Category: Show Notes

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Album Tracks:

All songs written by David Coverdale and Doug Aldrich

1. Summer Rain
2. Lay Down Your Love
3. A Fool in Love
4. Got What You Need
5. ‘Til the End of Time

Japanese Bonus Tracks

• All for Love (Doug Aldrich guitar solo)
• Summer Rain (Acoustic version)

European Bonus Disc

• Summer Rain (Acoustic Version
• All I Want All I Need (Radio edit)
• Take Me With You (Live
• Ready to Rock (Enhanced video)

US/Canadian bonus CD; all tracks taken from Live in the Shadow of the Blues

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Bustin’ Out The Spreadsheet

Reviews

• https://web.archive.org/web/20130120085952/http://heavymetal.about.com/od/cdreviews/fr/whitesnakegoodt.htm
  • 3.5/5
  • Whitesnake has been around for 30 years, and a band with that sort of longevity has to fight to stay modern and relevant. When it comes to new material from bands we grew up with, fans can be ambivalent. We’d rather hear “Still Of The Night,” “Here I Go Again” or “Is This Love” for the billionth time than something new.
  • With Good To Be Bad, Whitesnake proves they still have plenty left in the tank. The 2008 lineup of the band includes vocalist David Coverdale, guitarists Doug Aldrich (Dio) and Reb Beach (Winger, Dokken), bassist Uriah Duffy (Travers/Appice), keyboardist Timothy Drury (Don Henley) and drummer Chris Frazier (Steve Vai).
  • The songs on the CD are classic Whitesnake, full of big guitar riffs and melodic hooks. There’s a nice combination of rockers and ballads, and Coverdale’s voice, although a bit raspy at times, still sounds great. In a different era there would have been about 4 huge radio hits on this CD, and Whitesnake fans should really enjoy Good To Be Bad.
  • (released April 22, 2008 on SPV Records)
• https://www.allmusic.com/album/good-to-be-bad-mw0000784829
  • 4 out of 5
  • Good to Be Bad Review by Thom Jurek
  • Good to Be Bad marks Whitesnake’s 30th anniversary as a band — though frontman David Coverdale is the only original member. It’s their first studio album since 1998’s Restless Heart, which was never released in the United States. The current incarnation of Whitesnake is Coverdale, guitarists Doug Aldrich and Reb Beach, bassist Uriah Duffy, keyboardist Timothy Drury, and drummer Chris Frazier. Frazier is the band’s newest member; the others appeared on 2006’s Live…In the Shadow of the Blues. This is a seasoned road group, but it remained to be heard if they could pull it off in the studio. The answer is hell yes! Listening to this wondrous racket, it seems strange that such a timeless sound has vanished from mainstream rock — guitars just don’t sound like this on records anymore. What’s really weird is that this sound, as seemingly “retro” as it is in recalling the 1980s, is actually a real alternative to what’s on corporate radio in the 21st century. There are some outstanding cuts here. “All for Love,” the album’s centerpiece, contains a majestic power chord intro. It evolves into the big bad four-note riff that the tune hinges on. It’s got a killer rough-and-rowdy hook in the refrain that’s trademark Whitesnake. Another killer arrives with the wild unhinged blues licks that open “Best Years.” The tune’s riff is an inversion of the Allman Brothers‘ “Whipping Post,” and the verse is based on the same changes. This tune is one of the hardest rockers to come swaggering down the stadium rock alley in a dog’s age. “Can You Hear the Wind Blow” features enormous guitars and shimmering keyboards that contrast with the blues wail in Coverdale‘s voice. There is déjà vu here, too: the hook is reminiscent of “Rock You Like a Hurricane” by the Scorpions. Aldrich‘s guitar playing is a huge boon to the Whitesnake sound. He’s obviously listened to Jimmy Page, and the slippery, knotty, and funky blues licks in tracks like “Call on Me” reflect that, but his sound with its effects pedals is more overdriven and bigger than life, offering the base for Whitesnake’s core sound — straight-out festival rock, y’all. This wouldn’t be a Whitesnake recording without a power ballad, and “Summer Rain” is a beauty. Coverdale sings a country-tinged melody; he’s all vulnerable singing above a washed-out meld of acoustic guitars and a gently but insistently swelling organ, kissed by cymbals and a bass drum. Of course, there’s an enormous electric guitar solo near the end to bring it home. Coverdale‘s voice is lower in the 21st century, but just as effective in Whitesnake’s brand of hard rock. “A Fool in Love” begins with the sound of a crackling vinyl record; it gives way to pure balls-out blues-rocker, with slide guitar in Brit metal overdrive. The closer, “‘Til the End of Time,” starts as an acoustic blues, but by the time the big tom-toms roll in and the keys weave through those guitars, it feels like something off Led Zeppelin III. Coverdale has always stuck very close to his blues-rock roots and continues to mine them; his brand of ROCK with chugging outsized guitars is palatable because of his reliance on crafting excellent choruses and hooks. It’s a hell of a comeback and ranks right near the top of the Whitesnake catalog.
• https://www.theguardian.com/music/2008/apr/18/popandrock.shopping4
  • 3 out of 5
  • (steamhammer)
  • “I wouldn’t want to be singing Slide It In in front of a bunch of blokes,” said the Snake’s David Coverdale last weekend. You don’t get those sort of quotes from Foals, which may explain why the unreconstructed heavy rockers’ return is being greeted with joy in older metal circles. On their first album for 11 years, the veteran band Coverdale now jokingly dubs “Greysnake” robustly fight off any musical developments that have taken place since 1979. Dragons are slain, winds blow, heads bang, solos twiddle and a body shakes – unfeasibly – “like a red hot tree”.
  • It’s as unfashionable as a leather raincoat, but Summer Rain and Lay Down Your Love boast industrial-strength choruses straight from the days when the sight of Coverdale and codpiece on MTV convinced alarmed parents to lock up their daughters and stuff loo roll in their ears.
• https://www.ign.com/articles/2008/04/22/whitesnake-good-to-be-bad-review
  • 8.1/10
  • Whitesnake – Good To Be Bad Review
  • Coverdale and Co. prove that there is indeed, life after the ’80s.
  • By Jim Kaz
  • Updated: May 12, 2012 4:44 am
  • Posted: Apr 22, 2008 2:18 pm
  • Out of the ashes of Deep Purple, a young and ambitious David Coverdale struck out on his own with Whitesnake toward the end of the ’70s. With major success overseas the blues-infused combo was unable to crack the US until its breakthrough 1987 album hit the streets a decade later.
  • Tweaking the sound and style, Coverdale recruited a new, more camera-friendly lineup for videos and touring, putting forth a slick pop-metal package tailor-made for American airwaves and MTV. The formula worked a charm and the album sold millions, thanks in part to glitzy videos featuring Coverdale’s belle-of-the-day Tawny Kitaen spread eagle on the hood of his Jag.
  • But criticisms were rampant, coming from the highest echelons of rock hierarchy with people like Robert Plant hammering the band for stealing his shtick. All the egos, excess and Zeppelin-isms would eventually put Coverdale in the unenviable position as poster child for the pomp and poof of the ’80s hair-band movement.
  • 
  • Now after more than a decade of obscurity, the band is back for another shot. While it’s difficult to really think of this as a Whitesnake album with just one original band member, I resolved myself to look past that and judge it solely on the sounds. Fortunately, it was a pretty easy sell.
