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Episode #113 – Early Covers of Deep Purple Songs

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    • it’s great to hear these guys talk about this music I love so much – it makes me go back and listen to the albums all over again

Covers:

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Episode #112 – Jon Lord – Gemini Suite


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Lead up to the Album:

  • Jon Lord had been obsessed with performing rock music with an orchestra starting in the mid 60s in his previous band, The Artwoods.
  • The Artwoods had almost used the New Jazz Orchestra on their 1966 debut album then later planned on working with a German conductor but neither materialized, the latter falling apart as The Artwoods broke up before it could happen.
  • On “The Book of Taliesyn” Deep Purple brought in a string section for the song “Anthem.”
  • In 1969 on their self-titled album Jon Lord got as close to his goal as he had yet gotten when they composed “April.”  But “April” was broken up into band and string quartet parts, the two were not combined.
  • In June of 1969 it was decided that they would book The Royal Albert Hall that September and put on a Concerto with the Royal Philharmonic.  The only thing needed at that point was for Jon Lord to actually write it.
  • As discussed on previous episodes the rest of the band were not 100% on board for this project but the performance went over very well.
  • Lord: “It got us labelled as a group who’d jumped on the classical/rock bandwagon. It drew attention to us at a time when we needed it, but we weren’t expecting to be labelled as a group that plays with an orchestra.  It caused a rift int he group. What they were afraid of, and what I hadn’t seen was happening, was that people weren’t sure what we were all about. They got frightened we’d get railroaded into playing hundred of Concertos. They thought I didn’t want to play rock & roll.
  • At this point Jon Lord was largely seen as the leader of Deep Purple and this caused some resentment.
  • This almost lead to Lord leaving the band but in the end management smoothed things out and Lord assured the others he was committed to Deep Purple.
  • After the Concerto they did have to fulfill one last Concerto date in America at The Hollywood Bowl where the score was lost.
  • Lord was also commissioned to write another rock and orchestral collaboration.  The band reluctantly agreed but only if it was downplayed and that it would be the last time they would do any such thing.
  • Lord got to work writing what would have a piece dedicated to each of the five members of Deep Purple, each focusing on the abilities of the individuals.
  • The writing process happened very quickly while on tour with The Faces in America.
  • They performed it once on September 17, 1970 with the Orchestra of the Light Music Society conducted by Malcolm Arnold.
  • This time they were in a much better position than a year before with “Deep Purple In Rock” gaining traction and “Black Night” having some chart success.
  • There was no publicity for this performance.  The show was reviewed by two music magazines and it aired on British and Danish Radio shortly after the performance.
  • The feeling by Lord was that this had taken The Concerto to the next level, bridging the gap a little more seamlessly than he’d done the previous year.
  • The recording was shelved and not released until 1993.  We’ll review that on a future episode.
  • Lord said that he asked Keith Emerson to play on it and that Emerson agreed if it had time.  Apparently he did not.
  • Jon Lord did say in interviews following the concert, that he would like to record it but for now was focused on Deep Purple.  Sometime was only six months later.
  • After this Lord decided to record it again this time with Albert Lee, Tony Ashton, and Yvonne Elliman.  This was released as the solo album we are about to discuss on this episode.
  • The album was recorded at Abbey Road’s Studio One.
  • The main orchestra was recorded at Abbey Road then the band convened at De Lane Lea studio to do the rock sections.
  • Ian Gillan didn’t agree to do the recording which is why he brought in Elliman and Ashton.  They were part of the same management company and recorded with Purple Records so they would have been around at the time.  This is described as being convenient contractually but also Lord very much liked both singers.
  • Blackmore, of course, was very against the project which is why Albert Lee was brought in.
  • In Ian Gillan’s Biography “Child in Time” he describes Blackmore as going “berzerk” when he saw promotional posters for the concert. Blackmore said that the Concerto had become a “millstone around their necks.”
  • In Jon’s own words: “The music on this album was originally written as a commission for the BBC and was first performed at the Festival Hall with Deep Purple and the Orchestra of the Light Music Society in September 1970, when it was broadcast live on British and Danish radio.  I composed the Suite during the first six months of 1970, each movement being ‘built’ around the musical personalities of the members of Deep Purple. However, during the period between that concert and this recording the music grew away from the initial concept and became to my mind not so much a composition for ‘Group and Orchestra’ but, more simply, music for amplified instruments and orchestra. To this end we decided not to make it a Deep Purple project but to use specified soloists.
  • “The title is an allusion to the main characteristic of people born under the sign Gemini– The Twins, my own birth sign.
  • “Many thanks are due to all the soloists, the very fine London Symphony Orchestra, and to Mr. Malcolm Arnold, for his invaluable help.
  • A special thank you to Martin, Ian and Roger.”

Personnel:

Orchestra:

Technical:

  • Composed By, Score [Scored By], Lyrics By – Jon Lord
  • Conductor – Malcolm Arnold
  • Engineer – Dave Stock
    • Engineered the electric sections.  Not 100% sure if they were done at Abbey Road or De Lane Lea.
  • Engineer – Martin Birch
    • Mixed the album at De Lane Lea.
  • Engineer – Mike Gray
    • Engineered the orchestral sections with Phil McDonald at Abbey Road.
  • Engineer – Philip McDonald*
    • Engineered the orchestral sections with Mike Gray at Abbey Road.

