John Mottola, from the Deep Purple podcast, asked me to give this album a listen. I did, for the first time. Let’s see what I think and what John taught me about the band and their second studio album. This is the first of a 4 part series because that’s just what happens when John comes to visit.
RB: We walked around the city at night, looking for musicians. We went to different bars and asked: “Can you play bass or drums? We have a place in the group “(laughs).
Ritchie on why he assembled Rainbow again in interview on Finnish Radiostation Metalliliitto – September 27, 1995: “I wanted to go back to the music I played when I first created Rainbow. For this, I have selected guys who can do a good job. And I was very unhappy with what I was doing at Deep Purple. This is why I wanted to build Rainbow again.”
On why he recruited unknown musicians in interview on Finnish Radiostation Metalliliitto – September 27, 1995: “Yes … I thought about the old guys, but not longer than a couple of seconds, because I think that I did everything I could with all of them in this style. Ronnie Dio is a great vocalist, but he is very limited in the styles that I want to hear. Therefore, I did not contact him. Some suggested Joe Lynn Turner to me. Joe is a good singer, but now he has problems with his voice. So I didn’t call him, I wanted a vocalist who could sing like Ronnie Dio and like Joe Lynn Turner and had a bluesy voice like Paul Rogers.
And I like working with unknown musicians, it’s kind of a protest against the system. Many people prefer to confidently recruit bands of musicians who are known to be good performers and reliable people, but I like to take risks and work with new musicians. And I like it when there is fresh blood and enthusiasm in the group. It’s nice to tour with musicians for whom this is all a novelty, who are not tired of it yet. And working with professionals who have been doing this for many years is a bit boring.”
Young Guitar, Japan – November 1995: ”Greg Smith I saw in one bar, he was just a strong enough hard rock bass player that I was looking for. I immediately decided to take him to the group because I liked him as a person.”
“No (laughs)! However, when Greg brought his beer to rehearsals, I was impressed, it was an interesting, very strong beer that he brewed himself. That inspired me (laughs).”
Played with Joe Lynn Turner, Blackmore’s Night, Trans Siberian Orchestra.
Young Guitar, Japan – November 1995: ”The drummer… actually, we changed him two weeks ago. The album featured John O’Reilly, a great drummer, but he has a slightly inappropriate playing style. He didn’t know how to swing, swing the way I would like… Instead of him we have now Chuck Burgie, who already played in Rainbow. As soon as Chuck joined the band, rhythms that we could not work with before became available to us, it’s amazing. He does a great job with the syncopation that I play a lot.”
Young Guitar, Japan – November 1995: “I met him about ten years ago. He got my attention back in 1981 when I auditioned keyboardists for Rainbow. But then I decided to take David Rosenthal, even though Paul showed a good result. He reminds me of Beethoven. There is a lot of fire, aggression in his playing, he is a very passionate and quick-tempered musician. This helps him a lot in self-expression, music conveys the life and emotions of a person. Sometimes he pisses me off, but he is a real musician. In Deep Purple, everyone completely lost their aggression, they had no feelings for music, and I believe that musicians should have a temperament, for a musician it is necessary. Nobody knows when he will explode, but he can play! It suits me. I also explode sometimes (laughs).”
Had played with Alex Parche and Midnight blue. Went on to Yngwie, M3, and Michael Schenker.
Ritchie on Doogie from Stefan Wach, Gitarre & Bass, Germany – 12/1995:”Yes, no question, these guys are great musicians and have a lot of creative potential. Our keyboardist has hundreds of ideas and Dougie, our singer, is incredible. And imagine – I can have fun with a singer! (laughs) The guy can sing anything from Scottish folk songs to spontaneous blues. You can also laugh heartily at him. I’ve never had such a relationship with a singer. Ronnie (James Dio – Ed.) was also a great singer, but outside of the band he always wanted to be left alone. With him you couldn’t go to a bar and have fun. Dougie, on the other hand, is very extrovert and is always out for nonsense.”
Ritchie in Young Guitar, Japan – November 1995: “I heard Doogie’s voice on some recording when I was sorting through the pile of accumulated tapes. I liked his voice, and I asked my girlfriend: “What kind of tape is this?” His London phone number was written on the cassette, and we told him that we would very much like to see him in our project. Like that.”
