Episode #99 – Song Ratings Revisited

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  • This week, a review from Australia:
    • FIVE STARS!
    • Electric_Mayhem!, 31/10/2020
    • One Of Rocks Best
    • DP as a band & their contribution is criminally underrated – this is a great podcast that shines light on the band, it’s members & their musical family tree. Great listen!
  • Thank you to all the listeners that we don’t hear from!

The songs!

Listener Mail/Comments

  • Comments about the show? Things you’d like us to cover?  We’d love to hear from you. Send us an email at info@deeppurplepodcast.com or @ us on Twitter, Facebook, or Instagram.

Episode #98 – Rainbow – Straight Between The Eyes

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  • This week, a review from Great Britain:
    • FIVE STARS!
    • TrancaRua, 27/12/2019
    • Good stuff, fun to listen!
    • The most unlikely duo possible getting along too well and making really good things together. One of them is so quiet, an old soul (in fact as young as the most talking one) but full of catchy phrases and shows interesting knowledge of Deep Purple. Enjoying a lot, actually. Give a go!
  • Thank you to all the listeners that we don’t hear from!

Lead up to the Album:

  • Don Airey decided he was going to join Ozzy full time to work on Bark at the Moon.
  • Ritchie said in interviews that Don was “best friends” with Cozy and when he found out Cozy was being replaced he became furious and left the band to tour with Ozzy.
  • Roger Glover quit the band to just do production but was convinced to rejoin on bass by Bruce Payne.
  • Rosenthal joined the band straight out of Music College.  He was asked to contribute with the songwriting but was told he would not get a full writing credit.  Rosenthal had the foresight to get a lawyer to deal with the contract.
  • Rumors are the Bruce Payne wanted Rainbow to attempt to make a go of it without a keyboard player but that Ritchie wasn’t having it.
  • The recording took place at Le Studio in Morin Heights, Canada.  The weather was exceptionally cold and snowy.  It was in a beautiful 10-12 bedroom lake house with the studio at the other side of the lake. The band had two sets of equipment, one at the house for them to write and practice, and another at the studio.
  • Ritchie, of course, played a prank on Rosenthal but moving all the furniture out of his room and putting it in the cold and snow.  The next morning Rosenthal was still freezing because he’d had to sleep in a freezing cold bed that he’d lugged back into the room himself.
  • Joe Lynn Turner said that Blackmore had warned him that moving more into this AOR direction was going to get him a lot of flak from the fans.  Blackmore told Turner that for every one Dio fan they lost they’d pick up two new fans.  Joe Lynn Turner said, “And that was the truck, literally.  For example they never had any women at the concerts.  So everyone loved that including the crew — it was thank God we have girls in teh audience now, we could compete . . .”
  • The first album with JLT where it was more cohesive, everything being done in one studio and together rather than the patchwork that was Difficult to Cure.
  • Ritchie admitted during this time he was more focused on song writing and was even struggling with solos.
  • Ritchie: “Unquestionably, we’ve turned in a more accessible direction on the last few albums.  A few years ago I would have insisted that selling records means nothing.  I realize now that a statement like that is made only by someone who it’s selling many records.”
  • Joe Lynn Turner says: “I’m an incredibly varied singer. I just grew up that way.  . . . I love blues; I love ard rock and heavy metal, love country music s well.  I listen to everything and just soaked it up; jazz and Etta James –I love that shit. I listen to sax players for vocal phrasings, just like guitarists do.”
  • JLT:  “Sometimes people are surprised that I can sing R&B. I mean I grew up in a gospel church, in a black Baptist church.  I’m a black man in a white man’s body –it’s unbelievable.  If I really turn it on and go to the R&B side, it would just be too black.  Glenn Hughes used to do that and do it real well, but he got killed for it.  They used to say he’s too funky, he’s too black.  You know what? He’s too gifted, so fuck you!”

Personnel

Additional Credits:

  • François Dompierre – orchestra conductor
  • Raymond Dessaint – orchestra lead

Album Art & Booklet Review

  • Artwork – Jeff Cummings (2)
  • Artwork [Concept] – Mr. B (16)
    • Only credit on Discogs.  Can only assume this is Ritchie.
  • Ritchie says that the album title was from when he bumped into Jeff Beck at a bar in 1967 after he’d just seen Hendrix.  Jeff Beck told him that Hendrix’s playing hit him “straight between the eyes.”
Visit my website https://vinyl-records.nl for complete album information and thousands of album cover photos

Technical:

Album Tracks:

Side One:

  1. Death Alley Driver (Blackmore, Turner)
    • Written by Turner about route 109 in New Jersey and how it was so dangerous to drive down.
    • About a “drug run” in south Jersey where people would run massive amounts of cocaine and heroin.
    • In some interviews JLT says it’s about these drug runs, in other he says he was involved in one of the drug runs.  He claims that he was friends with a guy who was a doctor who was analysing the cocaine.  He tells the story of being caught up in this drug run unknowingly.
    • Video shot at a graveyard in Connecticut that was banned by MTV.
  2. Stone Cold (Blackmore, Glover, Turner)
    • Joe Lynn Turner says this was written in the studio.  He said he came up to Roger who was looking really depressed and when he asked Roger what was wrong he said, “She left me stone cold.”  He was going through a difficult divorce at the time.
    • JLT said he heard him say that and said, “Wow, there’s a great song title!”
    • The part at the end with the ad libs about a “Deep freeze” etc. were done in the moment as it was recorded during a blizzard.  JLT describes the mood created with giant icicles hanging in front of the windows as they looked out at the frozen lake.
    • Single released ahead of the album.
    • Reached #40 in the US and #34 in the UK.
    • Another video was made for this song.
  3. Bring On The Night (Dream Chaser) (Blackmore, Glover, Turner)
    • Joe Lynn Turner says that he and Roger both set to write lyrics for this one and both had very different lyrics.  They decided to combine the two into one song hence the parenthetical title.
    • Ritchie is on record as being a huge Abba fan.  He would say that he was writing Abba-style songs disguised as hard rock.
  4. Tite Squeeze (Blackmore, Glover, Turner)
    • A favorite of Roger Glover’s.
    • Turner says it wasn’t about any particular woman that he could remember.
  5. Tearin’ Out My Heart (Blackmore, Glover, Turner)
    • This was about a Canadian girl that Joe was in love with.
    • Joe says the girl was with him while he was writing it.