Album Art & Booklet Review

  • 1973 North American Reissue
    • It’s unclear whether they didn’t like the British cover or if they thought it would be too controversial.
  • 2008 Simon Robinson Remaster
    •  
  • 2019 Ear Music Rerelease
    •  

Made and Printed in Great Britain

Jon Lord courtesy of Harvest Records

Roger Glover courtesy of Harvest Records

Albert Lee courtesy of Island Records

Tony Ashton courtesy of Capitol Records

Ian Paice courtesy of Harvest Records

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Album Tracks:

Side One:

  1. Guitar (Soloist — ALBERT LEE)
  2. Piano (Soloist — JON LORD)
    • Jon Lord says that his solo was the worst during the live performance because “I just did it for myself.  I re-wrote it for piano on the album.”
  3. Drums (Soloist — IAN PAICE)

Side Two:

  1. Vocals (Soloist — TONY ASHTON & YVONNE ELLIMAN)
  2. Bass Guitar (Soloist — ROGER GLOVER)
  3. Organ (Soloist — JON LORD)

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Reception and Review

  • Review in Melody Maker:
    • “it‘s all turned out rather splendidly.”
  • Review in Beat Instrumental:
    • “Lord seems to have blended classical and rock in exactly the right proportions, where both disciplines act as compliments to each other rather than as opponents.
  • Review in the Daily Mirror:
    • Blow the bigots! Knickers to the knockers! When Deep Purple’s Jon Lord unveiled his Gemini Suite in concert last year, the moaners had a field day. Now it’s out on LP they are already at it again. To me this album is exciting, colourful, aggressive, beautiful, inventive, virile. What more could you want?”
  • Review from Disc & Music Echo shortly after the album’s release:
    • Getting the best of both Purples
    • Jon Lord and Deep Purple seem to be finding their own musical levels, a compromise certain to draw the best from both. Purple lean far more on commercial rock, while Lord hides himself away writing large works like “Gemini Suite” (Purple TPSA7501, £2.05).
    • This is perhaps a natural extension of his Concerto for Group and Orchestra, but more than that, it is a showcase for four excellent musicians, combined with one vast depth of Malcolm Arnold’s London Symphony Orchestra.
    • It’s easy to dismiss works like this as pretentious nonsense, and equally easy for alleged classical music experts to dismiss it as diluted and unoriginal. Neither criticisms are fair nor justified. The main musical themes are well stated and play heavily on the emotions, alter the style of, say Elgar and Tschaikovsky.
    • The opus is broken into six parts — for guitar (by the superb Albert Lee), piano (Lord, drums (Ian Paice, vocals (Yvonne Elliman and Tony Ashton), bass guitar (Roger Glover, also doing a very fine job) and organ (Lord again). This album is very easy to listen to and you don’t have to be hip to either heavy or classical music.
    • Quality — excellent, Value — fine once you’re inside a rather revolting sleeve.
  • On January 4th, 1972 it was performed again, this time in Germany at the Munich Concert Hall this time conducted by Eberhard Schoener.  Everyone performed except for Yvonne Elliman who was busy with the stage version of Jesus Christ Superstar.
  • Update: this show was actually cancelled as Eberhard Schoener broke his arm in a skiing accident.
  • In October of 1973 Lord and Schoener again arranged another live performance of “The Gemini Suite.  Afterward Lord was asked to do a new piece with Schoener which evolved into Windows.

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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.
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Episode #111 – Roger Glover, Marlon, and Natural Magic

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    • 5 Stars!
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    • Loved your podcast burn isolated tracks. Always loved this album and have hear it thousands times but I hear parts of the song I never hear before. Keep up the good work

Marlon

  • Neil Priddey says in his book “Purple Records 1971-1978”: Roger Glover collaborated with guitarist Ray Fenwick for an attempt on the charts with a disco track.  Needless to say it didn’t achieve its objective.
  • The song “Broken Man” 
  • Songs:
    • Let’s Go To The Disco
    • Broken Man

Natural Magic

  • Songs:
    • Strawberry Fields Forever
    • Natural Lady

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Episode #110 – Zephyr – Zephyr

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    • 5 Stars!
    • Lockdown Living
    • Connected with the DPP over the last few months through the podcasts and twitter. Listening during my journeys to and from work have given way to easing the monotony of lockdown fever. Not much is more fun than discussing all things Purple so really enjoying catching up on all the episodes. We seem to have a different take on what appeals to us most, I’m more into the MkII and III era than Mk IV and beyond though I do love that stuff. Just think it’s moving further away from what I see as being classic purple. Anyway, after so many requests for reviews I thought I should front up and submit one. Loved the Rising episode so much as John reached excitability levels that made me concerned for his well being. I don’t blame him though as I completely agree. Keep doing your stuff guys.

Lead up to the Album:

  • In the Fall of 1967 David Givens met Candy Ramey in Aspen Colorado.  She was the washboard, harmonica player, and singer for the Piltdown Philharmonic Jug Band.  They were playing at a location known as The Abbey and another known as The Leather Jug in Snowmass Village.
  • David didn’t think much of it until one of his roommates told her she’s found a new hero who happened to be Candy from the jug band. David went to see her again with his roommate and was remembered their previous meeting.
  • In 1968 David was arrested in connection to the death of one of his friends.  First he was charged with his murder then later with possession of marijuana.
  • On February 29, 1968 he met up with Candy again.  A friend had offered to get him out of town in relation to the charges he was facing but he wanted to stay and see how things went with Candy.
  • They stayed together for the next 16 years.  David was 19 and Candy was 21.
  • They started playing together and jamming.  They met Tommy Bolin when he was traveling through town.
  • Candy and David decided to get married after being together just a few months.
  • One night Tommy came to see their band play and sat in with them and David said it just clicked.
  • They met up with a drummer named Robbie Chamberlain.
  • John Faris joined Tommy.  They’d had a band named Ethereal Zephyr.  They decided to drop the “ethereal” part.
  • They started playing 6-7 nights a week.  The band did a lot of charity work early on.
  • Barry Fey became involved when they went to play for him at his partner’s club.  Barry told them they were great and assured them they were on their way to success.
  • Barry arranged for them to play in San Francisco in a couple of weeks then L.A. where some “big shots” from the music business would be there.  Barry wanted to be the band’s manager at this point as he was beginning to work on concert promotions.