On Ritchie’s criteria for choosing a singer and voice from Young Guitar: “ First of all, the singer must be a good person and sing from the heart. Let’s just say I would like the vocalist to become my voice. But it seems to me that now there are not enough good singers. Many are recruiting groups of friends! Because of this, it is impossible to listen to many vocalists, because they are only required to be good friends. It was the same with The Beatles, but they were lucky in this (laughs)! When a person does not know how to sing, and friends tell him that he has a cool voice, this will not add charm and skill to his voice. Jeff Beck, one of my idols, once said: “All singers are masturbators!” Of course, he has the right to say so – he worked with Rod Stewart! After that, I would stop working with vocalists altogether. I agree with him. It is rare to find singers who really know how to sing. So I was lucky to find Doogie.”
On Doogie’s melody-writing process: “He made a big contribution to the creation of the album. This surprised me. Once I played one riff to him and asked: “Can you sing along to this?” Two days later, he brought a cassette tape containing eight different vocal melodies for this song. It amazed me. “How about this? So wait, I still have another option. ” Each option was interesting in its own way. It’s not often that you meet a person who has so many good ideas. Then I realized that he could be useful to us.”
. . . His original jazz and blues compositions blended with the Latin rhythm section of the “New Earth Rhythm Band”. They were regulars on the home-grown music scene at the Quiet Knight, appearing with the likes of Levon Helm and Jan Hammer. Mitch’s original composition was featured on “The Best of Chicago” LP in 1977.
Ritchie on the album title from Young Guitar, Japan – November 1995: “This is a phrase from the song “Black Masquerade”, these words mean that there is an inner stranger hidden in each of us. I believe that anyone who thinks they know themselves is not really aware of themselves. I know this from myself – sometimes I myself do not understand why I did some actions, it was as if there was another person inside me in those moments. Was it me, or was it some other person? It seems to me that it has something to do with the soul. Yin-Yang, good and evil, white and black… two elements, completely opposite to each other. People often ask themselves, “Why did I do this?” This all is “the stranger in each of us” who constantly accompanies us. It is a mysterious distorted world that we cannot control.”
When the interviewer said he would like to meet this stranger, Ritchie responds: “I meet with him all the time. But in my case it seems to me that this is a woman. I’m looking for my man (laughs).”
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Album Tracks:
Side One:
Wolf to the Moon (Blackmore, White, Night)
Cold Hearted Woman (Blackmore, White)
Hunting Humans (Insatiable) (Blackmore, White)
Stand and Fight (Blackmore, White)
Ariel (Blackmore, Night)
From Young Guitar Magazine: “I wrote this song at home, in my bar. I came up with the instrumental part, and my fiancee wrote the lyrics, she sang the chorus at the end. She has great musical ability and helped us a lot with the album. She wrote the lyrics for this song in five minutes! This is surrealism, a mermaid comes out of the sea and awakens the depths of the sea, stuff like that. As you know, I am not very good at poetry (laughs), I only listen to the texts of Bob Dylan, and the poetry of other poets does not interest me. Therefore, I respect people who can write good lyrics. At first we planned to use this song in our future medieval project. However, it sounds so good in hard rock processing, I thought it was perfect for this band and decided to include it on the album.”
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.
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In Gillan’s book “Child in Time” Gillan describes Colin: “We were a goodish band with sufficient image and appeal that people (men and women) were even turning up at gigs looking like John, with hair shaved and stick-on beards. We had climbed from the bottom to the top and stayed with our label for over ten releases, most of which were successful.Colin was transformed from teh teraful day at Kingsway when we said goodbye to fusion rock and, on stage, the flashing bow-tie was a great sight to his sound,. Janick became and instant favourite with the fans, although the going of Bernie cropped up from time to time and seemed to still rankle a bit. Mick and I had known each other for so long. IT was mic that we should be having such a good time, most of the time.
Gillan goes on to talk about troubles brewing when rumors came out that Ian was in talks to reform Deep Purple. The botched 1982 attempt to reform did not end up happening.
Colin Towns came in number two that year just below Jon Lord as best keyboard player and they came in one above Rainbow at #6 as top band in Sounds magazine.
Over 700 credits on Discogs including Frank Zappa (Joe’s Garage), VAn Morrison, and many more.
