Masters Of Reality
How High The Moon: Live at the Viper Room

THE REVIEW

The music scene of Palm Desert is best known for Queens of the Stone Age and Kyuss. Some fans of Josh Homme have surely also listened to his Desert Sessions. For those who love the bald bassist Oliveri, let's not forget Mondo Generator. And not to mention Eagles of Death Metal. A very prolific music scene, indeed. But few, at least in our country, know that in this melting pot of desert, hallucinogens, and "desert rock," the Masters of Reality were also born.

Founded in 1981 by Chris Goss, they have released six studio albums and three live albums; throughout their career, they have experienced various musicians, among whom we can even mention Cream's drummer Ginger Baker. Over the various albums, you can hear many influences, from psychedelia to stoner rock, even passing through a sort of pop rock; there are also many blues-inflected influences. Chris Goss has also been the producer or co-producer for the aforementioned groups (he produced albums like “R” and “Songs for the Deaf”). A significant figure, I would dare say.

The live album featured in this review dates back to 1997 and was recorded at the Viper Room in Los Angeles, gathering many of the gems that Our Guy has gifted us over the years. A perfect intro with the self-titled opening track with a romantic tone, which won't last long as the guitars are already warming up for the subsequent “The Blue Garden,” sung by Chris in a never overflowing and always composed manner. Not bad as a start. The next “Alder Smoke Blues” is definitely a blues accompanied by sharp guitars, a simple but effective riff, and impactful guitar solos. At this point, the audience is nicely warmed up and energized; we move to the piano of “Doraldina’s Prophecies” to reach the hit “She Got Me” with its guitar riffs that beckon you to dance and go wild. All very good so far. Even better when the electric guitars are momentarily abandoned to take up the acoustic one while introducing a welcome guest: Scott Weiland. “Jindalee Jindalie” was then an unreleased track (which would come out in 2004), and sung by someone of Scott's caliber, it could only be a very pleasant surprise for that evening. A track that deviates a lot from the repertoire proposed until then, an acoustic guitar break surrounded by a truly sweet violin. It fits. We soon get energized again, however, with “John Brown,” “Tilt a Whirl Swingeroo Joe,” and “Ants in the Kitchen Goin’ Down,” three tracks marked by reckless and loaded rock blues and stoner rock. It closes with the slow, dreamlike stride of “100 Years,” all in all, a worthy closure.

The conclusions I feel I can offer on this record: nothing new under the sun, nothing experimental or bizarre; just a great album of good rock executed really well. Engaging from the start. A must-listen. Rating: 8