Original Album Mix

  • Story of the recording here: https://www.zephyr-official.com/zephyr1stalbum.html
    • “We were diligent, we worked hard. We recorded basic tracks which Bill edited down to acceptable lengths and then we started overdubbing vocals, guitar solos and B3 solos. Tommy and Candy performed take after take. We had fun, Tommy, Candy and I sang backup vocals together. And then we mixed it. Bill was falling asleep at the console night after night and the resulting mixes lacked focus, to say the least. We were not happy with the results.
    • And for forty some years, I’ve been angry about it. Then, earlier this year (2013), producer Greg Hampton called me up to discuss his idea that we should fix the album and re-introduce Zephyr. He fixed the mixes and now, for the first time, you can hear what we heard before everything went wrong. I’m happy with the reults [sic].”

Personnel

  • Bass, Backing Vocals – David Givens
    • Would later play on Carly Simon’s debut album.
  • Drums, Backing Vocals – Robbie Chamberlin
    • No credits outside of Zephyr.
  • Guitar, Backing Vocals – Tommy Bolin
    • Covered extensively on The Deep Purple Podcast.
  • Lead Vocals, Harmonica – Candy Givens
    • No credits outside of Zephyr.
  • Piano, Organ, Flute – John Faris
    • No credits outside of Zephyr.

Technical:

  • Producer – Bill Halverson
    • Had previously worked with Cream and Crosby, Stills, and Nash.
    • David Givens said he was credited as “producer” but truthfully only functioned as an engineer.
  • Engineer – Bill Halverson
  • Management – Stan Greeson

Album Art & Booklet Review

Alternate Cover/Back in Australia

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Album Tracks:

Side One:

  1. Sail On (Tommy Bolin, Candy Givens)
    • David says Tommy came up with the verse on this song while David laid out the musical section.
  2. Sun’s a Risin (Bolin, David Givens)
  3. Raindrops (Dee Clark)
  4. Boom-Ba-Boom (David Givens)
  5. Somebody Listen (David Givens, Candy givens, Tommy Bolin, John Faris)

Side Two:

  1. Cross the River (Candy Givens, David Givens)
    • This was the song they normally opened sets with.  The song came from the band “Brown Sugar” which Candy and David had before Zephyr.
  2. St. James Infirmary (Joe Primrose)
  3. Huna Buna (Candy Givens, Tommy Bolin)
    • This was written while they set up in a night club during and early club gig.  Candy always called David “Huna Buna” and Tommy thought it was funny.  Tommy and Candy started trading verses.
  4. Hard Chargin’ Woman (Tommy Bolin, Robbie Chamberlin, John Faris, Candy Givens, David Givens)
    • Based on a Zap Comix character named “White Man” or “Whiteman” who was a parody of a white-middle-class businessman.  One of his sayings was “I’m a real hard charger.”
    • Givens says this song gave birth to Tommy’s Echoplex.

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Reception and Review

  • David Givens says that on the first album they listed Barry Fey as a “friend.”  They thought this was a nice way to honor him.  He said Barry was furious and never forgave them. David says Barry expected to be credited as executive producer.
  • Givens says they were a live band and had a hard time adapting their set to the studio.

Reviews:

  • Concerning reviews of Zephyr‘s debut: I only have one, written in the 90ies by Jim Sheridan. Sadly no contemporary review. Here it is:
  • ZEPHYR (1969 self titled)
  • Zephyr, the self titled debut from the legendary Boulder band was Tommy Bolin’s major label recording debut. The band’s youth, and the limited nature of the recording capability, is somewhat apparent, as is lead vocalist Candy Givens’ flamboyant Janis Joplin fixation. Though barely 19 at the time of recording, Tommy’s precocious musical capability is very apparent on this album, in his playing AND his writing. He gets co-songwriting credit on 5 of the 8 cuts, including the album’s epic 7:43 opener “Sail On” and the equally grandiose closer, the 9:18 “Hard Chargin’ Woman.” “Sail On” travels all over the place, veering into heavy progressive rock/ jazzy sections that recall the Allman Brothers, Vanilla Fudge, and, interestingly enough, Deep Purple, in the wailing vocals and grandiose B-3 Hammond organ stylings. Fans of San Francisco acid-rock sounds will find this release very appealing. The blues are given an electrification of serious proportions! “Boom-Ba-Boom/Somebody Listen” begins with a VERY tasteful instrumental and leads into a Led Zep/“Since I’ve Been Loving You”-ish blues. When compared to anyone, Tommy is usually compared to Jimi Hendrix, but this work finds his playing and arranging perhaps closer to Jimmy Page and the British school of blues playing. However, one listen to the outro solo of “Raindrops” makes it clear that already his own distinctive playing voice had emerged.