In Kerrang! Issue 22 in August of 1982 it was stated that Gillan wanted to give up on outside producers after Double Trouble but Virgin Records persuaded him to use Glossop.
Did album covers for Jimmy Cliff, Glen Campbell, Linda Rondstadt, XTC, UB40.
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Album Tracks:
Side One:
What’s the Matter (Gillan, McCoy, Gers)
Bluesy Blue Sea (Gillan, Gers)
Caught in a Trap (Gillan, Towns)
Long Gone (Gillan, Towns)
Driving Me Wild (Gillan, Towns)
Side Two:
Demon Driver (Gillan, Towns)
Living a Lie (Gillan, Towns)
You’re So Right (Gillan, McCoy)
Living for the City (Wonder)
Released as a single before the album in reaching #55 in September, the month the album was released.
Demon Drive (reprise) (Gillan, Towns)
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Reception and Charts:
They were playing a lot of shows through the autumn. One show saw them in Bangkok where Gillan got the inspiration for the song Mitzee Dupree.
Gossip began to run around about the disbanding of Gillan. Ian says that “harsh words were exchanged.” Gillan had been advised by doctors to rest his voice.
From Stargazer issue 26 November 1982
As we go to press Ian has just confirmed that the current UK tour will be his last for some time. He has had a throat problem diagnosed which needs a complete rest otherwise his voice could be permanently affected. In fact he was advised to cancel the UK tour but decided not to. The band will take a break for around a year after which he’ll see how things are.
I had a brief chat with lan after the Gillan show in Sheffield, and he agreed to write out a little note to explain the current situation himself (reproduced here).
Gillan’s Note:
Hello All,
Got a bit of a sore throat – it’ll take around 6-9 months to repair – so see you all late in ‘83. In the meantime I’ll be thinking of y’all. Think positive and send me some good vibes – I need it.
Love – peace + thanks
Ian Gillan
Gillan states that talks to reform Deep Purple broke down because Jon Lord was loyal to David Coverdale. Ian Paice was in between gigs. But Roger and Ritchie were tied up with Rainbow.
Previous stories tell the story of Gillan showing up very drunk to talks and Roger and Ritchie saying they didn’t want to deal with it.
The reunion would, of course, happen, but not before a brief stint with Black Sabbath.
Reviews:
From Stargazer issue 26 November 1982
“I’ve got the new Gillan album and it’s all left me pretty fed up. The first song – ‘What’s The Matter’ works well as a set opener. ‘Bluesy Blue Sea’ has grown on me so that it’s OK rather than rubbish but it’ll be a pain live. ‘Caught In A Trap’ has a great start from lan and Colin. lan’s lyrics are head and shoulders above anyone else’s in this field. Colin’s solo too is exciting and different. ‘Driving Me Wild’ starts like a Foreigner song and seems pretty uninspired for a Gillan/Towns composition, until they reach the “what can you do” bit where things get a bit meatier with another good keyboard solo. The lyrics to ‘Demon Driver’ put me off before I’d even heard it. A good heavy beginning leads into some typical Gillan style music – the ending I can’t stand. ‘Living A Lie’ confuses me, sort of an up tempo ‘When A Blind Man Cries’ but I really miss lan’s soft vocals – which would have suited this. Overall maybe I expected too much with all those credits for Gillan/Towns tracks.” Mike Bumett.
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This week we’re joined by hall of famer Rich as well as Mark and Pete (The Gardow) from the 70’s Weekly Countdown with Mark and Pete podcast! We participate in a Yankee Swap and talk about all things Christmas and Purple.
The “Have Yourself A Leaky Little Christmas” Leaky Mausoleum
Stephen Sommerville The Concerto 1999 Fanatic
Hank the Tank
Private Eyes
Ashen Lionel
Blackmore’s Tights
John Miceli
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.
Oh, you’re too kind! Deep Purple are my all-time favorite band, so when Pod Of Thunder mentioned your podcast, I couldn’t believe my luck. Happily listening through the episodes from the start. Love the show, keep doing what you’re doing. (One of the things I miss most from my younger years was sitting around & listening to full albums w/ friends. Ian Paice is the reason I started playing drums.) I wish I had some kind of cool or creative shoutout, but the best I can offer is keep up the amazing work! Best wishes from Pennsylvania,
Wilhelm
(PS had an afterthought- my old guitarist Austin would probably get a good laugh out of me discovering your podcast, because I never shut up about Purple back when we were bandmates. Anyway, take care!)
