acts as a lovely interlude piece.
The amps are turned back up for seven-and-a-half minute number 'Godz Of War,' which shifts from its mid-tempo Dio-Rainbow opening to a pacier, and more interesting, second part.
The song then shifts again to a big, melodic rock moment (Simon McBride taking the literal lead here) before kicking in to a driving, hard rock section. A return to the original mid-tempo section leads to a big finish. Great, progressively arranged, stuff.
There are also progressive tendencies at play on 'Edge of Reality,' which moves from a woozy, semi-psychedelic opening to a rock orientated, tempo changing middle part.
The song then pushes the amps up further for a heavier section before upping the tempo for its fast-paced, "pushed to the edge!" vocal conclusion. More great stuff.
Six-and-a-half minute album closer 'Finnegan’s Awake' is a striking rock instrumental that sets off on (and continually returns to) the tried & tested guitar & Hammond harmony riff motif, here sharing space with a repeating, Moog led melodic passage.
A true band number with every member firing on all cylinders (particularly, as the title alludes to, Jon Finnegan), there’s also a cute, scene changing finale where Don Airey plays the part of a Social Club MC to close out the song, and the show.
Deceptively complex and creative, yet housed within a classic rock framework, Pushed to the Edge (the misstep of 'Flame in the Water' notwithstanding), isn’t just Don Airey’s best solo album to date, it’s in the running as an early contender for rock album of the year.
Ross Muir
FabricationsHQ
'Flame in the Water' is the album’s balladeering/ iPhones in the air moment.
Truth be told, however, it’s too on the schmaltzy, "I gave you my heart" nose, albeit there is some tasteful piano play from Don Airey and a rock finale/ Simon McBride feature fade-out.
By contrast, 'Out Of Focus' is 21st century Purple rock par excellence, to the degree that you’re surprised Ian Gillan hasn’t grabbed the mic. The rhythm section puts in a serious shift on this one, and the extended instrumental section is worth the admission fee on its own. Another highlight.
Ther’s a splash of the colour Purple on 'Power Of Change' too, but in reality it’s a purposeful, strings-backed mid-tempo, led by the voice of Mitchel Emms, that’s as contemporary as it is classic rock. Yet another winner.
Strings also play a part on delicate instrumental 'Girl From Highland Park,' a light and jazzy piano-led number that acts as a lovely interlude piece.
The amps are turned back up for seven-and-a-half minute number 'Godz Of War,' which shifts from its mid-tempo Dio-Rainbow opening to a pacier, and more interesting, second part.
The song then shifts again to a big, melodic rock moment (Simon McBride taking the literal lead here) before kicking in to a driving, hard rock section. A return to the original mid-tempo section leads to a big finish. Great, progressively arranged, stuff.
There are also progressive tendencies at play on 'Edge of Reality,' which moves from a woozy, semi-psychedelic opening to a rock orientated, tempo changing middle part.
The song then pushes the amps up further for a heavier section before upping the tempo for its fast-paced, "pushed to the edge!" vocal conclusion. More great stuff.
Six-and-a-half minute album closer 'Finnegan’s Awake' is a striking rock instrumental that sets off on (and continually returns to) the tried & tested guitar & Hammond harmony riff motif, here sharing space with a repeating, Moog led melodic passage.
A true band number with every member firing on all cylinders (particularly, as the title alludes to, Jon Finnegan), there’s also a cute, scene changing finale where Don Airey plays the part of a Social Club MC to close out the song, and the show.
Deceptively complex and creative, yet housed within a classic rock framework, Pushed to the Edge (the misstep of 'Flame in the Water' notwithstanding), isn’t just Don Airey’s best solo album to date, it’s in the running as an early contender for rock album of the year.
Ross Muir
FabricationsHQ