  • The songs fall somewhere between the bluesy bits of the early days and the high-gloss sheen of the poster-child era. The lineup that features vet Tommy Aldridge on drums is deft enough, but not so flashy as to upstage the boss. And with a booming, organic production, the sounds are also a bit different from what you might expect of a 21st century hard rock album, and that’s what ultimately makes this one stand out. Like a well-worn leather jacket, Good To Be Bad has a warm familiarity about it that just feels right…whenever.
  • The opening thud of “Best Years” sets the tone with thick, chugging guitars and a blanketing organ line that provide the perfect foundation for Coverdale’s signature snarl. The semi-autobiographical lyrics hint at how good it is to be back in the game, a sentiment that comes through in spades throughout the album. “Can You Hear The Wind Blow” is another bluesy jaunt that would easily fit in with the band’s late ’70s repertoire. “A Fool In Love” goes straight for the retro factor, even including pops and crackles in its bluesy intro.
  • No Whitesnake album would be complete without a couple big ballads, and this one’s no exception. “All I Want All I Need” recalls the prior hit “Is This Love” and is eerily similar to the soul standard “I’ll Be Around” in its verses. But the band shines on the acoustic-based “Summer Rain,” which possesses all the soul and authenticity a thousand and one hair bands failed to capture back in the day. On the flipside, the addictive “Lay Down Your Love” is sure to rouse the haters as it unabashedly apes Led Zeppelin’s “Black Dog” in its own seedy, hard-rock grooves. But, in a sense, it’s the best song the Zeps haven’t recorded in years.
  • A few faux-pa’s aside Good To Be Bad has enough shining, mega-rock moments to endear itself to fans old and new. Without posturing or pretension, it just rocks.
  • Download Worthy:
  • 1. “Best Years”
  • 2. “All For Love”
  • 3. “Lay Down Your Love”
  • 4. “Got What You Need”
  • 5. “Summer Rain”
• https://www.metal.de/reviews/whitesnake-good-to-be-bad-10123/
  • 7/10
  • Haaa… ein neues WHITESNAKE-Album! Unglaublich, oder? Ich hätte nicht damit gerechnet, dass die Schlange noch zuckt, geschweige denn damit, dass es irgendwann noch mal ein neues WHITESNAKE-Album geben würde. Wer das bisher ebenso sah, liegt auch nicht ganz falsch. Denn von WHITESNAKE ist außer dem großen Namen und Sänger David Coverdale nichts geblieben.
  • Als vor rund 20 Jahren ”1987“ erschien, war dies für viele alte WHITESNAKE-Fans der Schlusspunkt unter der Geschichte einer großartigen Hardrockband, in deren Analen große Namen wie Jon Lord, Neil Murray, Ian Paice, Cozy Powell und natürlich das kongeniale Gitarrenduo Moody/Marsden einige unter vielen waren. Vom grandiosen Bluesrock und den doppelbödigen Balladen vergangener Tage war nahezu nichts geblieben, stattdessen schwang da ein gewisser Adrian Vandenberg die Klampfe wie ein kanadischer Holzfäller die Spaltaxt, WHITESNAKE klangen irgendwie nach Heavy Metal und das war ganz blöd. Sagten jedenfalls viele; für mich war’s die erste Scheibe auf der WHITESNAKE stand und ich war völlig begeistert.
    Tja, dann kam ’ne ganze zeitlang nix mehr. Vor zehn Jahren erschien das akustische -quasi ohral, höhö- zu verabreichende Brechmittel ”Restless Heart“ von DAVID COVERDALE & WHITESNAKE, und auch ich fiel vom Glauben an die weiße Schlange ab.
  • Groß war dann die Überraschung, von einer Tour und DVD im Jahre 2006 zu hören und auch davon, dass WHITESNAKE sich zwecks Aufnahme eines neuen Albums im Studio befänden. Tja, inzwischen sind sie wieder aus dem Studio raus, die Platte ist gepresst und liegt zum Kauf im Laden. Die Frage ist jetzt, ob man sich ”Good To Be Bad“ denn auch kaufen kann/darf/soll. Alte Fans können hier wenig falsch machen. Zwar gibt’s nicht viel Blues auf ”Good To Be Bad“, dafür aber wirklich angenehme Rocknummern und drei Balladen, hiervon sogar eine echt tolle, akustisch instrumentierte (”Summer Rain“). Super! Mit der hier gebotenen Balance kommen höchstwahrscheinlich auch jüngere Freunde der Schlange gut klar, so dass diese herrlich unzeitgemäße Scheibe ein echter Hit in diesem Sommer werden könnte.
    Nach wie vor eindrucksvoll ist das kraftvolle Organ von Mr. Coverdale, der allen Nachwuchsträllerern einmal mehr zeigt, wo und wie hoch der Hammer bzw. das Mikro hängt. Hut ab! Einziger Wermutstropfen ist, dass es auf ”Good To Be Bad“ keinen so richtigen Kracher wie ”Still Of The Night“ oder die Überhymne ”Here I Go Again“ gibt. Na, dann eben beim nächsten Mal. Ich jedenfalls freue mich schon ganz doll auf den Sommer, auf die Festivals und darauf, WHITESNAKE mal live zu sehen.
• https://www.metal-hammer.de/artists/whitesnake/
  • 6/7
• https://metalstorm.net/pub/review.php?review_id=5442
  • 8.0
  • Nineteen years after the last official release of Whitesnake, the new album of the British combo is finally out, and yes that’s great to see that the band is back and better than ever. If David Coverdale was wondering if the fans were waiting for a new release I can tell him that yes, after the excellent “Live: In The Shadow Of The Blues” released in 2006 we were all waiting for a new release. The good thing here is that we will not be disappointed, Whitesnake’s new album just rocks!
  • It was maybe tricky to do a comeback after so many years (yes I know that David Coverdale released “Restless Heart” in 1997, but it was not a real album of Whitesnake and it was finally a bit anecdotic in the end) but I have to concede that Coverdale didn’t do any mistakes with this new release. Sure, the album features some love ballads which are a bit boring (but that’s not surprising too?) but in general the real Heavy songs are great. “Best Years” or “Can You Hear The Wind Blow” both have great guitars riffs (which probably come from the influences of Doug Aldrich), those songs (and they’re just examples) are great and super Heavy. Maybe that I cannot say that we’re reaching the level of a “Still Of The Night” or “Crying In The Rain” but then really we’re just behind them? All in all, if you like “1987” I quite sure that you’ll love “Good To Be Bad”, the new album is not surprising that’s right but it’s classy Heavy / Hard Rock really.
  • I really like Doug Aldrich and Reb Beach and I think that they give a lot of energy to the new music of Whitesnake. The other musicians do a great job here and the performance of David Coverdale is quite impressive, he is still a 
  • great singer for sure. The only problem for me with this release actually comes from its lyrics. Ok, I’m already hearing some people who’re saying that it’s “Whitesnake” and I agree, but I was expecting something else than love and blabla and unfortunately, one more time the lyrics are a bit? well you know, they talk about “love”, you see what I mean? Despite this negative point, the album is full of great music and its recording is perfect. Really I’m happy to say that Whitesnake’s comeback was not done for nothing and let’s hope that we will have the chance to see them on the road this year, with those new songs it will simply kick some asses live!
  • Yes, you have the answer now, “Good To Be Bad” is a really good album. This is maybe not the best Whitesnake but for sure this is among their best releases and that’s a lot better than a lot of their albums. Coverdale is not so young now but he still haves the class and he still knows how to write good songs. “Good To Be Bad” will be one of the greatest Hard Rock albums of the year 2008, guys that’s good that you’re back.
  • Rating breakdown