Oh and fun aside: my old drum teacher played w/ Yngwie Malmsteen for a few years, and Yngwie’s Blackmore worship is well-documented, so I’ll email John & see what ridiculous stories he remembers. Might be some relevant ones, who knows?
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Highlights, Timeline & Questions From “Nasty Piece of Work”
March of 1992: Lord intends to hit the road performing music from The Concerto, Gemini Suite, etc. (Page 13)
August of 1992: JLT is fired by Bruce Payne. (page 16)
October of 1992 (six weeks after JLT is fired): In an interview with Mike Eriksson, Turner is very critical of Deep Purple, particularly Jon Lord. (page 17)
November of 1992: Gillan writes a letter to fans about Deep Purple but doesn’t refer to it as a reunion but rather a “celebration.” (page 20)
April 1993: North American tour is announced from July 27th through August 29th (page 23-24)
Gillan suggests after the tour that Blackmore would reform Rainbow but Blackmore denies it and rather suggests that he would work on another band project, coming back to DeepPurple every couple of years.
June 1993: Blackmore blows off the “silver clef Awards ceremony (page 28)
July 1993: In July it’s announced that the US tour is canceled/postponed – no explanation is given as to why. (page 29).
July 1992: Ian Gillan’s interview where he addresses his famous quote: “I would rather slit by throat than ever sing with these guys again.”
Jon Lord open letter saying he’s excited about the direction the album was taking with Ian. What was the deal between JL and JLT? (page 34)
Rehearsals and travel
Nine Weeks of shows —-
The Band agreed to have rehearsals recorded and every show was bootlegged as well as being recorded off the soundboard. (page 39)
The feeling was that this was the end of the band.
Friday, September 24, 1993 – Rome – 1st show
Anyone’s Daughter being performed live, with Ian Paice sitting on a stool (and later the drum riser) with a tambourine and Ian Gillan referring to him as “Elton John.” (page 40).
Early shows a little shaky with some shorter solos and Gillan forgetting words (page 45)
When they reach Germany Ritchie seems quite happy to be back and with his new girlfriend Candice (page 50).
About a third of the tour/shows are played in Germany. (page 51)
By Mid October of 1993 Jerry Bloom joins the band for as many shows as possible (page 70)
At your first show it was evident Gillan and Blackmore, Gillan singing over Blackmore Blackmore had his roadie, Rob fodder to tape a lyrics sheet to Gillan’s mic stand because he was tired of Gillan forgetting the lyrics. (page 71)
Ritchie had a tape of the “One Man’s Meat” demo “”Stroke of Midnight” with JLT singing and contemplated having it played before the show. (page 73)
Bloom asks Glover about Ritchie’s little Goatee: “It’s his alter ego. He thinks he was born in 1549.” Bloom says Ritchie did not leave his dressing room but he could hear Abba blasting from his room. (page 72)
16 October 1993: Stuttgart, Bloom says it’s the best show he’s ever seen by Deep Purple (page 80)
France, October 18: Ritchie throws in Jesus Christ Superstar but Gillan does not sing it. Was this a peace offering by Ritchie? (Page 86)
Ritchie throwing in snippets of Rainbow and MK3 songs like “All Night Long” and “Burn” as well as “Long Live Rock ‘n’ Roll.” Gillan singing “cliched French Dialogue”(Page 87)
October 22nd: Ritchie tells Colin Hart he’s not doing the two shows in Spain and that they were added without his approval – they’d been there from the beginning. (page 94)
30 October: Show in Prague, Candice does backing vocals on Beethoven’s Ninth. Unclear if the rest of the band consented. After the show he let Rob Fodder know he was leaving the band. Later he gives Colin Hart a letter to read to the rest of the band. He claimed he’d paly through Helsinki but did not know that the Japan gigs were booked. (page 99)
Ritchie makes it very clear that Gillan is the reason he’s leaving citing his “clownish” attire and stage moves.
Ritchie was expecting the band to be upset the following morning but it was business as usual. (page 103)
3 November: Ritchie hears that Mr. Udo, the Japanese tour manager is expecting Ritchie to play Japan so Ritchie destroys his Japanese work visa.(page 106)
Ritchie seems to go through a lot of trouble trying to get a reaction out of the management and the rest of the band.
