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Patron UPGRADE: Anton Glaving moves to the $6.66 tier!
Enjoying the show more than ever.
I had been considering upgrading for quite a while. What sealed the deal was your deft move to quietly demote the $3 patrons from core to foundation level. I feel that it simply will not do for me to drop below the core level. Here’s looking forward to more great content from your splendid podcast. All the best!
Eye TwitchingDiagnosis from Dr. Breese:
Hi Nate and John
Persistent twitching eye
Commonest causes fatigue, stress and excessive caffeine
However, if persists longer than 2-3 weeks then need to see doctor as there are other rarer diagnoses which can cause this problem and may need investigating further
Dead Daisies coming to Joliet, IL on September 11, 2021!
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Bonus Tracks:
I’m Looking Forward To Tomorrow
Written by Hardin
Vocals by Billy Ocean
Masters version includes another very different take on the song featuring Maggie Bell
Time For Another
The Put Down Song
PATRONS!!!!
Goodnight Children
Vocals by Eddie Hardin
Summer Days
Released as a single on June 20, 1975.
Written by Hardin and Mike d’Abo.
Features lead vocals by Hardin and Dio
Seems I’m Always Gonna Love You
Vocals by Eddie Hardin and Ronnie James Dio
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Listener Mail/Comments
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From Discogs: Albhy Galuten (b.December 27, 1947, Hartsdale, New York, USA) is an American record producer, composer, musician, arranger, conductor, technology executive and futurist. He is noted for having created the first commercial drum loop (on the Bee Gees’ track “Stayin’ Alive”) and the enhanced CD.
Worked with all kinds of artists including, The Bee Gees, Eric Clapton, Diana Ross, Barbara Streisand, Sammy Hagar, Cher, and more.
On its release it was a little disappointing to fans of “Bang.” The material on this album was not viewed as being as strong.
When the James Gang called after Joe Walsh had left them, Bolin figured, “What the hell, I’ll eat this month instead of starving.” He remained with them through nearly a year and two successful albums, Bang and Miami (writing most of their material and sharing production credits), but he does not recall his tenure with the Cleveland cowboys as a high point in his musical career. “I left the James Gang just as they were starting to make good money,” he says with a grin, “but I didn’t give a fuck. I’d be giving the audience everything I had, doing spins and stuff, and I’d turn around and the drummer would be…” (he makes an obscene gesture towards his crotch and breaks into laughter). “They were resentful of my attraction to the audience. My musical communication with them was just lost, and it was affecting my music. And my music is all I have.” Bolin split both the Gang and the Colorado scene to try and build a solo career in L.A.
Jim Fox: Miami was a very difficult record to make, and even nearly 40 years later I remember it as challenging. I think the troubles Roy Kenner was going through at the time have been well documented. He was preoccupied by necessity with non-musical things stemming from a very minor drug bust in Los Angeles that involved, rehab, community service, etc. For a time, we felt that might be no alternative but to replace him, and much time and effort was spent auditioning other vocalists, all to no avail. In the end, Roy freed himself up enough to finish the recording process, but while we worked very hard on the record, I feel as if we were never satisfied with it completely. I agree that there were some good moments on it, and with the benefit of time, they are a bit easier for me to see. Still, a tough record to make with mixed results in the end.
Jim Sheridan review of Miami, ca. 2000
JAMES GANG – MIAMI (1974)
The follow-up, Miami, is equally interesting. Tommy gets a few spotlights; the instrumental “Miami Two Step” is a Doc Watson-ish acoustic number with some slide careening in at the end, while “Praylude/Red Skies” lets Tommy dip as deeply into the jazz licks bag as he ever would with The James Gang. The latter track is actually a song Tommy bought with him from his previous band Energy, whose version of the track appears on From The Archives Vol. 1. The riff from “Teaser” has its roots in “Do It,” which contains some smooth slide work. “Spanish Lover” features Tommy’s lead vocals, a beautifully dreamy number that again stands out in the intensity and individuality of the singing — this is the Bolin that Tommy fans look to hear. Two other songs that deserve praise for their majestic vision are “Sleepwalker” and especially “Head Above the Water,” which foreshadows “Wild Dogs.” These discs are both fully realized, atmospherically charged works that demand to be heard.
Bolin left the band almost exactly at the time Miami was released.
Bolin: “I called my manager, Mike Belkin, in Cleveland and told him I was quitting,” Bolin revealed, “and he told me that I was shortchanging myself because of the band’s potential to make good money. I told him I wasn’t happy anymore and there wasn’t much he could say about that.”
Jim Fox, on Tommy Leaving: “Obviously he was hurting. He had things he wanted to do. It was a general consensus after the Miami album that we weren’t where we wanted to be. And it did center around the singer. And we tried a whole lot of singers out. I mean a whole lot of singers, everyone we could think of, including some of Tommy’s close friends. And in the end it just didn’t work we could find someone who could do the job we were hoping to get done. Our singer Roy Kenner was having some personal problems, some distractions and it wasn’t working out.”