Side Two:

  1. Power (Blackmore, Glover, Turner)
    • JLT wanted this to be a huge arena rock anthem.
    • JLT claims that they were criticized because this song was too commercial.
    • JLT says this was an autobiographical song which came from him realizing how much personal power he had.
  2. MISS Mistreated (Blackmore, Turner, Rosenthal)
    • Ritchie was talking about some girl he was interested in and Joe said, “She sounds like Miss Mistreated.”
    • Revolves around the question of in a breakup who really hurt who?
    • JLT says Ritchie told him to write it when he revealed the title and said he wanted to “shove it up Purple’s ass.”  He then said, “Let them suck on that for a while.”
  3. Rock Fever (Blackmore, Turner)
    • Turner says again he was aiming for an anthem.
    • Ritchie: “We’ve got to be more mainstream, Ritchie.  We can’t just keep writing about dragons.”
  4. Eyes Of Fire (Blackmore, Turner, Rondinelli)
    • Ritchie had wanted to do a track with an orchestra on it and tasked Rosenthal to write the orchestration.
    • Turner says he went to the bar one night and caught a glimpse of girl int he mirror behind the bar.  “… her eyes were just incredible–she had that bewitching siren look. This is absolutely true. It sounds kind of sappy, but it’s really not;it’s what dreams are made of.”
    • “Her name was Erica Varga; I’ll never forget this girl. She was just stunning, platinum blond hair and these incredible green eyes that would turn colours, almost like red to green to brown. It was very strange; I’ve never seen a person like this before.”
    • JLT goes on to say that this is one of his wife’s favorite songs.

Reception and Review

  • In retrospect Blackmore says he remembers these albums as “fuzzy memories.”  He says his main criticism is that they were so focused on making them perfect with their production that they lost a little of the more improvisational quality they’d had in previous albums.
  • Roger Glover: “ This is an album that should appeal to everyone. What we’ve done on this album is strike a balance between the accessibility of the last few albums and the progressivism of the earlier ones.”
  • The tour included the support acts: Iron Maiden, UFO, Riot, Scorpions, Krokus, 38 Special, Saxon, and Girlschool.

For Further Information:

Listener Mail/Comments

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Lurid

Nasty

Revolting

Macabre

Sickly

Petrifying

Traumatic

Fearsome

Pantasmal

Episode #97 – Who Did It Better?

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  • This week, a review from Germany:
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    • Georg DP , 07.01.2021
    • Highway Star
    • This podcast is truly amazing. Since I have been a Deep Purple fan since 1978 I thought there could be little more to learn about the band and the extended Deep Purple family. Yet these guys have proved me wrong. The great stories and details they come up with every show are just crazy. It is wonderful to be part of a world spanning group of Purple nerds that understand your peculiar affection and even share it. Thank you so much guys!
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Episode #96 – Fancy – Wild Thing

Watch video on Cocoscope: https://www.cocoscope.com/watch?v=80988

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Show Updates:

Lead up to the Album:

  • Mike Hurst says he’d always loved the song “Wild Thing” but he didn’t think the Troggs’ version was sexy.  He thought Jimi Hendrix did a great version and wanted to do it in yet a different way.
  • Would the song be sexier if sung by a woman?
  • He says he didn’t want it to be sung he wanted it to be “massaged.”
  • Mike called up Ray Fenwick to work on the arrangement, then they needed to find a singer.
  • Mike doesn’t remember who suggested the name of Helen Caunt.  She’d previously worked for Rod Stewart but was better known for being a Penthouse Pet.
  • Ray brought in Mo Foster and they got to work on the song with Henry Spinetti on drums and Mike Hurst and Ray Fenwick on backing vocals.
  • Hurst wanted it to be slow and funky with “splashes of sex.”
  • Eventually he told Caunt to breathe all the way through it.
  • Alan Hawkshaw was brought in to play keyboards and finish up the track.
  • They recorded “Fancy” as an instrumental B-side for the single.
  • They had a single and now needed to sell it.  With a Penthouse Pet as a singer it didn’t seem to be too difficult as they put her on the cover partially nude during a photo shoot.
  • The single was put out in April of 1973.  It didn’t do much in the UK but it was released in the US where it made it to number 7 in the charts.
  • Mike Hurst says: “By this time, and with the success int he USA, Helen had got herself a new manager, her boyfriend.  That was two strikes against her, she had to go.”
  • They auditioned a bunch of different singers and felt like they weren’t going to come up with a suitable replacement until they came across Annie Kavanagh.  She had previously worked with Steely Dan and been in the Australian stage production of Jesus Christ Superstar.