8 Nov, Ritchie performs an amazing show with the band in London at Brixton Academy. Tony Ahston and Mel Galley were in attendance. (page 109)
9 Nov: NEC Birmingham. Final UK gig. They were advised to cancel due to Ritchie’s ankle injury. (page 111)
The whole drama with the camera man, Ritchie’s second most famous camera man altercation. Roger’s anger. Lots of stories. Who ultimately got the brunt of the water soaking? Between Highway Star and Black Night Ritchie soaks the cameraman with beer behind the amps.
13 November: Stockholm, Sweden, Glenn Hughes is a backstage guest. He and Gillan toy with the idea of doing an album together. They hang out after the show. Blackmore was told Glenn was there and responds, “Glenn who?” (page 116)
14 November: It’s publicly announced Blackmore is leaving the band on the BBC (page 117)
15 November: Glenn Hughes is backstage again in Oslo, Norway, and a promoter had booked him a small show at a 300 capacity show. Glover and Paice go to see his show. (page 118)
17 November: Helsinki, Finland. Ritchie makes demand that Bruce Payne be at his hotel door before the show or he won’t go on. He doesn’t know that Colin Hart had already discussed with Payne and he would be there. Ritchie was again upset that chaos had not erupted. (page 119)
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In this bonus episode Nate does side-by-side comparisons of each track on the UK release vs. the US release. If for some reason you haven’t had enough “Slide It In” this week then give this one a listen!
Kev Roberts & his wonderful children: Matthew, Gareth, and Sarah
Apple Podcasts Reviews:
Rosebud Jack – Australia
5 Stars!
DP Podcast
A great review of an awesome band. Nate and John banter back and forth and cover every inch of the topic. My only complaint- Highway Star only 4 stars. Seriously? Jack
From October-November of 1983 the album was completed at Musicland with Martin Birch.
Hodgkinson quit the band sometime during these sessions.
The UK tour dates were then canceled.
On December 1, 1983 Neil Murray was asked to audition for the band.
Between December 12-15 Sykes rehearsed with the band and is confirmed as the new guitarist.
From January 19-28th in Los Angeles at Goodnight Studios Murray and Sykes do overdubs on the album.
The album would be remixed by Keith Olsen.
David Coverdale, from the Japanese US Remix version: “What happened was we finished the album in Europe and we were all delighted with the way it came out. However, the American record company said it was sounding European and not sounding American. Even when I said, ‘I am European”, they said, “However, we’d like it to sound American”, so I gave them carte blanche to remix in the U.S., on the condition that I could include John Sykes, who’d recently joined Whitesnake, and Neil Murray, who recently re-joined Whitesnake, and they accepted that premise. So I got what I wanted, and they got what they wanted. In essence, the difference is that you can hear the voice a lot better, and you have John Sykes and Neil Murray playing on it, whereas on the European mix, you don’t have them.”
John Kaloder was the first A&R executive at the newly formed Geffen Records, headed up by David Geffen. Geffen had heard Coverdale was switching management and flew Kalodner to the UK to try to recruit Coverdale for Geffen.
Kalodner said he worked very hard to sign Coverdale and eventually sealed the deal. Kalodner said: “I thought they were a great commercial rock band. The problem is, that I told Coerdale, even though I really loved the other guys in the band, they weren’t as good as him. He was a superstar, and we were entering the age of Bon Jovi, you know, all of the big superstars, and I thought Coverdale’s voice and songs were better than anything.”
Moody: “They ended up taking a lof of Mel Galley and me off of it and putting on John Sykes. I was gone by then, so I really can’t tell you anything further.” He goes on to say, “It wasn’t the same, let’s put it that way. That band in 1983 was not the Whitesnake that I knew and loved.”
Moody goes on to explain that they never really tried to emulate other bands’ sound but that he could see that’s the direction they were headed.
John Sykes was brought in as a flashy, good-looking new guitarist in the style of popular American bands despite being British.
Coverdale had toyed with Michael Schenker and even Adrian Vandenberg who he offered the gig to but Vandenberg turned him down, finding success with his own band Vandenberg at the moment who had the hit “Burning Heart.”