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Listener Mail/Comments

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Episode #109 – Influences – Ian Paice (with Daniel Glass)

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    • 2020-08-18
    • Phar70
    • 5 Stars!
    • Philip H
    • Heard this site mentioned by Ian Paice on his YouTube channel so decided to google it and subscribed and the few shows I’ve heard have been excellent.
  • A letter from Michael Eriksson
    • Inside, a ticket stub from “The Butterfly Ball” concert at The Royal Albert Hall in 1975.

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  • $3 “Nobody’s Perfect” Tier
    • Peter Gardow
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Discussion with Daniel Glass:

Check out more on Daniel at DanielGlass.com!

Buy Daniel Glass Books, DVDs, and other merch here!

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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.
Posted on

Episode #108 – Black Sabbath – Seventh Star (with Ry from Sabbath Bloody Podcast)


Disclaimer: The video used on YouTube is a byproduct of producing our audio podcast. We post it merely as a convenience to those who prefer the YouTube format. Please subscribe using one of the links below if you’d prefer a superior audio experience.

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Patron News:

  • JJ Stannard
  • Nah I’m kidding. Tell you what though, something you might find interesting. My dad Terry (who passed away a couple of years back) was a drummer, and one of the records he played on was the 1977 album by Young & Moody (Bob Young and Micky Moody) which was produced by Roger Glover. Dad was also in the band Kokomo with bassist Alan Spenner, who worked with David Coverdale and played on the 1970 Jesus Christ Superstar album. Small world, eh? Love the podcast, keep up the good work!

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    • 2020-05-11
    • From the UK!
    • 5 Stars!
    • Gus_McCrae
    • Highway Stars
    • Deep Purple In Rock is where it started for me – I built a record collection by exploring the influences of the best hard rock band of them all. Purple were head and shoulders above Zeppelin and Sabbath and the rest – and these guys get it. Really enjoying hearing a US perspective on Deep Purple from presenters who understand there is more than Smoke on the Water. And, a year late to the party, there are over 50 episodes for me to catch up on. Great stuff.

Lead up to the Album:

  • Ian Gillan was out to rejoin Deep Purple.
  • Bill Ward had worked hard and gotten himself out of the depression he had been in.
  • The thought after Gillan left was to get a virtual unknown on vocals.  One name thrown about was Ron Keel of the band Steeler.
  • David Donato was also given a shot but only got as far as recording a few demos.
  • Jeff Fenholt was also considered.
  • Bill decided after getting sober that he needed to leave for good.
  • Eric Singer was recruited to take his place as drummer.
  • Geezer, who admitted to boozing pretty hard during the Born Again tour was also out.
  • So now Tony realized that this group of musicians assembling was not really Black Sabbath at this point.
  • Dave Spitz, who had worked with producer Glixman in the past joined the band as bass player.
  • Iommi says the original idea was to use ten different singers but he “ended up using Glenn on all of them.”
  • Iommi says he and Glenn were both going through pretty major drug problems at the time.
  • Glenn and Geoff Nichols didn’t get song writing credits for the most part.  Glenn was because of contractual reasons.  
  • Glenn says Dio and Halford were also considered when Iommi was considering multiple singers for the album.  David Coverdale and Robert Plant were also considered.
  • Glenn says Glixman was also undergoing a huge drug problem and that he and Glixman didn’t get along.
  • Glenn claims to writing a bulk of the lyrics with some help from Nichols and Glixman.

Personnel

Technical:

  • Recorded at Cherokee in L.A. and Cheshire Sound in Atlanta.
  • Management [Worldwide Representation By] – Don Arden
  • Producer, Engineer – Jeff Glixman
    • https://en.wikipedia.org/wiki/Jeff_Glixman
    • Engineered and performed keyboards on Blackmore’s Night’s second album “Under a Violet Moon.”
    • Produced 4 out of the 9 tracks on Paul Stanley’s Kiss solo album “Paul Stanley.”
    • Worked with Kansas, Gary Moore, and Saxon.
  • Mastered By – Greg Fulginiti

Album Art & Booklet Review

Lucas Cranach the Elder (German, Kronach 1472–1553 Weimar) The Temptation of St. Anthony, 1506 German, Woodcut; second state of two (Hollstein); sheet: 16 1/16 x 11 in. (40.8 x 28 cm) The Metropolitan Museum of Art, New York, Gift of Junius S. Morgan, 1919 (19.52.17) http://www.metmuseum.org/Collections/search-the-collections/404502

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  • $3 “Nobody’s Perfect” Tier
    • Peter Gardow
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    • Anton Glaving
    • Andrew Meyer
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    • Stuart McCord

Album Tracks:

All music and lyrics by Tony Iommi with additional lyrics by Geoff Nichols, Glenn Hughes, and Jeff Glixman.

Side One:

  1. In for the Kill
    • 7/4 time signature.
    • Lyrics are about Vlad the Impaler and Armageddon.
    • Glenn said this wasn’t one of his favorites.  Called it “demon and drug stuff.”
    • Could be he’s comparing the battle with drugs to a battle with demons.
  2. No Stranger to Love
    • Gordon Copley plays bass on this track.
    • This song was issued as a single.
    • They shot a video for the song and that’s where the shot of Tony on the cover of the album comes from.
    • The video has Bing Crosby’s niece, Denise, in it.
  3. Turn to Stone
  4. Sphinx (The Guardian)
    • Lyrics from Nicholls.
  5. Seventh Star
    • This song was most inspired by the Egyptian Saint Anthony (251-356), who developed Christian monasticism, leading the ascetic life of a hermit in the desert, in an endeavor to rid himself of the temptation to sin and attain spiritual peace and oneness with God.
      1. Written by https://genius.com/CRJ2

Side Two:

  1. Danger Zone
    • Song possibly about drug additction.
  2. Heart Like a Wheel
    • Another Georff Nicholls lyric.
  3. Angry Heart
    • Geoff Nicholls wrote lyrics for this song about the death of his mother.
    • Glixman wrote lyrics about the death of his dog in place of Nicholls’s lyrics.
    • Tony Iommi opted to go with Nicholls’s lyrics instead.
  4. In Memory
    • Written about Tony’s father who had just passed away.