Personnel

  • Bass Guitar, Vocals – Mo Foster
    •  
  • Drums – Les Binks
    •  
  • Guitar, Vocals – Marlon (49)
    • Alias used by Ray Fenwick while he was in Fancy.  Couldn’t find any explanation as to why.  I thought maybe it was for contractual reasons or something.  I reached out to Ray for clarification and here’s what he sent me:
    • “Hi Nate…Good to hear from you.Answers to your questions. Marlon came from a leather jacket I had made…it had a  white leather logo script on the back , reading .. MARLON..homage to Brando. Why?   Who knows!”
    • He also did a single “Let’s Go to the Disco” with “Broken Man” as the B-side released in 1974 on Purple Records co-written and co-produced with Roger Glover.
      • https://www.discogs.com/sell/release/7718275?ev=rb
    • This will be included on an upcoming Anthology released in April – Ray Fenwick “Playing Through The Changes” a 61-track covering 60 years in Ray Fenwick’s music career.
      • Coming on Singsong Music: https://singsongmusic.com/ 
  • Lead Vocals – Anne Kavanagh*
    • Appeared in the Australian cast of “Hair” and toured with the production for two and half years.
    • Appeared in “Jesus Christ Superstar” in London while doing session work for Steely Dan, Roger Daltrey, Mick Ronson, and Jack Bruce.
    • In the 80s moved back to Australia where she supported acts such as James Brown, Tom Jones, Dionne Warwisk, and Patti Labelle.
    • In the 2000s began working as a voice coach.

Additional Personnel

  • Mike Hurst – Vocals
  • Helen Caunt – Vocals
  • John Perry – Backing Vocals
  • Henry Spinetti – Drums
  • Alan Hawkshaw – Keyboards
  • Clem Cattini – Drums
  • Bud Parks – Trumpet
  • Mike Bailey – Trumpet
  • Dave Coxley – Baritone Sax
  • Nick Rowley – Clarinet
  • Phil Kenzie – Tenor Sax, Brass Arrangement

Album Art & Booklet Review

  • Design [Cover Design] – Marianne Llewellyn
    • Only credit on Discogs
  • Engineer – Dave Hunt
    • Worked with Velvett Fogg, Killing Floor, Noel Redding
  • Photography By – Richard Dunkley
    • Did some visual work for Eddie Hardin on his “Home is Where You Find It” album.

Technical:

Album Tracks:

Side One:

  1. Wild Thing (Chip Taylor)
    • Chip Tayler was born James Welsey Voight
    • Chip Taylor is the brother of Jon Voight and uncle of Angelina Jolie
    • Chip has almost 2000 entries on Discogs
    • First version of the songs was recorded by the Wild Ones
    • Chip Taylor says he wrote it in a matter of minutes for the band
    • English rock band The Troggs popularized the song releasing it in April of 1966
    • It was a surprise hit in the US peaking at #14 on the Billboard Hot 100.
  2. Love For Sale (Hurst, Fenwick)
  3. Move On (Hurst, Fenwick)
  4. I Don’t Need Your Love (Hurst, Fenwick)
  5. One Night (Dave Bartholomew & Pearl King)
    • Songwriting team behind 
    • Released “One Night” in 1956 recorded by Smiley Lewis
    • Dave Bartholomew wrote a lot of songs for Fats Domino
    • Pearl King was his wife and has a ton of credits as a song writer

Side Two:

  1. Touch Me (Hurst, Fenwick)
    • Released as a single in the US and was in the top 20 within a month.
  2. U.S. Surprise (Hurst, Fenwick)
  3. Between The Devil And Me (Hurst, Fenwick)
  4. I’m A Woman (Jerry Lieber & Mike Stoller)
  5. Feel Good (Hurst, Fenwick)
    • Has been sampled over 100 times including by the Beastie Boys on the song “3-Minute Rule” off of their album “Paul’s Boutique” and “Unite” on “Hello Nasty.”  Also on “Fuck Tha Police” by N.W.A.
    • “Scooby Snacks” by “Fun Lovin’ Criminals”
    • Complete List Here: https://www.whosampled.com/Fancy/Feel-Good/sampled/

Reception and Review

  • The album was released in February of 1974.  It was top 20 in the US but did not do well in the UK.
  • An Australian singer released “Touch Me” in Australia and it went to number 1 in the charts.
  • Hurst says Atlantic didn’t want to put any marketing behind them so they pulled out of the deal and signed with Bell/Arista and Tony Roberts.
  • They booked an American tour in the summer of 1974.
  • They toured with a numbe of bands including Steppenwolf, Guess Who, and Kiss.

For Further Information:

Listener Mail/Comments

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Episode #95 – 1968 Album Smackdown – Deep Purple vs. The Doors

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    • FIVE STARS!
    • TBPC, 01/28/2021
    • Great content… even better atmosphere!
    • They talk to each other, yet somehow I always feel part of the conversation! Love learning more about DP (and the family of bands) but it’s the fun atmosphere that draws you in.

Jeff Breis’s Pick of the Week!

  • Black Sabbath Born Again 1983 Tour Book!