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Covers every possible detail of the DP extended family and is perfect for a diehard fan such as myself. Started off just listening to the Deep Purple/Rainbow episodes, but quickly caught on to the other stuff, which is also great. P. S. Listening to the Whoosh! revisiting made me realise that And the Address is actually played half a step lower than the original. (Originial in Em and Whoosh! version in Ebm) Keep doing what you’re doing guys! -J
Dead Daisies coming to Joliet, IL on September 11, 2021!
During 1974 Glenn Hughes met David Bowie. Angie Bowie told Hughes that David had seen him at California Jam and wanted to meet him.
Bowie was interested in how Glenn Hughes got into Deep Purple being more of a soul and R&B guy.
Bowie was present when Hughes was singing “Hold On” during the Stormbringer sessions.
Hughes says that for the rest of that summer he and Bowie were “inseparable.”
In the special edition 2 disc release it’s theorized that this album could have turned into a Hughes/Bowie collaboration or even another Trapeze album.
Play Me Out features a lot of lyrical content about losing his girlfriend to Jon Lord.
Hughes joined back up with Galley and Holland in Trapeze for a quick little US tour that was intended to precede a new studio album.
On the tour Trapeze performed “Space High” and “L.A. Cut Off.”
Things with Trapeze fell apart shortly after that and Hughes put his efforts toward the solo album.
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Bonus Tracks:
Smile
Getting Near To You
Recorded at Axis Sound, Atlanta, March 1978
Fools Condition
Recorded at Axis Sound, Atlanta, March 1978
Take Me With You
Recorded on DAT at Glenn Hughes’ home studio, 1994
She Knows
Recorded on DAT at Glenn Hughes’ home studio, 1994
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Reception and Review
Jon Lord: “The amazing thing about Glenn was that, whatever bad state of health he was in through his addiction, his voice was always brilliant. HE always felt he could have fronted Purple, and I think he set out on ‘Play Me Out’ to show the rest of us what he could do. I always think it was also the way he wanted Purple to go after we’d recorded ‘Come Taste The Band.”
Play Me Out was released in July of 1977 and was not a commercial success.
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Dead Daisies coming to Joliet, IL on September 11, 2021!
Lead up to the Album:
We discussed in our previous episode on “Lovehunter” that Paice had joined so soon after recording that Coverdale wanted to have him redo the drums on the album but time and money did not permit.
Bernie Marsden said Paice was coming to see them at a few shows and when he asked him why he was there he said he’d like to play drums in the band. Dowle was out but Marsden said they weren’t getting along too well at that time. Dowle was a city boy preferring to stay in London while the rest of the band were out in the countryside.
When Paice Ashton Lord imploded Paice didn’t know what to do. He didn’t consider himself a leader enough to start his own band.
Murray said he had suggested Tommy Aldridge for the band at this point but no one else in the band knew who he was.
Paice said he’d been off not really playing anything seriously for about three years
Murray said that with Paice joining the band he took them in a different direction and that the same had happened with Lord the previous year.
Paice says that Whitesnake was “the funniest band I’ve ever been in.” Tells story of everyone on stage laughing when David Coverdale was on stage thrusting his hips and “extending the mic stand as a part of his personage” and they looked in the crowd and only say 15 year old boys.
Murray says that this wasn’t a singer with a backing band, it was a band of equals. He talks about the power behind the band.
Murray, Marsden, and Moody all had shirts made that said “DEEP PURPLE” but when you got closer it was revealed that they actually said “no I wasn’t in DEEP fucking PURPLE.”
They didn’t take kindly to the Deep Purple comparisons and rumors started to swirl about there being a Deep Purple reunion.
Coverdale said there was no “conscious effort” to pick up where Deep Purple left off.
Coverdale says that Whitesnake was always a live band and it didn’t always translate well to the album. He says “Ready An’ Willing” was the first time they got it right and gives a lot of the credit to Ian Paice.
Album credits include UFO, Whitesnake (Live in the Heart of the City), Gary Moore, Iron Maiden, and more.
Coverdale credits “The Plough” in Rusper for developing our Quasimodo impressions and Groucho Marx stoop. This was a reference to the pub they frequented with a low ceiling and beams. Coverdale says he is 5’8” and had to duck to avoid hitting his head. He says many people got black eyes and cuts on their heads form banging them on the beams.
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Visit my website https://vinyl-records.nl for complete album information and thousands of album cover photos
Album Tracks:
Side One:
Fool for Your Loving (Marsden, Coverdale, Moody)
Guitar solo – Bernie Marsden
Reached number 13 in the UK charts as a single
Reached number 43 in the UK charts and number 53 in the US Billboard Hot 100 charts
Would later be recorded again for Slip of the Tongue
Murray says he came in when they were mixing it and Ian had turned down his bass. He said he was really upset but got a call from Martin Birch in the middle of the night saying he’d corrected the mix.
Marsden said they’d written this for B.B. King but when they did the demo but Martin Birch decided they had to keep this one from themselves.