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Reviews:

  • Hughes tells a lot of contradicting stories about himself writing more of the lyrics than Nicholls claims.  He also admits to being in very poor health and very foggy so there’s probably a lot of inaccuracies.  He also admits to only really remembering showing up in the studio and singing the parts.
  • The ensuing tour only lasted five shows.
  • Hughes got into a fight with John Downing, Black Sabbath production manager, that dislodged Hughes’s eye socket sending it into his sinuses, bruising his face, and damaging his throat.
  • Hughes says “Somebody asked me, ‘Is there anything in your life you would like to erase?”  He said that he would erase those five concerts.
  • Hughes says he was having issues with his voice and the injuries from the fight made it worse and he felt horrible going on stage singing in front of more than 10,000 fans knowing he couldn’t sing and he couldn’t cancel the show.  He says he was very grateful to Ray Gillen for stepping in and saving him the embarrassment.
  • Hughes says he also didn’t like singing the old Sabbath stuff because he doesn’t believe int he devil and he doesn’t like singing about the devil.
  • Hughes also says that he believes that Black Sabbath belongs to Ozzy Osbourne and it doesn’t sound right when other singers sing his songs.

For Further Information:

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.
Posted on

Episode #106 – Ozzy Osbourne – Blizzard of Ozz

Watch full video on Cocoscope: https://www.cocoscope.com/watch?v=86051

Disclaimer: The video used on YouTube is a byproduct of producing our audio podcast. We post it merely as a convenience to those who prefer the YouTube format. Please subscribe using one of the links below if you’d prefer a superior audio experience.

Check out more of Nick on his podcast “Pod of Thunder” here: PodofThunder.com

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    • 2021-01-31 – Moodman79 – FIVE STARS!
    • Deep Deep Purple!
    • This podcast is a true deep dive into Purple. No stone left unturned in this podcast as Nathan and John explore those wider family tree branches (not sure that makes sense but i’m sure you get the drift!). These guys deserve your time as they explore one of the greatest bands Rock has ever seen!

Lead up to the Album:

  • Ozzy was in LA auditioning guitarists and hired Randy after two auditions, though Ozzy was so intoxicated he seems to think it was only one.
  • They two of them jammed with Dana Strum and Franki Banali.
  • After auditions Ozzy returned to England where he met Bob Daisley.
  • Management was reluctant to hire an American guitarist as the lineup was intended to be all British.
  • It’s said they wanted to recruit Gary Moore but that he wasn’t interested in the project.

Personnel

  • Bass Guitar, Harmony Vocals, Gong – Bob Daisley
    • Previously with Khavas Jute, Mungo Jerry, Widowmaker, and Rainbow, where we last left him on the show.
    • Daisley and Ozzy met at the Music Machine in Camden Town in Northwest London.
    • Ozzy suggested they form a band with Randy Rhoads having just met him in Los Angeles.
    • Would later leave Ozzy with Kerslake to join Uriah Heep for two albums, “Abominog” and “Head First.”
  • Drums, Percussion, Tubular Bells, Timpani – Lee Kerslake
    • Previously in The Gods, Head Machine, Toe Fat, National Head Band, and of course with Uriah Heep through most of the 70s, 80s, and 90s.
    • He met Ozzy by chance in an elevator at the Kings Cross Hotel in Australia and Ozzy decided to hire him for Blizard of Ozz.
    • Worked with Ozzy on his first two solo albums until his mother became il in 1981 and he left the band to care for her.
  • Guitar [All Guitars] – Randy Rhoads
    • Recorded two albums with Quiet Riot.
    • Ozzy was in LA auditioning guitarists when Dana Strum called Randy Rhoads to persuade him to audition.
    • Rhoads said he never met Ozzy during the audition as he remained in the control room and told him he got the gig.  It was Dana Strum to came out to tell him got the job.  Rhoads said he played only a few riffs.
  • Keyboards – Don Airey
    • Covered extensively on The Deep Purple Podcast.
  • Lead Vocals, Harmony Vocals – Ozzy Osbourne
    • You know who Ozzy is.

Technical:

Album Art & Booklet Review

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    • Duncan Leask
    • Stuart McCord
    • Dr. Gill Breese

Album Tracks:

Side One:

  1. I Don’t Know (Daisley, Osbourne, Rhoads)
  2. Crazy Train (Daisley, Osbourne, Rhoads)
  3. Goodbye to Romance  (Daisley, Osbourne, Rhoads)
  4. Dee (Rhoads)
  5. Suicide Solution (Daisley, Osbourne, Rhoads)

Side Two:

  1. Mr. Crowley  (Daisley, Osbourne, Rhoads)
    • Airey claims writing credits on this song.
  2. No Bone Movies  (Daisley, Osbourne, Kerslake, Rhoads)
  3. Revelation (Mother Earth) (Daisley, Osbourne, Rhoads)
    • Airey claims writing credits on this song.
  4. Steal Away (The Night) (Daisley, Osbourne, Rhoads)

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    • JJ Stannard — NEW PATRON ALERT!