The Albums:

The Doors – Waiting For The Sun – 3rd Studio Album

Side One:

  1. Hello, I Love You
  2. Love Street
  3. Not to Touch the Earth
  4. Summer’s Almost Gone
  5. Wintertime Love
  6. The Unknown Soldier

Side Two:

  1. Spanish Caravan
  2. My Wild Love
  3. We Could BE So Good Together
  4. Yes, the River Knows
  5. Five to One

Deep Purple – Shades of Deep Purple – 1st Studio Album

Side One:

  1. And the Address
  2. Hush
  3. One More Rainy Day
  4. Prelude: Happiness/I’m So Glad

Side Two:

  1. Mandrake Root
  2. Help!
  3. Love Help Me
  4. Hey Joe

Listener Mail/Comments

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Episode #94 – Black Sabbath – Born Again (with Ry from Sabbath Bloody Podcast)

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Lead up to the Album:

  • 1982’s Live Evil album interestingly created a lot of bad blood between Dio and the band and caused him to leave.
  • They considered Samson’s Nicky Moore, Robert Plant, David Coverdale, and Michael Bolton.
  • The classic story goes that Gillan and Iommi were drinking and got loaded and Gillan had agreed to join Black Sabbath.
  • In actuality Don Arden had suggested Gillan who got together with Iommi and Butler to discuss.  Of course there were pints involved and the trio allegedly holed up in this pub for about twelve hours.
  • Gillan says his manager, Phil Banfield, called him the next day when he heard about it extremely upset that he’d made this decision without consulting him.  Gillan claims that when he heard this he had no memory of having agreeing to join Sabbath.
  • The members of Gillan, most notably John McCoy and Colin Towns, were not pleased with this.  Gillan had taken a few months off due to vocal nodes.  Gillan says he encouraged the band members not to wait for him while he healed up and to pursue other projects.
  • Gillan was upset because in the press he’d been accused of faking the vocal nodes to break up the band.
  • Gillan was hesitant but his manager convinced him to do it.
  • Ward had become sober and remained sober throughout most of the sessions.
  • The original intention was to create a supergroup.
  • Martin Popoff says in his book, Born Again! Black Sabbath in the Eighties and Nineties, that Iommi had only briefly considered hanging up the Black Sabbath name.
  • There was apparently a lot of reverence for the idea of Sabbath returning to an all British lineup once again.
  • During initial rehearsals Gillan didn’t sing because of the vocal nodes.
  • Geezer says during rehearsals Gillan lived in a tent on his own and had a boat nearby to go sailing. One reason was to stand guard of his golf clubs that were in a separate tent.

Personnel

Album Art & Booklet Review

  • Artwork [Artwork Assistant] – Steve Barrett (3)
    • Only a couple of other credits on Discogs.
  • Design [Cover Design], Artwork – Steve Joule
    • https://www.krusher.co.uk/
    • Did work for Ozzy, Motorhead, and Girlschool.Album cover put together by Kerrang! Magazine’s Steve “Krusher” Joule who had put together “Diary of a Madman” and “Bark at the Moon.”
    • Joule says he tossed four ideas for covers for this album.  Some even accused him of sabotaging the Sabbath album cover in a conspiracy involving Sharon.
  • Butler: “Oh I hate the album cover! I mean I saw it, and I thought oh man give me a break!”
  • Gillan: “The first time I saw the album cover I puked.”
  • Iommi: “When you see the cover you know we’re not talking about born again Christians!”
  • Gillan allegedly through a box of 25 of the albums out a window in protest.
  • Joule says about Gillan’s “puked” commentary that he had the same reaction to most of Gillan’s album covers over the years.
  • In a Kerrang! it took second place behind Scorpions’ “Love Drive” in their “10 Worst Album Sleeves in Metal/Hard Rock.”
  • Despite all the negative said about it the album cover was approved by Iommi.
  • In Ozzy’s Book “I am Ozzy” he says that Don Arden, who was very hostile toward Sharon and Ozzy” often told the Osbournes that their children resemble the Born Again cover.
  • Steve Joule says he was asked to do the album cover while working on OZzy material.  He claims to have submitted three “ridiculous and obviously” designs, collect his free beers and move on.
  • Steve Joule says the 1968 “Mind Alive” magazine was purchased for him by his parents as a child to “further [his] education.” 
  • He says he photocopied the picture, overexposed it, added “the most outrageous color combination that cid could buy,” then added the nails, horns, and sat back and laughed.
  • Joule says Iommi loved it, Geezer looked at it and sait, “It’s shit, but it’s fucking great!”
  • Same Image used for a Depeche Mode album

Technical:

  • Recorded At – The Manor
  • Coordinator [Album Co-ordination] – Paul Clark (9)
    • Did visual work on Mob Rules, Live and Live Evil for Black Sabbath.  On this album he was credited as having been in “management.”
  • Engineer – Robin Black
    • Production work for Jethro Tull, Cat Stevens, and Murray Head.
  • Management – David Arden (3), Don Arden
    • Son of Don Arden, Sister to Sharon, and brother-in-law of Ozzy.
  • Producer – Black Sabbath, Robin Black
  • Technician [Equipment & Guitar Technician] – Peter Restey
    • Credited as being a personal technician to Black Sabbath.

The Mix

  • After Gillan laid down the vocals he went on holiday for about six months and returned to the finished albums.  Gillan said that Geezer went in and ruined the mix.
  • Geezer says he was the one saying it sounded awful.  Geezer complained it was too bassy  Geezer says, “I got sick of telling everyone that it didn’t sound right.  When I was proved right, Gillan came back and said, ‘What the hell is wrong with this?’ A lot of people blamed me because I was the one who was there at the time.”
  • Geezer says that Black was in charge of the mix but he was taking too much input from everyone and ultimately it should have been just him in charge of the mix.
  • Bill complained saying that he “hated that they gave it an ‘80s sound.”  He says this dates the album, particularly his drum sound.
  • Tony said that they were in Europe touring when it came out and by the time they heard it had hit #4 on the charts already.  They were disappointed saying it was all distorted and that no one had okay’d the pressing for the record.  Iommi said that someone had the lacquers, and they were left for too long and went off and that affected the sound.  So the tapes sounded good but the vinyl sounded awful.
  • Tony also said that Gillan had blown out a couple of tweets in the playback monitors.
  • One thing is clear, the band was sort of checked out when the project was complete and didn’t see it through until the end.