Performance:	9
Songwriting:	7
Originality:	7
Production:	9

• Written by Jeff | 28.04.2008

• https://web.archive.org/web/20150527225827/http://www.popmatters.com/review/whitesnake-good-to-be-bad/
  • 6 out of 10
  • Whitesnake
  • Good To Be Bad
  • by Marc A. Price
  • 10 August 2008
  • “It’s very butch. Very muscular…” says David Coverdale about the first Whitesnake album in 11 years. Pause for a while and take that in.
  • The endless 25th anniversary reunion of the masters of hairspray metal is into its sixth year and has spawned Good To Be Bad. Coverdale & Co. are not known for releasing groundbreaking material so one might be forgiven for expecting no surprises on first listen. One would be wrong. The biggest surprise is that it is not a bad record. Sure, it is full of double entendre-fueled cock rock, but as far that oeuvre goes this is a pretty respectable example.
  • 
  • Whitesnake
  • Good To Be Bad
  • (SPV)
  • US: 22 Apr 2008
  • UK: 21 Apr 2008
  • Amazon
  • iTunes
  • This is a summer blockbuster of a record. It is akin to Indiana Jones and the Kingdom of the CGI Gopher in so far as it does exactly what it says on the tin. People will enjoy both because they provide an opportunity to relive past youth (and hair) without taxing the brain in any way, shape, or form. Granted, Harrison Ford will be banking more cash as a result of his endeavor, but that is what you get if you keep retiring and then coming back, Dave.
  • This album ticks all of the boxes for devotees of the band. It drives down the familiar lane of Led Zeppelin riffs, big choruses, and is overflowing with “sexy” lyrics. While unlikely to win over any new fans, it will give the band something to sell at gigs. So, take her top down, ease the seat back, slide it in, and ride her at full pelt with this blasting from her speakers at full volume. Sometimes it’s Good To Be Bad.
• https://recordcollectormag.com/reviews/album/good-to-be-bad
  • 4 out of 5
  • While 1987 has yet to be surpassed by the Saltburn singer and his ever-changing stellar cast of players, this celebration of 30 years of the Snake is a fine salute, running to 11 quality cuts of melodic hard rock. Best Years begins in amiable fashion, before the beefy riffs and rhythm of Call On Me, the acoustic-shaped balladry of All I Want All I Need, and the Thin Lizzy-like romp of All For Love. Coverdale’s gruff vocals
    are pitched over sweet harmonies to good effect on Summer Rain, while Got What You Need ups the fret factor. Lay Down Your Love is the nearest to a 1987 classic,
    but there’s enough to be going on with besides.
  • Tags
    Whitesnake
  • SPV | 80001131 CD
• https://www.rockhard.de/reviews/whitesnake-good-to-be-bad
  • 8.0
  • WHITESNAKE
  • Good To Be Bad
  • Review
  • Reinhören
  • (59:28)
  • Richtig beschwert hat sich kaum ein WHITESNAKE-Fan darüber, dass seit einem Jahrzehnt kein neues Album erschienen ist. Stattdessen freute man sich über eine grandiose DVD und zahlreiche mitreißende Auftritte. Vielleicht war das aber auch nur reiner Pragmatismus, weil man lieber ohne neue Scheibe auskommen wollte, als sich eventuell über einen billigen und halbherzigen Abklatsch früherer Glanztaten ärgern zu müssen. Tja, da wurde Mister Coverdale wohl gnadenlos unterschätzt. Der WHITESNAKE-Frontmann belehrt uns jedenfalls eines Besseren, indem er sich mit dem großartigen Gitarristen Doug Aldrich im Studio verschanzte und elf Stücke aufnahm, die einen perfekten Querschnitt aus Hitalben wie „1987“ und „Slide It In“ bieten.
  • Natürlich könnte man behaupten, „Good To Be Bad“ sei am Reißbrett entstanden und wäre absolut berechnend, aber wen interessiert das? WHITESNAKE-Fans werden überglücklich sein, Tracks wie die grandiose Ballade ´All I Want All I Need´ und die (Blues-)Rocker ´Good To Be Bad´, ´A Fool In Love´, ´Can You Hear The Wind Blow´, ´Lay Down Your Love´, ´Best Years´ oder ´All For Love´ hören zu können, und bekommen genau das, was sie wollen: einen grandiosen Gitarrensound, der klingt, als ob es seit den Achtzigern nie Besetzungswechsel bei WHITESNAKE gegeben hätte, eine immer noch unter die Haut gehende Stimme, klasse Ohrwürmer aus der Blues- und Melodic-Ecke und natürlich jede Menge Love.
  • Autor:Jenny Rönnebeck

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For More Information:

• https://en.wikipedia.org/wiki/Good_to_Be_Bad
• https://www.discogs.com/release/1342108-Whitesnake-Good-To-Be-Bad

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Postcards From The Edge . . . OF CONNECTICUT!

• More from The Gardow and Ralphie!

Lead up to the Album:

• The last Whitesnake album we reviewed was 1997’s “Restless Heart” which was truly a David Coverdale solo album.
• On Christmas Day in 2002 David Coverdale announced “The Snake Rides Again” on the Whitesnake website.
  • https://web.archive.org/web/20030201085722/http://www.whitesnake.com/index2002H.html
  • Tommy Aldrich
  • Marco Mendoza
  • Reb Beach
  • Doug Aldrich
  • Timothy Drury
• This lineup performed live and the live album “Live . . . In The Still of the Night.” Marco Mendoza was replaced with Uriah Duffy who joined them for “Live: In The Shadow of the Blues.”
• Tommy was then replaced by Chris Frazier for the recording of “Good To Be Bad.”
• The band continued to tour starting in 2003 to celebrate the band’s 25th anniversary.
• Coverdale claimed the tour was “just for fun” and wouldn’t be prolonged, the band started coming up with new material.

Core Band:

• Bass – Uriah Duffy
  • http://www.uriahduffy.com/
  • Born in Rhode Island.
  • Worked with Christina Aguilera both studio and touring, Pat Travers, Carmine Appice.
• Drums – Chris Frazier
  • http://chrisfraziermusic.com/
  • https://en.wikipedia.org/wiki/Chris_Frazier
  • Toured with Eddie Money, Steve Vai, Tia Carrere, Carole King, and more.
• Guitar – Doug Aldrich
  • http://www.dougaldrich.com/
  • https://en.wikipedia.org/wiki/Doug_Aldrich
  • Auditioned to replace Ace Frehley in Kiss through Eric Carr’s girlfriend (Carrie Stevens?). Was in the band Lion as well. Was offered a part in Slaughter but turned it down. Was also in Bad Moon Rising and Dio before joining Whitesnake.
• Guitar – Reb Beach
  • http://www.rebbeach.com/
  • https://en.wikipedia.org/wiki/Reb_Beach
  • Went to Berklee in the 80s.
  • Worked with Chaka Khan, The Bee Gees, and Twisted Sister.
  • Met Kip Winger and formed the group Winger with Rod Morgenstein of Dixie Dregs fame.
  • After Winger disbanded Beach had stints in Alice Cooper and also took over for George Lynch in Dokken.
  • He joined Whitesnake after this.
  • He has since been involved in Night Ranger, the reformed Winger, and the supergroup The Mob with dUg Pinnick and Kelly Keagy.
• Keyboards – Timothy Drury
  • http://www.timothydrury.com/
  • https://en.wikipedia.org/wiki/Timothy_Drury
  • Has worked in The Mob with Reb Beach, with Stevie Nicks, and The Eagles, and Don Henley.
• Vocals – David Coverdale

Technical:

• Legal – Jeffery Light, Myman, Abell, Fineman, Fox & Light
• Management [Business] – David Weise & Associates
• Mastered By – David Donnelly*
• Producer, Engineer, Mixed By – David Coverdale, Doug Aldrich, Michael McIntyre, The Brutal Brothers
  • Michael McIntyre has been working with David Coverdale going back to Coverdale / Page and has been involved in all the recent years’ remasters and re-workings of older Whilesnake materia.
  • Refers to Coverdale, Aldrich, and McIntyre. Also known as Los Bros Brutalos
• Technician [Assistant Drums Recorded] – Preston Boebel
  • https://www.instagram.com/prestonboebel/
  • Was engineer at Clear Lake Recording where this was done.
• Engineer [Drums Recorded] – Mike Tacci
  • https://x.com/miketacci
  • https://www.facebook.com/mike.tacci
  • Worked with Bad English, L.A. Guns, Steve Lukather, McAauley Schenker Group, Lynch Mob, Bullet Boys, and more!
• Executive-Producer – David Coverdale
• Booking – ITB
• Booking [Agent] – Rod MacSween

Album Art & Booklet Review

• Artwork, Design – DC*, Hugh Gilmour
  • http://ww.gilmourdesign.co.uk/
  • Worked with Nazareth, ELP, Black Sabbath, W.A.S.P., Iron Maiden, and many, many more.