Reception and Review

  • According to Daisley, “When the album was released the words ‘Ozzy Osbourne’ were in bigger print than ‘The Blizzard of Ozz’ which made it look like an Ozzy Osbourne album called The Blizzard of Ozz. Randy [Rhoads] was never one to rock the boat. He knew he was in a situation which was a good opportunity for him being relatively unknown, so when Lee (Kerslake) and I were ousted, Randy had no allies and the act became ‘Ozzy Osbourne’ and no longer a band.”

For Further Information:

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.
Posted on

Episode #105 – Roger Glover – Guest VJ on MTV


Disclaimer: The video used on YouTube is a byproduct of producing our audio podcast. We post it merely as a convenience to those who prefer the YouTube format. Please subscribe using one of the links below if you’d prefer a superior audio experience.

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Social Media Update:

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    • From Denmark – 2020-09-13
    • Vix Steen – 5 STARS!
    • Perfect (Strangers) Purple Podcast!
    • All the way from Denmark! And yes, spreading the word over here constantly , ‘cause this is a bloody awesome podcast. Very interesting, clever, funny hosts, stories, reviews etc so you never lose attention. I had a small problem in the beginning with the low audio during the songs, but I see (and hear) the point now. Plus it makes me play the records REALLY loud after end episode. Thanks a lot guys and keep up the good work! (And let me know if you’re coming to Denmark, then you can stay in my flat and we can all go Jesus Christ Superstar nuts!) BUUUUUUUUUUUUURN!!!!!!! \m/

MTV in the 80s

Our Friend Scott on MTV’s “Total Request Live” – Scott on MTV

Getcha Rocks Off with Mick Wall – 20: The Man in Black – Ritchie Blackmore

Deep Purple’s Roger Glover Guest VJ in March 1987

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Listener Q&A:

simon.berglund_

If you could change one event in Deep Purples history, what would it be and why?

Duncan Leask

@purps70

4h

Replying to

@DeepPurplePod

Which member (or ex) member of DP do you think you could get an interview with? Supplementary question, same as above but for split bands? Or is that giving the game away too much?

Bill Berry

@realbillberry

11h

Replying to

@DeepPurplePod

During album reviews, why do you keep the sound of the music so low compared to your voices?

Roger Maybank

@RogerMaybank

4h

Replying to

@DeepPurplePod

Could you create your perfect five piece Deep Purple line up from the thirteen members that have featured in the band down through the years?

Arjun Mohan

@ArjunM1412

10h

Replying to

@DeepPurplePod

Joe Lynn Turner’s version of The Battle Rages On got my attention. Was it ever recorded? Were there any other songs by Joe on his solo albums that came from there? Blood Red Sky sounds like a Deep Purple song, and One Man’s Meat became Stroke Of Midnight.

Gill Breese

@DrGillBreese

10h

Replying to

@DeepPurplePod

Do you intend to follow a chronological pattern with DPP or will you jump around more with timelines and DP tree ?

Alan Begg

@77alanb77

10h

Replying to

@DeepPurplePod

You can borrow a time machine once and once only. Which gig, Purple or family tree, are you going back to?

Kev Roberts

@BluebirdKev

10h

Replying to

@DeepPurplePod

Ian Paice is the only member of Purple who hasn’t been replaced. If that had ever happened, who would be your choice to fill his boots?

Black Sabbath Fans

@sabbathfans

11h

Replying to

@DeepPurplePod

Actual Q? Uh… Out of all the “What if” scenarios with Purple (New Purple continuing, Ritchie never leaving, Bolin album 2, etc), which do you wish would have happened more than the others?

Davi Leão

@DaviMatosLeao

12h

Replying to

@DeepPurplePod

Do you guys plan on revisiting Whoosh? Maybe after doing all the albums up to InFinite

Georg Baumbach

@BaumbachGeorg

10h

Replying to

@DeepPurplePod

How did you guys become Deep Purple fans yourselves?

Deep Purple – Tuning Peg

Derek & Dave Philpott

@DerekPhilpott

6h

Replying to

@DeepPurplePod

Is this a better cover?

Steve Hunt

@Huntersway67

6h

Replying to

@DeepPurplePod

Do you guys envision a DPP meet up someday/somewhere?

Ariel_SN.

@ArielSNavarro1

6h

Replying to

@DeepPurplePod

What do you think of the possibility to bring Coverdale, Gillan & Hughes together in a show? I know it sounds as an unreachable dream, but it would be good to know your opinion. I am from Cuba

and I follow your profile (twitter) every day. I think you are doing a great job guys

Mike Ladano

@MikeLadano

12h

Replying to

@DeepPurplePod

Beard grooming tips, please.

Norman Weichselbaum

You guys have been in a band together, right? Let us hear some of your stuff!

Jerry Bloom

If you had to be stuck on a desert island with one of Deep Purple who would you prefer it to be?

Darren M Brock

A couple of questions.

Can the shows be made shorter, like an hour? My heart sinks when I see a new show in my feed but….the running time is 2hr 15mins, because I think, I don’t have the time (or patience) to watch it all ?

Also, can the music you play be a little louder? I know you want to talk over it but we also want to hear it.

The title music is very loud, then you guys talk and it’s much lower but then you play a track and it’s lower again

Rich Shailor

Assuming someone had never heard the band, What ONE DP song could you play for them that would give them the best feel or understanding of what the band is about?

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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.
Posted on

Episode #104 – Tony Ashton & Jon Lord – First of the Big Bands

Disclaimer: The video used on YouTube is a byproduct of producing our audio podcast. We post it merely as a convenience to those who prefer the YouTube format. Please subscribe using one of the links below if you’d prefer a superior audio experience.