Album Tracks:

All songs credited to Iommi, Butler, Ward, Gillan, except where noted.

Side One:

  1. Trashed
    • Song about Ian crashing BIll’s car.  He got drunk and decided to drive Bill’s car around the go-cart track at Richard Branson’s house where they were recording.  Allegedly the car was totalled and even caught on fire.
    • The “Peter” mentioned in the song was Pete Restey, the guitar technician.
    • The car, a Ford Granada, was apparently a rental that had just been picked up that day.  Each of the band members had gotten Bill hadn’t even driven it yet.
    • Pete had taken Bill’s new car to the pub and Gillan took his boat.  They drank a lot and Gillan requested one of the two bottles of Jose Cuervo Gold that the woman at the pub said had been there for 30 years.  Ian had one bottle, Pete had the other.
    • They then met back up at the Manor.  Pete started doing laps on the go-cart track then Ian said he wanted a try.  The car flipped up onto its roof inspiring the line “The ground was in my sky.”  They stopped short of going right into an old abandoned swimming pool.
    • Pete says, “the pool was filled with old tires and debris and stuff — we never would have been able to open the doors for us to get out.  We would have drowned probably.”
    • While upside down the gas tank had been torn and was running into the car.  Gillan had a lit cigarette hanging out of his mouth.  Pete said the gasoline actually leaked down his face onto the cigarette and put it out.
    • Trashed was released as a single but did not chart.
    • Tipper Gore cited this song as an example of a song that glorified drug and alcohol abuse.
  2. Stonehenge
    • They used a metal plate that they hit and lowered into water to change the pitch.
  3. Disturbing the Priest
    • “Disturbing the Priest” was written after a rehearsal space – set up by Iommi in a small building near a local church – received noise complaints from the resident priests.[4] “We wanted this effect on ‘Disturbing the Priest’,” recalled the guitarist, “and Bill got this big bucket of water and he got this anvil. It was really heavy, and he’d got it hanging on a piece of rope and lower it in to get this effect: hit it and lower it in, and then lift it out again. It was a great effect, but it took hours to do.”[11]
    • Only track that had lyrics written by Geezer.
    • Gillan says that while they were tracking vocals he noticed the vicar from the church was in the control room.  He was telling them that they had choir practice and the music was very loud and they couldn’t concentrate on their pitching.
    • The priest was asking that they close the doors but Gillan told him that on the days they had choir practice that they wouldn’t record out of respect.
    • They then went to the pub with the vicar and had beers that evening.  Gillan told the guys about the encounter and Geezer wrote the lyrics.
    • Funny enough this would become an example of how Black Sabbath was satanic.
  4. The Dark
  5. Zero the Hero
    • Often cited as the inspiration to “Paradise City.”
    • One of Bill Ward’s favorites.

Side Two:

  1. Digital Bitch
    • Gillan says this is about a person in real life but won’t say who.
  2. Born Again
    • Bill Ward says he went to the studio to watch Gillan write this.  He says he loves the process of writing lyrics and had a lot of fun watching the process.
    • Gillan says the song is about finding himself centered after being out of balance.
  3. Hot Line (Iommi/Buttler/Gillan)
  4. Keep It Warm (Iommi/Buttler/Gillan)
    • “I saw Ian go into the studio one day,” Ward recalled, “and I was fortunate and honoured, actually, to be part of a session. I watched him lay tracks on ‘Keep It Warm’… I felt like Ian was Ian in that song… I watched this incredible transformation of this man that really, I felt, delicately put lyrics together. It made sense. I thought he did an excellent job. And I really dig that song too.”
      1. Schroer, Ron (October 1996). “Bill Ward and the Hand of Doom – Part III: Disturbing the Peace”. Southern Cross (Sabbath fanzine) #18. p. 24.

Reception and Review

  • It’s rumored that there were up to five additional tracks written for use on Born Again.
  • Born Again was released in August 1983[1] and was a commercial success. It was the highest charting Black Sabbath album in the United Kingdom since Sabbath Bloody Sabbath (1973) and became an American Top 40 hit.[27] Despite this, it became the first Black Sabbath album to not have any RIAA certification in the US.
  • Met a lot of criticism
  • Bill Ward left the band immediately after recording and did not tour.  He’d fallen off the wagon and allegedly the temptation presented by Gillan’s heavy drinking was too much for him to be around.
  • Geezer left the band after the tour.
  • Reached number 4 in the UK charts, top 40 in the US
  • Gillan recalls enjoying doing the old Ozzy tunes but didn’t feel comfortable singing the Dio tracks.
  • Ozzy Osbourne said: “Born Again is the best is the best thing I’ve heard from Sabbath since the original group broke up.”
  • In 1992, Ian Gillan told director Martin Baker, “I was the worst singer Black Sabbath ever had. It was totally, totally incompatible with any music they’d ever done. I didn’t wear leathers, I wasn’t of that image…I think the fans probably were in a total state of confusion.” In 1992, Iommi admitted to Guitar World, “Ian is a great singer, but he’s from a completely different background, and it was difficult for him to come in and sing Sabbath material.”
  • When the band heard the final product, they were horrified at the muffled mix. In his autobiography, Iommi explains that Gillan inadvertently blew a couple of tweeters in the studio speakers by playing the backing tracks too loud and nobody noticed. “We just thought it was a bit of a funny sound, but it went very wrong somewhere between the mix and the mastering and the pressing of that album…the sound was really dull and muffly. I didn’t know about it, because we were already out on tour in Europe. By the time we heard the album, it was out and in the charts, but the sound was awful.”
  • Gillan: “But by God, we had a good year…And the songs, I think, were quite good.”
  • The ensuing tour and live shenanigans are entirely too much to get into and perhaps will be revisited on a future episode . . . 