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• Recorded At – Casa Dala
• Recorded At – Snakebyte Studios
• Recorded At – Clear Lake Recording
• Mixed At – Hook City

Album Tracks:

All songs written by David Coverdale and Doug Aldrich

1. Best Years
2. Can You Hear The Wind Blow
3. Call on Me
4. All I Want, All I Need
5. Good to Be BAd
6. All for Love

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For More Information:

• https://en.wikipedia.org/wiki/Good_to_Be_Bad
• https://www.discogs.com/release/1342108-Whitesnake-Good-To-Be-Bad

Listener Mail/Comments

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Mark 2’s First Live Show:

10 July 1969 – London, Speakeasy Club – UK

https://www.purple.de/dirk/purple/tours/1969/69-07-10.php

It happened to be Mark 2’s first live performance, as Ian Gillan recalls “I felt absolutely elated at joining Purple. When I first heard them I had never been moved musically so much in my life. At the time Deep Purple were the greatest band I could join. It made me realise I had to work much harder than I had ever worked before.”

Ian Gillan

These were the guys I fronted on 10 July 1969 on a tiny stage at the Speakeasy in Margaret Street in London’s West End. I stood before my peers that night – pros, other musicians and people in the music business. As soon as we started, the place went ‘Wooah’. It was awesome, and I just coasted through – the feeling of power indescribable. I played congas, for want of something to do during an instructional, and I cried – oh I cried.

Ian Gillan talks his first performance with Deep Purple

https://www.purple.de/dirk/purple/mark2.php#1969

Setlist for First Show July 10, 1969 with Mark 1 Comparisons

https://www.setlist.fm/setlist/deep-purple/1969/speakeasy-london-england-53d85f4d.html

• Hush
  • Concerto for Group and Orchestra
  • https://www.purple.de/dirk/purple/tours/1969/69-10-04.php
  • Mark 1:Deep Purple – Hush (TV, 1968)
  • Mark 1:01 Hush
  • Mark 2:Deep Purple – Hush (live : Concerto for Group and Orchestra)
• Kentucky Woman
  • https://www.purple.de/dirk/purple/tours/1969/69-10-04.php
  • Mark 1: 02 Kentucky Woman
  • Mark 2: Deep Purple Kentucky Woman live
    • October 4, 1969 – Montreux Casino
• Hallelujah
• Bird Has Flown
  • BBC Sessions?
  • According to Setlist.fm Deep Purple only performed this song live 5 times.
    • https://www.setlist.fm/stats/deep-purple-3bd6acc8.html?year=1969
      • Only 2 times with Mark 1:
        • February 11, 1969 at Maida Vale Studios in London
        • April 15, 1969 at Eastern Washington Fieldhouse, Cheney, WA, USA
        • No official recordings or  bootlegs of the Mark 1 performances exist
        • Version from album.
      • And 3 times with Mark 2:
        • July 10, 1969 at Speakeasy in London
        • August 11, 1969 at BBC Radio 2 in London
        • September 28, 1969 at BBC Radio 5 in London
  • Mark 1:
  • Mark 2: The Bird Has Flown (live)
• Wring That Neck
  • MANY including Paradisio
  • Mark 1: Deep Purple – Wring That Neck (Live in the recording Studio, 1968)
  • Mark 2: Deep Purple – Wring That Neck (Jazz Bilzen, 1969)
  • Mark 2: Deep Purple – Wring That Neck [Prelude] / Mandrake Root [Jam Section] – Jazz Bilzen, Belgium, 1969
• Paint It Black
• Hey Joe
• Mandrake Root
  • Mark 1: https://www.youtube.com/watch?v=lcjJU8bVKZ8&list=PL4cFJtUcmjZm0lAebsy9SX8n6h_MLTwkd&index=3
  • Inglewood, CA – 
  • 24 August 1969- Paradisio, Amsterdam
  • https://www.purple.de/dirk/purple/tours/1969/69-10-11.php
  • https://www.purple.de/dirk/purple/tours/1970/70-01-15.php
  • Deep Purple – Mandrake Root (Live, Germany, 1969)
    • October 11, 1969 – live at the  International Pop And Blues Festival on 11 October 1969 at the Grugahalle in Essen, Germany.
• St. Louis

DEEP PURPLE – LIVE IN AMSTERDAM 1969 & 1970 – BOOTLEG – Full HD

https://www.discogs.com/release/3236491-Deep-Purple-The-BBC-Sessions-1968-1970

https://www.setlist.fm/search?artist=3bd6acc8&page=7&year=1969

https://www.setlist.fm/stats/average-setlist/deep-purple-3bd6acc8.html?year=1969

The Painter – https://www.setlist.fm/setlist/deep-purple/1969/bbc-radio-5-live-london-england-2bb8c812.html

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Listener Mail/Comments

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Postcards From The Edge . . . OF CONNECTICUT!

• Coming to us from Disneyland’s Adventure Through Innerspace (brought to you by Monsanto).

Live Show Review of Graham Bonnet Band

• New Bedford, MA
• May 9, 2025
• https://www.setlist.fm/setlist/graham-bonnet-band/2025/the-vault-new-bedford-ma-735a5e05.html

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Listener Mail/Comments

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How To Support Our Show:

The Deep Purple Podcast is 100% listener supported and ad-free! If you receive value from our show please consider supporting us!

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Postcards From The Edge . . . OF CONNECTICUT!

• Coming to us from the Scandinavian peninsula of Sister’s Bay, Wisconsin!

An interview with Eberhard Schoener, conducted on April 2, 2025 – conducted and translated by Norman Weichselbaum

Norman Weichselbaum: Yes, hello, Norman Weichselbaum is speaking. Greetings, Mr. Schöner.

Eberhard Schoener: Yes, greetings. I heard from my wife that you are from Vienna or something.

NW: Yes, exactly, from Austria, from Vienna. So it is not very far away. Exactly. Everything good with you? 

ES: Everything is fine, yes.

NW: That’s great. Mr. Schöner, why I wanted to chat with you for a moment. I think I already said it. There is this Deep Purple Podcast in America. There are two friends of mine. They have already covered everything from Sarabande and Gemini Suite and Windows and all these projects. And one point that should be covered in one of the coming episodes is this story of the coronation mass in 1974, of which the video still exists. I have also seen it on YouTube. But there is hardly any background to it. Now I wanted to ask you in advance when and how did you come into contact with Jon Lord? 

ES: Actually through my wife, who is a classical musician. She said there is an English rock musician who does so with classical music and that would be interesting for me. First i was not interested in that at all. But then I said to myself, well, if he comes to Munich, I’ll meet him. And I talked to my wife again. She said, yes, he is a member of the very famous band Deep Purple.

And then I met Jon between two concerts at the Circus Krone. This must have been 1972. They had these concerts and in between I met him. He was a very polite and very likeable young man.

NW: I read somewhere that the first time you two worked together was already, I think, 1972. I think you conducted a performance of the Gemini Suite. Is that right?

ES: No. That was the work that Jon Lord had written before. Yes, I know, but that is obviously a misinformation. But I have done so much at that time, i don´t know.