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Social Media Update:

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    • This week coming to us from Great Britain!
    • Andy USSR, 30/12/2019 – FIVE STARS!
    • Purple people podcast
    • This is a really enjoyable podcast about the best rock band ever (Deep Purple if you didn’t know!) plus the entire Purple family tree. Give it a listen and you will be entertained by the music and the banter between the two hosts!

Lead up to the Album:

  • Tony Ashton had previously worked with Jon Lord when Ashton, Gardner, and Dyke had worked with Jon Lord on his movie soundtrack for “The Last Rebel.”
  • It was recorded at three studios: Air Studios, Apple Studios, and De Lane Lea, all in London.

Personnel

  • Tony Ashton – Hammond organ, piano, vocals
  • Jon Lord – Hammond organ, piano
  • Carmine Appice – Drums
  • Cozy Powell – Drums
  • Terry Cox – Drums
    • Best known for his work with Elton John and David Bowie.
  • Ian Paice – Drums
  • Frank Ricotti – Percussion, vibraphone
    •  
  • Jim Cregan – Guitar
    • Was the bass player in Family working with Tony Ashton on the “It’s Only A Movie” album.
  • Jerry Donahue – Guitar
    • Danny Gatton praised him for being the”string-bending king of the planet.”
    • Part of the folk group Fotheringay with Pat Donaldson
  • Peter Frampton – Guitar
  • Mick Clarke – Guitar
  • Pat Donaldson – Bass guitar
    • Part of the folk group Fotheringay with Jerry Donahue
  • Dave Caswell – Trumpet
  • Mike Davis – Trumpet
  • John Mumford – Trombone
  • Dick Parry – Saxophone
    • Worked with Pink Floyd and provided the solos on the songs “Money,” “Us and Them,” and “Shine on You Crazy Diamond.”
  • Howie Casey – Saxophone
    • Featured on Malice in Wonderland
    • Also worked with Paul McCartney in Wings
  • Madeline Bell – Backup vocals
  • Tony Ferguson – Backing vocals
  • Jimmy Helms – Backing vocals
    • Vocalist from The Butterfly Ball
    • Also a member of Londonbeat
  • Kenny Rowe – Backing vocals
  • Graham White – Backing vocals
  • Jo Ann Williams – Backing vocals
  • Roger Willis – Backing vocals

Technical:

Album Art & Booklet Review

Thanks to Our Core Level Patrons:

  • The Episode $6.66 Tier
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    • Peter Gardow
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    • Mark Roback
    • Anton Glaving
    • Will Porter
    • Andrew Meyer — NEWS FLASH: ALSO A DOCTOR!
    • Duncan Leask
    • Stuart McCord
    • Dr. Gill Breese

Album Tracks:

Side One:

  1. We’re Gonna Make It (Ashton, Lord)
  2. Downside Upside Down (Ashton, Lord)
  3. Band of the Salvation Army Band (Ashton, Lord)
  4. Silly Boy (Ashton, Lord)
  5. Surrender Me (Ashton)

Side Two:

  1. Celebration (Ashton, Lord)
  2. I Been Lonely (Ashton)
  3. Shut Up (Ashton, Lord)
  4. Ballad of Mr. Giver (Ashton, Lord)

Thanks To Our Foundation Level Patrons:

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Reception and Review

  • hh

For Further Information:

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.
Posted on

Episode #103 – Whitesnake – Lovehunter

Video was live on YouTube for a few hours but then got banned because ”
we think it violates our sex and nudity policy.”

You can find a link to the video of the episode on Cocoscope here: https://www.cocoscope.com/watch?v=85112

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Lead up to the Album:

  • The album was recorded in April and May of 1979 at Clearwell Castle in Gloucestershire using the Rolling Stones Mobile.
  • Marsden says it was freezing cold during the recording.  He said the cold and “soulless” nature of the castle made you work harder.  He says there were enormous banquets at night with a lot of drinking.
  • Marsden says they put a sign up at the castle entrance saying that it was closed because John Travolta was filming a movie there.  He said this was right after “Grease” was released and the people nearby went crazy trying to get in.

Personnel

Technical:

  • Engineer, Producer – Martin (P.C.) Birch*
  • Bernie Marsden said he felt almost spoiled having worked with Martin Birch so much early on, praising his work as an engineer and producer.
  • Moody also talks about how Birch would see the best qualities in everyone and was really great at bringing them out on the record.
  • Murray also sings Martin Birch’s praises saying that he was really laid back but also didn’t let any bad mistakes get by.

Album Art & Booklet Review

  • Art Direction – John Pasche
    • http://johnpasche.com
    • Worked with The Rolling Stones and designed the famous Lips logo.
    • Also worked with Fleetwood Mac and a number of other bands
  • Artwork [Logo] – Jim Gibson (2)
    • Also worked on several Jethro Tull albums
Chris sent us a section of his preliminary master drawing for the album artwork. The whole piece is for sale so please contact him here if interested: http://chrisachilleos.co.uk/contact/