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Listener Mail/Comments

  • Comments about the show? Things you’d like us to cover?  We’d love to hear from you. Send us an email at info@deeppurplepodcast.com or @ us on Twitter, Facebook, or Instagram.

Episode #93 – Gillan – Gillan

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    Jeff Breis Shares!

    This week: Trapeze and its German counterpart!Jeff Breis shares the Trapeze album “Hold On” and it’s German counterpart!

    Lead up to the Album:

    • There was concern that the image Island had given IGB was not working.
    • Ian Gillan was very upset and Colin Towns tried to write songs that would showcase Gillan and make him appear better than he viewed himself.
    • Towns: “I’m going to write something which shows Ian from one extreme to the other, show he’s a good singer as well as a good screamer, and all the things in between.”
    • When Gillan returned to the studio Towns showed him a song he’d been demoing and Gillan really liked it.
    • The two decided they needed to make some changes.
    • Ian Gillan kept on Colin Towns after dissolving Ian Gillan Band.
    • Towns: “The following day he rang round the menbers of the band and said it was over.  He said we’re not going to get any more out of the band, which was true.  It’s a shame.  If CLEAR AIR had been more successful it would have been good, but on the other hand it wasn’t any good for Ian.  There was too much music for it to be the Ian Gillan Band.”
    • Drummer Liam Genocky (the first to be recruited) joined the band with Richard Brampton on guitar.
    • Genocky gave Towns a list of suggestions including John McCoy for bass.
    • John McCoy’s bandmate Steve Byrd was brought in to replace Brampton early on.
    • Towns was the primary songwriter and wrote most of the album’s material which they completed recording in August of 1978.
    • They played the Reading Festival on August 16, 1978 still billed as Ian Gillan Band.
    • The band’s policy was “no-frills” and they soon changed the name to simply Gillan.
    • Album was released on October 5, 1978 in Japan only.  It would later be released in Australia and New Zealand but never saw release in the UK until the 1993 CD re-release.  It sold well in the UK as an import.

    Personnel

    • Bass – John McCoy
      • https://en.wikipedia.org/wiki/John_McCoy_%28musician%29
      • British bass guitarist. He also plays drums, trumpet, cello, double bass, and is an independent producer.
      • Alises: John Renn-McDonald, Stix Hoypolloy
      • Played with Maldoon with Clive Maldoon and Dave Curtiss .  Previously known as Maldoon Curtiss.  Curtiss wasn’t happy with their album so he asked that his name be taken off.
      • Also played in Zzebra.
    • Drums – Liam Genockey
      • Irish drummer who played with John McCoy in Zzebra
      • Would go on to play with Maldoon and McCoy in his self-named band.
    • Drums – Pete Barnacle
    • Flute – Colin Towns
    • Guitar – Steve Byrd
      • Played with Zzebra.
      • Went on to play with Samantha Fox, Billy Ocean, McCoy
    • Keyboards – Colin Towns
    • Vocals – Ian Gillan

    Album Art & Booklet Review

    Technical:

    • Producer – Ian Gillan, Paul Watkins
      • Also known as Chas Watkins
      • Did production for Spirit and Bernie Torme as well as Strapps and Ian Gillan Band
    • Producer, Arranged By – Colin Towns

    Album Tracks:

    All songs written by Ian Gillan and Colin Towns except where noted.

    Side One:

    1. Second Sight (Towns)
    2. Secret of the Dance (Gillan, Towns)
    3. I’m Your Man (Gillan, Towns)
    4. Dead of Night (Gillan, Towns)
    5. Fighting Man (Towns)
      • According to liner notes it was written by Colin Towns and he recorded who stayed behind with Chas Watkins and taped a vocal/piano demo.  This was in the IGB days and Ian had left the studio with low morale after they’d been trying to record a few tracks.
      • “I’d been thinking about ‘Twin Exhausted’ and I thought sod it, I’ll write something that I think is right.”

    Side Two:

    1. Message in a Bottle (Gillan, Towns)
    2. Not Weird Enough (Gillan, Towns)
    3. Bringing Joanna Back (Gillan, Towns)
    4. Abbey of Thelema (Gillan, Towns)
    5. Back in the Game (Gillan, Towns)