NW: The idea of making the coronation mass as a „rock meets classic“-project: I read you wanted to do that first with Procol Harum, already in 1972 when you worked with the. But this never saw the light of day.

ES: I don’t know anymore. I was just interested in pressing things up, to bring classical music into a new form. And on this occasion, I just did it with Jon Lord. We called it „make Mozart“. Jon was very good and very modest. He was a very likeable guy.

NW: This adaptation of the coronation mass was not recorded in front of an audience, but in a film studio near Munich.

ES: That’s right. And that was separate. Orchestra and band.

NW: Did it take place at the same time?

ES: I have to think about it. It’s ages ago. Yes, there was the filming with the orchestra and the filming with the band. These shots were combined then for the TV broadcasting on Bavarian TV.

NW: What was the musical idea behind that adaption of the coronation mass? If I look at it, I can´t see clearly where the band takes motifs from the crowning ceremony. Watching it i have  the impression that newly written parts by Jon and the band have nothing to do with Mozart.

ES: I played my ideas to him. And he sat, if I remember correctly, on the keyboard. And then we improvised it more and more. Back then it was all very wild time. And it wasn’t as structured as it was later. We weren’t wild. So it all happened relatively quickly. I think within two or three days.

NW: That was, I think, just after the Windows concert.

ES: A few days later. That may be.

NW: Is it true that the musicians of Deep Purple – Coverdale, Hughes and Lord – lived in the house of german actor Gila von Weithaushausen at that time? About your mediation?

ES: Yes, that’s right. Yes, they stood at Gila´s place. It was a very big theater afterwards, because the house was desolate. But I think Jon was not responsible for that. He was very modest and very calm. A very introverted boy.

We also had troubles during the rehearsals for „Windows“ at the Herkules-Saal. When the rock musicians and their crew came tot he place, they found a door locked and rammed it. And the whole door, an old big four-meter-high door, collapsed. That was terrible. It had to be repaired and in the end i had to pay some thousand German marks for that.

I found this all very exciting. But rock music itself didn’t interest me that much. I was more interested in the time and the figures. I was interested in what kind of musicians were doing something like that at the time. Because I did a lot of avant-garde music and a lot of experimental things.

NW: Any more memories on Jon?

ES: He knew a lot. Very impressing. He was a church musician, right? But when i saw him first with Deep Purple, beating into the keys of his Hammond, i thought „Oh God! What is that? Why should i talk to that guy? But then we meet and it was amazing. A very calm and friendly man.

And he was just shooting his Hammond organ. And I thought, oh my God, what is that? Of course, I can’t even talk to him now. And then he was in the concert afterwards.

NW: Later you did „Sarabande“ with Jon. Did you stay in contact after that?

ES: We were in touch and also had projects in mind. We met in Munich and then again in Wiesbaden. This must have been two years before he passed away. The last time we had a call was four month before Jon died. And to be honest – i did not know that he was so sick. He said, let’s do something like that „Sarabande“ or „Windows“ again. But nothing happened. That’s a shame. There would have been a collaboration after many years.

NW: Do you have any memories of the other Purple musicians you met in the 70ies?

ES: This guitar player, Richmore, was a devil. He didn’t like Jon´s interest in classic.  And he didn’t want John to do anything like that. Because he was just very unpleasant. To me, too. I didn’t care. I didn’t have anything against him. He didn’t want John to do such things outside of Purple.

And then i remember David Coverdale. He was very nice. He had a girlfriend that he married later. Julia, i think. And he was in Munich a lot. But I didn’t know anyone else. I knew Pete York. He played with us at the time. He’s still in Munich. You can talk to him. He’s very talkative.

NW: I would like to ask one last question about Windows. What I never understood was that the german actor Klaus Loebitsch was part of the show with some weird text phrases, that made no sense to me at all. How did that come across?

ES: They were rengas. Chain poems are better known as rengas. I found them very exciting. I also invented texts with rengas. The idea was to connect them. Klaus Loebitsch was there and recited the texts. Michael Krüger published them. A poet and writer. He is a literary man from Munich. He said the text is great, so we made them part of the performance.

NW: Mr. Schöner, thanks for sharing some memories. I wish you all the best and many, many more beautiful years. Thank you very much.

ES: I thank you. Goodbye.

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Jorg Planer’s Upload of the Mozard Kroenungsmesse

https://www.youtube.com/watch?v=MIT5OHMyGu8&t=1548s

From Jorg’s video description:

This is a project Eberhard Schoener was asked to do as part of “Rock Meets Classic” series for German TV and it was planned to broadcast it around Christmas 1974. The band performance of this project was filmed on June 5 1974 in a TV studio in Munich Unterföhring (Germany), two days after the second “Windows” concert. I don’t know when orchestra and choir were recorded.

As in “Windows” David Coverdale’s part in it is rather small. 

https://en.wikipedia.org/wiki/Coronation_Mass_(Mozart)

• Jon Lord (keyb)
• Tony Ashton (keyb)
• David Coverdale (voc)
• Glenn Hughes (bg)
• Ray Fenwick (g)
• Pete York (dr)
• The Munich Chamber Opera Orchestra (Eberhard Schoener)
• https://en.wikipedia.org/wiki/Munich_Chamber_Orchestra
• The Toelz Boys’ Choir
• https://en.wikipedia.org/wiki/T%C3%B6lzer_Knabenchor

• 00:00 Kyrie
• 08:27 Gloria
• 13:21 Ritornell I
• 15:21 Credo
• 23:33 Sanctus
• 25:42 Benedictus
• 31:00 Ritornell II
• 32:50 Agnus Dei

Example of a traditional performance of this piece:

https://www.youtube.com/watch?v=_a0azEIJX2Y

Jorg’s tweets on the history of this performance:

https://twitter.com/JoergPlaner/status/1796906085795692656

Ovais Naqvi on the Moog IIIp used in this video:

By the time of the April US gigs, Lord’s set up featured not one, but two ARP Odysseys stacked one behind the other. The use of the ARP Odyssey is also evident in the “Windows” album opening section, the 18-minute “Continuo on B.A.C.H”, alongside the three-movement “Window” suite, commissioned by German broadcaster Bayerischer Rundfunk, as part of the Prix Jeunesse International at the Herkulessaal in Munich, recorded live on 1 June 1974 for broadcast across 16 European countries, featuring the Orchestra of the Munich Chamber Opera conducted by Eberhard Schoener. Schoener features as a figure in the stories of a number of rock bands in the late-1960s and into the1970s, including those of Tangerine Dream, Procol Harem and the nascent version of The Police.

Born in Stuttgart, Eberhard Schoener studied first at the Nordwestdeutsche Musikakademiein in Detmold and in 1959, was awarded a scholarship to study at the prestigious Accademia Musicale Chigiana in Siena, a centre for advanced musical studies whose alumni include Claudio Abbado, Carlo Maria Guilini, Guiseppe Sinopoli and Zubin Mehta. His classical credentials as a violinist and conductor were impeccable and he became First Violinist at the Bavarian State Opera, as well as Music supervisor at the Bavarian Opera. He was encouraged by grandmaster Sergiu Celibidache from his time in Siena to experiment musically and on his return to Germany, founded a youth symphony orchestra in 1962 and then in 1965, became a foundational figure at the new Munich Chamber Opera, serving as its conductor and artistic supervisor.

He developed a parallel fascination for electronic music, perhaps influenced by the work of Stockhausen and certainly by Carlos. He was tasked with setting up an experimental lab at the Bavarian Film Studio and decided to travel to Trumansburg in 1969 with 60,000 Deutsche Marks to acquire a Moog Modular System. Bob Moog himself met Schoener and was not able to sell a ready-built unit since he was busy with pre-orders and no doubt with the landmark Minimoog project.