Murray says this was written while Bernie Marsden was on vacation so that’s why they came up with it without him.
Marsden said that Paice refused to put his name on the track because he’d get 2000 less if they did. They talk a lot about “The Bank of Paice” and how he’d offer to lend people 20 but have them pay him back 25.
Normally they’d have one track on the album that everyone would get credit on but Coverdale sided with Paice on this one.
Carry Your Load (Coverdale)
Guitar solo – Bernie Marsden
Blindman (Coverdale)
Guitar solo – Bernie Marsden
Originally from David Coverdale’s solo album “White Snake” from 1977
Side Two:
Ain’t Gonna Cry No More (Coverdale, Moody)
Guitar solo – Micky Moody
Love Man (Coverdale)
Guitar Solo – Micky Moody
Black and Blue (Coverdale, Moody)
Keyboard solo – Jon Lord
She’s a Woman (Marsden, Coverdale)
Keyboard solo – Jon Lord
Visit my website https://vinyl-records.nl for complete album information and thousands of album cover photos
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Reception and Review
The first Whitesnake album to chart outside the UK.
Album went gold in the UK selling more than 100,000 copies.
Both Micky Moody and Bernie Marsden credit this album as their favorite with Whitesnake.
Reviews:
Record Mirror – “A man’s gotta do” – ouch
“Swaggering Coverdale, the John Wayne of heavy metal…”
“Just the thing to complement a sunny THusday morning, this is a glorious celebration of broken love — Coverdale sounding like a wounded bullfrog in desperate need of a mate.”
“Cheers, applause, take a bow. You’re good for at least another 10 years.”
“Although the album’s cover’s no ‘Lovehunter’ there’s enough sexist action on the lyric front to keep our feminist freiends frothing at the mouth for some time to come, I’d say.”
“Whitesnake have always been the bullseye in the ‘liberated’ women’s dartboard and it’s easy to see why. Band leader David Coverdale, with his in-concert wolf howls and on-album dembads for his ‘baby’ to love him till he’s black and blue, is a frontman of the hard rocking, chest-beating gorilla archetype. A dying breed in these wimp-out days, more’s the pity, but what the hell, it’s all no-action, tongue-incheek innuendo anyway, nothing to really get hot under the collar about.”
The album closes with a duo of disappointments — “Black and Blue, the usual WHitesnake good-time barroom honky tonkalong and the only side to the band I actively dislike; and “She’s A Woan’, too crass over the top and straining, even for these ears.
But even so, well worth four stars of anyone’s typewriter.”
Record Mirror – Dante Bonutto – 5 +s
“With ‘Ready An’ Willing’ though what you expect is what you get: an album of diamon-hard rock (not HM) played with skill, verve and, above all, feel.”
“‘Blindman,’ a song from Coverdale’s first solo album [is] given the truly titanic treatment it deserves.”
“In fact the only ting I don’t care for is the sleeve which is functional rather than eye-catching. Give me a glossy gatefold with free swe-on patch and musical lawnmower offer anyday but then, I suppose, that just goes to show that you can’t always tell a book — or a record — by its cover. +++++ and worth every one.
Melody Maker – Frank Worrall
“But I’m at a loss as to why the lyrics are so self-indulgent and childish — and more so when Coverdale follows with two effervescent songs full of poignant reflections. ‘Blind Man’ is a rueful balland accepting life’s uncertainties; ‘Ain’t Gonna Cry No More’ stoutly defies pessimistic thoughts with a dynamic change of speed in the middle.”
“Unfortunately the group then return to the “me-Tarzan-you-Jane” slat, closing with three songs glorifying man’s physical prowess. Again the music is classy and the content cause for concern.”
Chart Song Words – 4 stars
Cedar Rapids Gazette – Whitesnake enters prime with latest – Pan Fruehling
“Ready an’ Willing” is an album which shows off a superb rock band just entering its prime. Whitesnake is a group with experience and skill, with the ability to know how to use their talents with variety, taste and dynamics.”
“All nine tunes on ‘Ready an’ Willing’ are Whitesnake originals, and every one is a gem. The biggest problem I have is picking out the record’s highlights, since it’s a standout album from beginning to end.”
Daily Press, Newport News, Virginia
“Ready An’ Willing strikes me as a down and dirty Blood weat And Tears without the horn section or an Englih Bob SEger and The Silver Bullet Band.”
“Whitesnake is a powerful band that pays attention to detail. Ready An’ Willing is nine numbers performed powerfully.”
“Ready An’ Willing, a strong album by a group that has to live down a celebrated past, is not a rehash of what Blackmore provided for Deep Purple. It may not be new, but the approach is for the former famous trio.”
Des Moines Triibune
“Whitesnake, the blues-based rock band featuring three former members of Deep Purple, should not be confused with the Rod Evans-led aggregation currently billing itself as Deep Purple.”
“We’re one of the biggest bands in Europe,” boasts the feisty, long-haired Englishman. “And we’ll be bloody frightening whent he colonies finally get a look at us.”
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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.