    Reception and Review

    • The new album was promised for September of 1978 (though it likely came out in October).
    • The tapes were sent to Japan where they where they were mixed up until hours before it needed to be shipped.  The two IGB Budokan albums had done well in Japan so Gillan decided to captalize on that success.
    • In October they toured Japan to promote the album.  When they got back to the UK there was no way to buy the album locally without going through an importer.
    • Gillan was a huge change of direction for Ian Gillan.  The album sold well in the UK as an import despite only being released in Japan, Australia, and New Zealand.
    • The album received a good amount of positive press.
    • The band gigged consistently after the release and even got the attention of Ritchie Blackmore who joined them on stage at the London Marquee Club in December of 1978.  Afterward he would offer Gillan the job in Rainbow which Gillan refused.
    • Review from Stargazer, Issue #18, April 1979.
      • Eek. It’s good! Right from the word go it’s clear that this is a new band, and a new Gillan (or at least the old one revitalised!) Back is the raw, rough and ready sound which the IGB never had, and which Purple lost after ‘Fireball’. The band haven’t the technique or skill of Purple, but, by keeping things simple and doing straightforward songs with a minimum of solos they get away with it nicely. Compare this to ‘Long Live..’ or ‘Trouble’ and see how dated they sound.
      • Marquee, London. 27th December 1978 – Live Review
      • Blackmore also spent Christmas in Britain, probably to check out vocalists. He did take the chance to sneak down to Gillan’s opening date at The Marquee, and join in for an encore. Blackmore also asked Gillan to join Rainbow. Ian said no, but in return asked Blackmore to join his band! But Ritchie, according to Gillan, wants to start at the top, and work from America, whereas Gillan wants to begin at the bottom and work his way up. Some of you were lucky enough to be at The Marquee on the night in question (gnashes teeth!)……
      • “We were all at the front, crushed, waiting for an encore, when the whole place erupted. It was Blackmore. He just walked out, smelt Steve Byrd’s armpit, plugged in, and started.. He didn’t replace Byrd, just joined in. He broke into ‘Lucille’, it was total bliss.” Terry.
    • Genocky did not continue with Gillan as he had a previous commitment with Gerry Rafferty.  A new drummer, Pete Barnacle, joined the band.
    • The band replaced Genocky with Mick Underwood and Byrd with Bernie Torme.
    • They got to work on Mr. Universe with the new lineup.
    • The CD release has extra tracks:

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    Episode #92 – Deep Purple Live in Quebec with Randy California

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    Show Updates:

    • Comments from social media.
    • Tommy Bolin Memorial Statue Fundraiser
    • BreisHeim – The Mask
    • Email from Per Sørensen
      • Hi guys,
      • Thanks for a great site. Writing from DK I saw them at the following show in Odense on that tour and a year later in Feb 73 also in Odense. The end of MK 2 was coming.
      • Great memories. KB-Hallen would have about 4000+ in the audience and the other venues in DK (Odense + Aarhus) 3000-3500 at that time. We were allowed to be close, no chairs, but a lot of fun. Age between 14-18 and yes – we could smoke. KB-Hallen was a sports arena and that’s why the audience is everywhere – front and back.
      • I saw them in KB Hallen whenever they came and last time was 2009 there. They have since done bigger venues in CPH indoor and especially outdoor (5 coin on Amager with Morse). Nowadays they are doing bigger places (ValbyHallen 2017) and in Sept 2021 Royal Arena (?)
      • Even IG with Black Sabbath in KB Hallen as a guest in 1989 doing the encores SOTW and Paranoid.
      • The 72 show was recorded and broadcast by Danmarks Radio (DR)  – the Danish national TV broadcast station – and as you notice they didn’t quite know what to film and who did what in the band (RB missing a lot!!) It was shown prior to the 73 DK tour on TV, but only Child in Time and Lazy.
      • I bought the same shirt as IG was wearing which you could also get in DK, even in Odense, so I guess it was pretty mainstream. 
      • IG was the hero in the press, then RB being called the next Hendrix, then JL as the spokesperson delivering the facts.
      • in 72 Machine Head and Made in Japan went into the top 20 of the year in DK, even if MIJ came out in Dec 72. 
      • The opening act was Philip Goodhand-Tait, solo piano player, never appeared again. In 73 it was ELO in DK. They surely did – still popular here and easily selling 12000 tickets in CPH.
      • BR Per Sorensen
    • Jorg says: You asked for more connections 😉 John Lawton claimed too, that he was asked to join Deep Purple in 1973… And more a Whitesnake – Uriah Heep connection: Micky Moody did a number of shows with Uriah Heep back in 2010.
    • Apple Podcast Reviews:
      • 5 Stars!
      • BreisHeim , 01/03/2021
      • Heeere’s Johnny and Nate!
      • These guys are like the Johnny Carson and Ed McMahon of the podcast world, and I mean that as a great compliment.
      • Very entertaining show!

    Lead up to the Album:

    • On December 22, 2020 a video was posted on YouTube:
      • Deep Purple 6 avril 1972 Québec + Randy California Blind Man
      • The video was sent to me by Jorg within an hour of being posted.
      • The video purported to be the long storied performance of “When a Blind Man Cries” the only time Deep Purple did it live in the 70s when Randy California subbed in for a sick Blackmore.
      • There was posted by Robert Lafontaine:
        • This is an extremely rare audio recording of a Deep Purple show with Randy California. I recorded it all in stéréo. Sadly, at the encore , somebody knocked down one mike and I stopped recording. So… no Lucille. The recording is a bit muddy at times ’cause people who were holding the mikes didn’t keep them horizontal, but upward facing the metal roof… 
        • Years later, I sent this recording to Randy and we chatted about music, his story, etc. He seemed to want to remix the show. In the vidéo there are many unreleased gems archives. The setlist was always wrong on a lot of websites. HERE’S THE REAL SETLIST FOR THIS RARE SHOW:
          • Strange kind of woman
          • Into the fire
          • Child in time
          • The Mule 
          • Lazy
          • When a blind man cry 
          • Space Truckin’
          • Lucille
        • Randy was called in because Deep Purple cancelled 2 shows before heading to Québec city; Ritchie was out. Some could say it’s The Saint Graal for Deep Purple fans as the songs were never played with Ritchie. Someday maybe, I’ll post the entire show. Enjoy this great archive in the meantime…
    • This show was never known to have a bootleg so this was big news.
    • There was a lot of debate as to the authenticity of the recording.
    • Of course fans WANT to believe but there were a lot of detractors citing the tone of Gillan’s voice, etc.  But listening to it it just seemed like it must be authentic.
    • On December 30, 2020 part one of the full concert was posted to Robert Lafontaine’s account:
    • On December 31, 2020 the final video of the remainder of the concert was posted:

    Deep Purple: Self-Evaluation Time Again

    Jon Lord: “Randy was brilliant, God bless ’em, but everything had gotten to be such a bitch that we had to go home. We just couldn’t take it any longer.”