Also, mention that you heard about it on The Deep Purple Podcast if you could!
  • Illustration – Chris Achilleos
    • http://chrisachilleos.co.uk/
    • http://en.wikipedia.org/wiki/Chris_Achilleos
    • Did illustration for Uriah Heep’s “Fallen Angel” album, Heavy Metal The Motion Picture.
    • It’s been reported that after designing this controversial cover he had a policy of not working with bands.  Chris debunked this in a discussion with the show.
    • The original artwork for this album was stolen and sold to a private collector.
    • https://magpiehtx.com/chris-achilleos/
    • The official word from Chris Achilleos in discussion with The Deep Purple Podcast:
      • I am quite reluctant to talk about this artwork to strangers. I have been stung before in the past and don’t want it to happen again.
      • I just want you to know that the painting was taken from me in good faith by someone I came to trust as a friend from LA in the ’80s, together with six other important paintings and then just disappeared on me! 
      • The Whitesnake a/w was listed to be auctioned in the ’90s by someone, but I put a stop to it when I heard about it. The painting was never returned to me by the NY auction company, in spite of me asking many times for its return. They claim that it’s somewhere in there building, but they cannot find it! 
      • If somebody has claimed that they have it, then they got it by not legal means. The rest of the paintings turned up in NY. Somebody bought them for nothing from a street market but refuses to deal with me. The world is full of bastards! 
      • I do still have my prelim/master drawing for it if you know of anyone who might be interested in it.
  • Photography By – Hiro Ohno
    • Worked with Whitesnake on a number of albums after this.
    • Also worked with Dr. Feelgood (the band, not the Motley Crue album).
  • The cover obviously caused some controversy.
  • Marsden says that he doesn’t remember that much push back about the cover.  Marsden remembers that “Come an Get It” caused many more problems and had to have an alternate cover in America.

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Album Tracks:

Side One:

  1. Long Way from Home (Coverdale)
    • Was the first single issued from the album.  It reached No. 55 in the British charts.  B-side was “Walking In The Shadow Of The Blues.”
    • Marsden says that Coverdale delivered this song pretty much as is to the band and that he just dubbed guitar parts.  He said David did very good demos.  “Good song, very good song.”
    • Foreigner had had a hit in 1977 called “Long, Long Way From Home” so even though Coverdale pretty much says the same thing in this song they decided to take one Long out of the title to avoid any confusion.
  2. Walking in the Shadow of the Blues (Coverdale, Marsden)
    • Marsden says this is one of the best songs they ever wrote.
  3. Help Me Thro’ the Day (Leon Russell)
    • Marsden describes this as a follow up to “Ain’t No Love In The Heart Of The City.”
  4. Medicine Man (Coverdale)
  5. You ‘n’ Me (Coverdale, Marsden)
    • This was recorded first for Bernie Marsden’s solo album “And About Time Too.”
    • Coverdale suggested they do it with the band as well.
    • Marsden: “It’s just the usual kind of rhythm and blues, girl meets boy, girl loses boy, man loses girl, kind of thing.  Nothing too deal, really.”

Side Two:

  1. Mean Business (Coverdale, Moody, Marsden, Murray, Lord, Dowle)
    • Marsden says this was the only time he and Coverdale had a disagreement in the studio in the early days.  Bernie thought it was too heavy metal.  He didn’t think it’s how the band should be sounding.  He says over the years he’s realized that David was right.
    • Marsden says he doesn’t think there’s a heavier Whitesnake song up until the 1987 album.
  2. Love Hunter (Coverdale, Moody, Marsden)
    • Martin Popoff says of this track: “It has a bit of a Kiss vibe down Gene Simmons’ side of the stage.”
    • Marsden says he wrote the riff and verse, Moody wrote the slide parts, and Marsden wrote some lyrics something along the lines of “looking out for your, babe.”  He says David went off and came back with better lyrics and that it was recorded very quickly.
  3. Outlaw (Coverdale, Marsden, Lord)
    • Coverdale calls The Allman Brothers’ first album his blueprint for Whitesnake.
    • Marsden says Coverdale told Bernie this was his song and Lord didn’t even want writing credits but Marsden insisted given how much impact his parts had on the song.
    • Sort of made it into a tradition of Marsden getting a vocal on each album.
    • Marsden says there’s a little Thin Lizzy in there as he always respected Phil Lynott.
  4. Rock ‘n’ Roll Women (Coverdale, Moody)
    • Marsden thinks he may not play on this track and that it happened from time to time.
  5. We Wish You Well (Coverdale)
Edited cover on the Argentinian release.

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Reception and Review

  • Marsden said that critics were starting to take the lyrics of the band too seriously and that they didn’t take themselves very seriously.  Marsden: “Lie down, I love you; it’s not Shakespeare.  You know, if somebody’s going to say that, it’s like, seriously, what do you think? No, of course I’m not being serious.”
  • Ian Paice joined Whitesnake so soon after recording that Coverdale wanted to have him do the drums over but management vetoed the idea for financial reasons.
  • Marsden says this is a transitional album. He says Lovehunter is where they started to blossom in terms of signs and performances.  Marsden says the first to albums before Paice were solid but they lacked direction.
  • Trouser Press’s Jon Young:
    • When a heavy-duty macho band starts to slow down, or exhibits less than blind certainty about what it’s doing, expect trouble. The problem isn’t that Whiesnake is engaged in a rehash of boogie/Bad Co. riffs (though that is certainly the case); the fatal flaw is they sound like they’ve heard it all before. How many ways can you thump your chest and grunt?”
  • Moody says that the budget on the first two albums was pretty limited.
  • Moody and Marsden seem to credit Ian Paice with putting the band more on course to what it would inevitably become.
  • Marsden says they toured mostly in the UK and Europe and that they were accused of being “unfashionable.”  He says that when they realized they were selling out all the venues on the tour they said, “Well, let’s carry on being unfashionable.”

Reviews:

  • Melody Maker
  • Sounds
  • New Musical Express
  • daily Express
  • Record Mirror
  • Rock Steady!

For Further Information:

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.