In parallel, The Beatles began to experiment further with electronic sounds and a Moog modular IIIp was shipped to them, according to Moog’s own corporate records, on 15 January 1969. George Harrison in particular, took keen interested and used it on his “Electronic Sounds” solo album of May 1969. He ensured that the Moog was available for the upcoming “Abbey Road” sessions and it was installed by Mike Vickers of Manfred Mann, who in the same period lent his own Moog to Keith Emerson for his first forays with the Modular System. The IIIp features prominently on “Here Comes the Sun”, doubling the guitar line in the second verse and as a counter melody later in the song. The instrument also features on the McCartney composition, “Mr Maxwell’s Hammer”. It appears that with the Beatles heading towards dissolution, John Lennon founded the instrument too complicated for his liking and requested that the IIIp be sent back to Moog. Having receipt of only this complete unit, Moog’s sales records confirm that Bob Moog sold that very Beatles Moog IIIp (Moog Serial Number 1095) to Eberhard Schoener. The unit now sits at the Deutsche Museum in Munich, having been gifted to the institution by Schoener in May 2019.

Schoener became an early architect of the bridge between classical music and rock through his “Rock Meets Classical” vision (including conducting the Munich Chamber Opera Orchestra and choir with Procol Harem on their German tour of October 1972) and in parallel, made a 1971 classical electronic album, “Destruction of Harmony – The Living Sound of the Synthesizer based on Bach & Vivaldi”. Later Schoener albums were the innovative and experimental “Bali-Agúng” (1976), created after an extensive Asian trip in 1970, work that began a fascination with native Javanese Gamelan percussion music and the two-part “Music for Meditation” album, recorded in 1973 and released in 1976 is now regarded as a pioneering work in the world music and meditative music space. Unlike Lord’s arduous musical experiences with the “Concerto…” concert Royal Philharmonic Orchestra in 1969, the Germans were not the musical snobs in the vein of traditional British orchestras and Lord found an authoritative and accomplished public ally in Eberhard Schoener. 

As Schoener recalled in 2025, “[I met Jon] through my wife, who is a classical musician. She said there is an English rock musician who works with classical music and that would be interesting for me. At first, I was not interested in that at all. But then I said to myself, ‘well, if he comes to Munich, I’ll meet him’. And I talked to my wife again. She said, ‘Yes, he is a member of a very famous band – Deep Purple’. Then I met Jon between two concerts at the Circus Krone. But when I saw him first with Deep Purple, beating into the keys of his Hammond, I thought ‘Oh God! What is that? Why should I talk to that guy?’ But then we met and it was amazing. He knew a lot and was very impressive. He had been a church musician. He was very calm and friendly – a very polite and very likeable young man”.

Deep Purple played at the Circus Krone-Bau in Munich on 5 December 1970 and this is likely the date Schoener was introduced to Lord. Lord clearly earmarked Schoener for future collaboration (these classical forays by Lord being to Blackmore’s continuing distaste) and then requested him to conduct the “Gemini Suite” live concert, also in Munich, on 4 January 1972. Schoener subsequently broke his arm in a skiing accident over the Christmas period and the concert was cancelled.

Lord’s collaboration with Schoener finally materialised with “Windows” and he recounted in an interview with broadcaster Eli Lapid in 2010, “I’d been asked to do it by Eberhard Schoener, who had been asked by this German television company. They wanted a piece of music for a gala concert; they wanted to mix rock musicians and an orchestra and they had heard of my experiments in that area, so they asked me and Eberhard to produce something and it had to be done so quickly and it’s very strange music, some of it is a little weird. It was intended to be visual as much as anything else and I never knew that it was going to be recorded and released. I was told that afterwards. Twenty-six million people watched it, live, so it was kind of a very, very high pressure project but, ultimately an incredibly successful evening, I mean, the reviews in the German press the next day were astonishing”.

Two days after the televised “Windows” concert and while still in Munich, Lord and the band featuring David Coverdale, Glenn Hughes, Ray Fenwick, Pete York and Tony Ashton were asked by Schoener to participate in another experiment: a modern reinterpretation of the Krönungsmesse (Coronation Mass) in C Major, composed in 1779 by Mozart. It was originally written in six parts and footage shows the Munich Chamber Opera Orchestra performing the piece within the same structure with The Toelz Boys’ Choir, but interpolated with various light rock sections and improvisional classical (as well as jazz) piano, organ and ARP Odyssey passages played by Lord. Lord is also seen tentatively trying out the Beatles/Schoener Moog IIIp in one scene in the televised film. Footage shows various scenes of somewhat dated post-produced visual montages and even footage of the choirboys travelling on a local train and playing soccer. It is a somewhat dated experiment today and overall, a period Lord later considered exciting, but perhaps relatively inaccessible to his core audience, hence his more mainstream efforts with the “Sarabande” album with Schoener the following year. 

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Reviews

Translated by Norman Weichselbaum

From „Musik Express“ (1974)

This is mainly about WINDOWS, but the ending is interesting:

The band stayed in Munich for a few days after the concert to record another television production with Eberhard Schoener, which is to be broadcast at Christmas.

In the television studio in Munich-Unterföhring, the hustle and bustle is in full swing and after a few hours of waiting, Eberhard Schoener clears himself between stage directions and conducting for an answer as to what is actually being played in these bizarre backdrops between crystal chandeliers, Mozart pictures, antique furniture, porcelain vases, a mock-up bar, the video cameras and spotlights.

“It should be a 45-minute film, based on Mozart’s Coronation Mass, showing a portrait of Jon Lord as a contemporary musician, then going back to the rock band and back to Jon, the main character, to make it clear how close he actually is to the matter and at the same time create a beautiful visual model.”

Pop Magazine (1974), page 3

Roll Over Classic

2 days after the successful performance at Circus Krone, we meet in a television studio in Munich Unterföhring. Between colored spotlights, antique furniture and crystal chandeliers, a team of 2 dozen people waves at state-of-the-art video cameras. Mozart’s Coronation Mass booms out of the loudspeakers while Jon Lord is busy with his synthesizer. Ray Fenwick, Pete York and Tony Ashton pass the time with a jam session and the Deep Purple people Glenn Hughes and David Coverdale, the latter plagued by toothache, hang out listlessly in the studio. Everyone is waiting for their turn. There will be enough time to learn something about his collaboration with Jon Lord from author – composer – director and conductor Eberhard Schoener.

“We exchanged our ideas by mail”

How long have the two known each other? “A few years ago,” says Eberhard, “I met Jon at a Deep Purple concert in Munich. We didn’t see each other again until last year when I got the offer to conduct the orchestra in the performance of Jon Lord’s “Gemini Suite”. The success was great and we still regret today that the concert could not be recorded on television. Now I have been commissioned to repeat the performance for the Prix jeunesse international 74. We were offered to have the concert recorded live. For this festive occasion, Jon and I wrote the collaborative composition “Windows”. For months we exchanged our ideas by mail. A month ago I went to Jon in Reading near London to finalize the work.”

Eberhard continues talking about „Windows“…

Now Jon Lord joins us, he is exhausted, pale and has deep circles under his eyes (…) How do Jon Lord and Eberhard Schröder assess this combination of classical music and rock? “We don’t want to create an immortal work,” explains Eberhard, and Jon adds: “The most important thing is that we enjoy what we do. All participating musicians have the opportunity to play new, different music than they usually do. The whole thing is not supposed to be a synthesis of rock and classical music. It is simply the interplay of two orchestras. People always try to see something specific, something new from it. Some want to see it as rock accompanied by classical music and others think it is classical music peppered with rock. But no one thinks that both are true. The English critics did not understand this either.  In contrast to the German audience, which is very open-minded and has noticed the immense work behind it, the English press has not even stated that this is an independent event and that it therefore deserves the same attention as a normal concert.”