    Personnel

    • Ian Gillan – Vocals
    • Roger Glover – Bass
    • Randy California – Guitars
    • Jon Lord – Organ
    • Ian Paice – Drums

    The Show:

    Articles (Translated by Ian Desrosiers):

    Deep Purple, 6 avril 1972…translation :

    A substitute in Québec

    On April the 6th 1972, Deep Purple stopped in Québec (City) with a singular formation. This night, instead of Ritchie Blackmore on guitar, the crowd saw Randy California getting up on stage. Blackmore was sick with hepatitis and the band felt they had a chance to impose themselves in this part/territory and they tried to finish the tour even with a substitute. “At the time, Randy California’s band, Spirit, was popular, so we approached him,” tells Roger Glover. “I think we rehearsed for just a couple of hours before getting on stage. He was a good guy, but, as talented as he was, it was not the right thing to do to pursue the tour so we stopped. It pushed back our chances to be recognized in America for 6 month or a year.”

    Deep Purple, 6 avril 1972…translation :

    Jon Lord Interview

    After the concert the wheel kept on spinning for Deep Purple. The band took a plane to New York the same night and it’s Jon Lord, harassed by the road manager, that gave us 10 minutes of his precious time.

    Quite happy by the reaction of the Québec crowd, Lord is surprised to learn that some fans blame the new direction of the band on recent albums. He says that at the beginning of their career Deep Purple suffered from the “studio sickness.” The band didn’t really know what to do and what looked like a precise direction from the outside, was in fact the result of a quasi-improvisation where Lord’s classical formation took an important place. The last albums, Fireball and Machine Head, give a more precise idea of the music that the band plays on stage. Deep Purple is essentially a “rock n’ roll band” and the classical experiments will be relegated to solo output like “Gemini Suite” released last fall under Lord’s name.

    This back to basics is not limited to only music, the lyrics are more simple, they could be judged as simplistic even, but Lord says that the band sees it as a way to get away from  a morbid intellectual movement that plagues the world of rock. The lyrics are parodies of the first rock songs, but it’s just a gentle way to mock things that we like.

    The simple stories found in Deep Purple’s lyrics translate, in a good way according to Lord, the band reality. Jon Lord doesn’t want to be seen as a demi god like some other musicians. His only responsibility on stage is to give the public what they paid for: music and good times.

    People often interpret lyrics in a way to find meanings or messages, and in this way, it’s with prejudice that the band was labeled as “speed freaks.” Up until recently, the word “speed” in England did not mean amphetamine, and it’s with a great surprise that the band found that some saw in “Speed King” a drug song that contributed to making it a hit.

    Lord says that drug taking is rare in English bands. The members of English groups consider themselves more like musicians than members of a big family of “smokers,” and this priority for the music is an element that helps make the English bands to be considered the best. We could not learn more; the wheel keeps on turning…

    Jacques Marois,

    special collaborator

    Concert review

    Deep Purple finally gave their concert in Québec (city), after waiting for eight months, a couple of snowstorms and lots of work.

    That’s it, Deep Purple comes up on stage. Ian Gillan gets in front and says that Ritchie Blackmore is sick and will be replaced by Randy California, but nobody listens. People whistle, people scream, THEY are finally here.

    The band starts with “Strange Kind Of Woman.” The sound is perfect, powerful and precise. But the musicians look hesitant (we will understand why, later after the concert, when we learn that California had only 2 days to rehearse with the band). But after “Into The Fire,” an old hit two years ago, we witness a high class of rockers and the guitar player is not here to take it easy.

    Gillan announces “Child In Time,” one of the most beautiful Deep Purple songs. A quiet beginning on the organ and the band launch themselves into a fast “boogie” : hard to describe, but those who already heard a good guitar solo played on a Strat going through two Marshall amps at 400 Watts know. A police officer inside the Colisée (it’s the old hockey rink for the Quebec’s Nordiques) says to a woman watching the show “It’s catchy. I want to dance.”

    Next, “The Mule.” Roger Glover (bass) and Ian Paice (drums) go crazy while Jon Lord gets some violin sounds from his organ. Ian Paice stays on stage alone and does a drum solo, that if he doesn’t dazzle by the complexity, surprises by his rapidity and energy. Paice doesn’t stop there and continues full speed into “Lazy” while Glover gives a demonstration of the way bass should serve hard rock.

    Roger Glover is, with Tim Bogert (Cactus) one of the best rock bassists that played here.

    Jon Lord had some problems with his organ. 

    The next number, “When A Blind Man Comes [sic]” is a really beautiful blues telling the story of a blind man abandoned by his mistress after knowing bliss with her. Gillan captures the atmosphere of the piece really well and shows that he’s truly a great singer knowing how to use his voice to the maximum effect in any musical genre.

    Randy California ends the blues with an excellent solo helped by a volume pedal. He is, finally, the surprise of the night, playing soberly and effectively (his playing and personality on stage reminds me of Rayburn Blake, ex-Mashmakhan). It’s a real tour-de-force accomplish by California to fit in a band with whom he rehearsed for only 8 hours with: knowing the band, we could only admire the guitarist.

    The concert ends with “Space Truckin’” on a rapid rhythm. Encore. “Lucille,” an old classic, and a guy dancing in front of the stage since the beginning of the concert finally finds himself on stage with Gillan.

    Everyone got out of the Colisée with a smile on their lips.

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    Episode #91 – Deep Purple & Uriah Heep

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