Kalodner felt strongly about Sykes from his past history with Tigers of Pan Zang and Thin Lizzy and thought his writing would also be the right fit for Coverdale.
Kalodner talks a lot about Sykes’ appeal being his looks and hints that he would have wanted Galley out even without the injury.
Coverdale describes Sykes’s audition and that Cozy didn’t like him but that Coverdale kept the idea alive despite Cozy writing him off.
Coverdale said at this point he hadn’t really given in to the idea that they would have a “guitar hero” in the band. He describes Kalodner as having to talk to him to tell him that no one else was in his league and he needed someone like this to complement him. He used other combos such as Jagger/Richards, Page/Plant, and Daltrey/Townshend as examples.
Coverdale said he was subconsciously against it because of seeing the “abuse of power that Ritchie manifested.” He was nervous to go down that path again.
Coverdale said when his mother first saw a picture of John Sykes she told him, “David, are you crazy? Now you’ll never get any of the girl.” “Up until then I really hadn’t thought about that, but he convinced me to get in the best shape of my life. Getting John int he band not only revitalized us musically – he is an absolutely brilliant guitarist – but it gave us more motivation to make our stage show hot.”
Coverdale said he was never crazy about keyboards and Jon Lord’s role in the band was minimal in the years leading up to this. When he said he was going back to Purple Coverdale elected to just use them to round out the sound.
Kalodner thought the UK version was too heavy on keyboards and wouldn’t cut it in the US.
Kalodner and Coverdale had a big fight as Kalodner wanted to bring someone else in to mix the album, someone aside from Martin Birch. He suggested Keith Olsen. He goes on to describe the problems with Martin Birch’s mixes and how “un-American” they sounded.
Olsen first worked with Kalodner with Foreigner.
Neil Murray said that Sykes was very much into Ozzy and Randy Rhoads.
American version by Geffen Records, completely remixed by Keith Olsen
This version features some different guitar solos to the European edition, with the addition of John Sykes as a third guitarist layered on top of the original guitar parts recorded by Mel Galley and Micky Moody.
The original bass guitar parts recorded by Colin Hodgkinson were completely replaced by returning member Neil Murray’s bass guitar parts on this version and it also includes some new keyboard parts by Bill Cuomo, differing from the original recording.
This version features some different guitar solos to the European edition, with the addition of John Sykes as a third guitarist layered on top of the original guitar parts recorded by Mel Galley and Micky Moody.
The original bass guitar parts recorded by Colin Hodgkinson were completely replaced by returning member Neil Murray’s bass guitar parts on this version and it also includes some new keyboard parts by Bill Cuomo, differing from the original recording.
Side One:
Slide It In (Coverdale)
Slow An’ Easy (Coverdale, Moody)
Love Ain’t No Stranger (Coverdale, Galley)
All Or Nothing (Coverdale, Galley)
Longer fade out on US version.
Gambler (Coverdale, Galley)
Side Two:
Guilty Of Love (Coverdale)
Hungry For Love (Coverdale)
Early fade out on the US version, UK version is about 30 seconds longer.john
Give Me More Time (Coverdale, Galley)
Spit It Out (Coverdale, Galley)
Guitar intro, full band on UK version
Standing In The Shadow (Coverdale)
Much longer fade out on the US version.
Thanks To Our Foundation Level Patrons:
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Raff Kaff
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Spike’s Mom
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Peter Gardow
Ian Desrosiers
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Stuart McCord
Flight of the Rat Bat Blue Light
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Ruinous Inadequacies
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The “Spill it Out” Leaky Mausoleum
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Hank the Tank
Private Eyes
Ashen Lionel
Blackmore’s Tights
John Miceli
Bustin’ Out The Spreadsheet
Reception and Charts:
The US version of the album was released on April 16, 1984, postponed from April 2.
The album peaked at #40 in the US on August 25, 1984.
The album is certified platinum in November of 1987. 2x platinum in July of 1992.
In 1985 the US remix would be released in the UK.
Allegedly when a copy of the US mix had reached David and Mel they hated it. Mel Galley threw the cassette against he wall. Coverdale said “It sucks” and “It’s dynamically dull, it’s lost its British bollocks.”
Simon Robinson goes on to describe a very long and difficult fight between the band and Geffen about the remix.
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