Eberhard Schoener “I’m making a film about Jon Lord”

During our conversation, the hustle and bustle in the studio has increased. A technician comes to Eberhard Schoener to remind him of his work. The camera crew needs new stage directions. When asked about his new project, Eberhard Schoener explains: “We are shooting a 45-minute television film with Jon Lord in the leading role. I want to show how close he is as a contemporary musician to the great classical composers. We create a pictorial model here. The film is to be broadcast at Christmas.” The scene is illuminated and the band can now really get started.

Extra Thanks To:

• Norman Weichselbaum
• Jorg Planer
• Ovais Naqvi

Deep Dive Podcast Network:

Check out our website to find other like-minded shows taking deep dives into individual songs, bands, and albums.

• Deep Dive Podcast Network

Brendan Ashbrook – Logo Designer

For More Information:

• https://imslp.org/wiki/Mass_in_C_major,_K.317_(Mozart,_Wolfgang_Amadeus)
• Thank you to Norman Weischlebaum for his interview and translations of German articles.
• Thanks to the archive of Jorg Planer.
• Thank you to Ovais Naqvi for his research on the Moog IIIp and associated text.

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 Bluesky, Facebook, Instagram, or Threads.

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Album Tracks:

Note from CTC Issue 22:

From: Par.Holmgren@svt.se Subject: CTC: The guitar(ist)s on ADDICTION All, Damien asked me to specify about who is playing what on the new album. Well, basically Joakim is playing on *his* three tracks and Bonilla on *his*. But with these exceptions: * I’m Not Your Slave; Joakim is doing the HEAVY riff around the chorus; 1.37-1.52 and at the end from 3.41. * Madeleine; MB plays the guitarsolo and the accoustic guitars. * Blue Jade; Again MB does the accoustics.

1. I’m Not Your Slave (Bonilla, Hughes)
2. Cover Me (Bonilla, Hughes)
3. Blue Jade (Hughes, Marsh)
4. Justified Man (Bonilla, Hughes)
5. I Don’t Want To Live That Way Again (Bonilla, Hughes)
   • Glenn’s favorite ballad on the album.

US Bonus Tracks

6. Way Back To The Bone (live)
7. Touch My Life (live)
8. You Fool No One (live)

Musicians on Bonus Tracks:

• Bass – Sampo Axelsson (tracks: 11 to 13)
• Drums – Morgan Ågren (tracks: 11 to 13)
• Keyboards – Lasse Pollack (tracks: 11 to 13)

Japanese Track Order:

1. I’m Not Your Slave
2. Cover Me
3. Addiction
4. Madeleine
5. Talk About It
6. Death Of Me
7. Down
8. Blue Jade
9. Justified Man
10. I Don’t Want To Live That Way Again

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Bustin’ Out The Spreadsheet

Reception and Charts:

• Released July 10, 1996 in Japan.
• Released in Europe later that year.
• Released in the US in 1997.
• US release contained three live bonus tracks
• Released as a 2CD set by Purple records including US bonus tracks and a 2nd CD of live material performed in Holland on July 14, 1995.
• GH: in CTC ISsue #25: “I also need time to think what I need to make myself happy. FEEL it was an album I didn’t want to make. I was convinced into making it. Although I think it is a very good rock album. The only problem with me is it’s not funky. And the real Glenn Hughes – and the real Glenn Hughes fan knows that I am into funky music.”made me happy when I made the album. ADDICTION was a rough album to make because 
• LH: First he asks, “Are you satisfied with the success of ADDICTION, and, if we’re not too nosy, how successful has it been so far?”
• GH: It’s about – it’s not as successful as FEEL, not yet. I tell this to you again that the albums I have been making the last three, four years have just been scratching the surface. I don’t think I am ever going to have a massive album until I am with a label that appreciates what I am doing. I have been making albums to make these labels happy. I’d like to make albums that make Glenn Hughes happy. FEEL was an album that was making me happier. If you look at ADDICTION as a rock album, it’s a great rock album, but I didn’t want to make a rock album. If you look at the members on FEEL, I said I felt it was necessary to make a different kind of album, but I went back to playing rock. But a lot of people liked it. The press loved it. I got great reviews. Some of the press people don’t understand the funky Glenn Hughes or the soulful Glenn Hughes, but it’s too bad; they are going to have to get used to it.

Reviews

Addiction – Album Review

GLENN HUGHES ADDICTION Zero Records XRCN 1280 : Japan : July 10. 1996 CD SPV Records SPV 085 44412 : Europe : 1996 CDGlenn’s latest ten track solo CD. issued ahead of the pack in Japan yet again for obvious reasons (they paid for it!). A lot of people had spoken to me about the CD expressing mixed feelings and I have to say I can see why having played it a few times.As with Feel before it, Addiction still has a kind of made to measure atmosphere about it. Great vocals as always, and especially poignant here given the subject matter. but I’m still left with the impression that Glenn is or has held back a little. Certainly it’s a lot rockier in a kind of modern Sabbath school of riffs way but musically the band isn’t able to put across much of a personality so it comes across as a working by numbers affair for the most part. The sad part is that played live some of these cuts were real blinders. The title track for example, which here is good (with some nice guitar work which pointedly refuses to ape American style whizziness) but succeeds by knocking you into submission – whereas it grabbed one by the throat instantly on stage.Likewise Talk About It came over more strongly live, being a much needed break from the assault on one’s senses. Death Of Me ,opens the CD to good effect. Predictable structure it’s true but it kinda works it’s way under your skin. Strangely enough it’s a song called Justified Man towards the end of the disc that I find myself drawn to. Taking a slightly different direction, more of a bluesy Free style rock. it suggests that this might be a fruitful area for the future and Glenn’s vocals here really suit the style. It’s so much more adult than the very American look at the blues which he had to work with a couple of CDs ago. Glenn puts his heart and soul into the lengthy CD closer I Don’t Want To Live That Way, but musically it’s a curiously shapeless work out which rather means the effort is disipated. So all in all a mixed bag and interestingly one on which very few have commited their thoughts on paper – which is why you’ve had to put up with me rambling on again.

• https://web.archive.org/web/20070808135230/http://www.melodicrock.com/reviews/reviewsjapan.html
  • Total Score 90% Production 95% Songs 85% Vibe 85% Attitude 95%
  • Glenn Hughes has been around the block not only once, but maybe four or five times!! Since this album is now on wide release, I thought it would be good to revisit it, now that it has had time to mature. Now back in his prime, after several visits to Betty Ford, Glenn has had a new lease of life and has been releasing albums with great reliability, a trait I wish other acts would pick up on. His most recent albums Blues, From Now On, Burning Japan Live and Feel, have all been superb. Diverse, yes, but of great quality nevertheless. With Addiction, Glenn has made his first 90’s album. That is, it’s raw, it’s heavy, and it’s very contemporary. What he hasn’t done is sold out to alternative. He has merely taken his God given voice, and let her rip, on the heaviest album I have ever heard Glenn do.
  • Depending on where you buy the album from, the track listing is shuffled, but the rockers on this album include the anthem ‘Death Of Me’ – killer heavy track!, ‘Down’ and ‘Cover Me’. The ‘not quite flat out’ tracks include the awesome ‘I’m Not Your Slave’, which ends as heavy as anything on the album, and the good fun rock track ‘Justified Man’. For balance there are a couple of slower tracks, but not your usual ballads in any way. ‘I don’t Want To Live That Way Again’ clocks in at over 9 minutes, and smoulders along, until near the finish where it explodes. A great album for Hughes fans to add to their collection, but also a good point for new fans – especially those who don’t know his other albums – to pick up on one of rocks finest talents. They don’t call him The Voice Of Rock for nothing!
• https://my.crossrhythms.co.uk/products/Glenn_Hughes/Addiction/17741/

Glenn Hughes – Addiction
	STYLE: RockRATING OUR PRODUCT CODE: 17741-27838LABEL: Steamhammer 0854412FORMAT: CD AlbumITEMS: 1
Reviewed by Alex FiggisFrom the opening crash of cymbals through to the lingering vocals at its end, ‘Addiction’, Hughes’ fourth studio project to date, is dense both musically and lyrically. By fusing the harder edged moments of ‘From Now On’ (’94) with 1995’s ‘Feel’, the whole album is given a moody submetal/hard rock sound, in spite of such ballads as “Blue Jean” and “I Don’t Want To Live That Way Again”. However, behind the heavy concoction created by guitarists Marc Bonilla. Joakim Marsh and drummer Joe Travers, Hughes* bass can still be heard slapping down the old familiar funk rhythms, adding an interesting and compelling element to ‘Addiction’s sound. Lyrically, Hughes communicates with the listener at a deep, thought provoking and emotional level; covering such topics as pain (“Talk About It”), drug addiction (“Addiction”), Divine protection (“Cover Me”), justification (“Justified Man”) and repentance (“I Don’t Want To Live That Way Again”)… all of which Hughes has experienced personally, having become a Christian after years of drug and alcohol addiction. The repetition of the chorus in some songs could impair one’s enjoyment. In spite of this slight niggle, there is enough material here to keep the listener’s attention both lyrically and musically. Not one to be missed.

• From CTC #20 – See issue for full details and song-by-song review:
  • Review of Glenn’s forthcoming album ADDICTION written by Paer Holmgren. I have been listening a lot to this tape. Probably more than any other of Glenn’s album in the 90’s. It’s got an amazing amount of energy and it’s very aggressive. Music for the 90’s this is. Contemporary. Will hopefully attract a lot of new younger fans BUT could also maybe scare some of the older geezers away. If you REALLY like AOR like FROM NOW ON, BRAZEN ABBOT etc I’m NOT sure if you will like this. But it IS a VERY good album, at least 6 great songs and the other 4 are quite good as well. Marc Bonilla has done a very good work when it comes to production and has really taken it to the edge (and occasionally beyond). Glenn’s voice is the best I’ve ever heard him perform when it comes to hard rock (But MY favourite albums are still PLAY ME OUT and YOU ARE THE MUSIC). FEEL felt like a 200% Glenn Hughes solo album, this doesn’t, as it only features one side of Glenn’s music. Still it’s definitely *the right album* to do at this moment (IMO that is…) And very important: most of the songs will work out great live, can’t wait until the autumn… Musicians: Marc Bonilla; guitars and some keyboards, Joakim Marsh; guitars on *his* 3 songs and I’m Not Your Slave, Joe Travers; drums. I’m 0% objective but I prefer Joakim’s guitars and would have liked to hear him play on more of the songs, especially the heavier ones; Death of Me and the title track. Marc has done some very tasteful accoustic guitars though and as mentioned before, a great production. The drums are by far the best I’ve heard on Glenn’s solo album, they were not especially good on FEEL, imo.

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For More Information:

• https://en.wikipedia.org/wiki/Addiction_(Glenn_Hughes_album)
• https://www.discogs.com/release/3193964-Glenn-Hughes-Addiction
• https://www.glennhughes.com/addiction.html
• Glenn Hughes The Autobiography: From Deep Purple to Black Country Communion by Glenn Hughes
• https://musicbrainz.org/release/f62d5a08-7219-482b-9c9e-9d7234d6587b
• Darker Than Blue Issue 49  February 1997
• Coast to Coast Fanzine – May 19, 1997 –   #27
• Coast to Coast Fanzine  #26
• Coast to Coast Fanzine  #25
• Coast to Coast Fanzine  #24
• Coast to Coast Fanzine  #23
• Coast to Coast Fanzine  #22
• Coast to Coast Fanzine  #21
• Coast to Coast Fanzine  #20
• Coast to Coast Fanzine  #19 

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Lead up to the Album:

• From Hughes’s Website: “Back to big rock again. I wanted the edge back. It was a dark period for me – relationship issues, acceptance issues, denial and anger – a perfect time to record this album. Marc, Mike Scott, and Jocke did a fine job. I sang with raw emotion, spitting out lyric after lyric of torment and destruction. ‘I Don’t Want To Live That Way Again.'”
• CTC Fanzine, Issue #27, May 1997:
  • Glenn Hughes is trying to convince RAW journalist Mark Putterford (and probably himself) that his years of drug and alcohol addiction are over and that he can pick his career out of the gutter, dust it down, and try to fulfill his huge potential. Glenn Hughes in RAW 20: “If I’ve heard it once, I’ve heard it a hundred times: ‘Glenn Hughes? Oh, yeah, the Cocaine King. He’s finished, man…’ And I laughed at it because I never thought I had a drug problem. Then last summer I woke up. It took me 16 years – 16 *stupid* years – to realize what an asshole I’d been, and to see my career was going down the toilet. I thought about all the deaths there’s been through cocaine, and I was addicted to that shit! I just thought, ‘I don’t wanna die, I wanna LIVE!'”
• From CTC Fanzine, Issue #36 – Jocke Marsh met Glenn Hughes for the first time at the wedding of a mutual friend Paer Holmgren and his wife Eva.
  • JM: No, we had not met before. Paer had known Glenn a good while at the time, and he had told me about him and so on. So it didn’t feel as such a weird thing when I actually got to meet him. I was sort of prepared from Paer’s stories. And I am also a good friend of Thomas (Larsson) and Bojjan (Eric Anders Bojfelt) who were in Glenn’s band before. I had seen videos of them playing with Glenn, etc. We had just got our cover band together, and we were to play at Paer’s wedding, which was just perfect. And we realized that we had a superb opportunity to play with Glenn, so he was asked if he’d like to join us for a couple of songs just for fun.
  • LH: If you had not asked him, maybe you would have had regrets afterwards?
  • JM: Yeah, I don’t even want to think about it! So Paer asked him if he’d like to do it, and to do maybe Gettin’ Tighter and maybe something else. So we got to meet at the wedding, and the rest is history.
  • LH: As I understand, it wasn’t like you had any time to rehearse with Glenn before the wedding though?
  • JM: No, we had not rehearsed with him at all. I went through the arrangement of the songs with him during the dinner, and *that* was not a very easy thing. Paer and Eva (Paer’s wife) had placed me across the table of Glenn. And I thought it was sort of almost too much for me. Anyway, he came there and we said hello, and I did not manage to say a word for the first 20 minutes. And then I thought to myself, I have to break the ice, and we started talking. He’s such an easy guy to talk to, so it was no problem from then on. We went through the arrangement then and there, because we had put Way Back To The Bone right in the middle of Gettin’ Tighter, and then we had also the track You Gotta Dance To That Rock ‘N Roll in there. Do you know that song? 
• LH: I have heard he was practically lying in bed sick and just got up to put down his vocals, and then went back to bed. JM: Yeah, he was in great pain. I was very impressed by the way he handled all that, and that he managed to sing so well considering that he was ill.
• From CTC #21: GH: On the album, which is a very confrontational album… you see what I have done on the new album… it’s called Addiction for obvious reasons… it’s an album that… I wanted to be a bit more serious about my lyrics on this album. Wanted to a be bit more in depth and to have someone understanding what I was singing about, rather than singing about boy meets girl. What I did was opening my own wound and for my own rehabilitation, after five years of being clean, I wanted to go back and look to see what I have been doing. And see if it could help me as a person. So some of this stuff is very angry and some of it is very sad, but it’s a very good album. Have you heard it yet? 

Core Band:

• Drums – Joe Travers
  • From Discogs: “American drummer, born August 20, 1968, engineer “vaultmeister”/ archivist & researcher for the Zappa Family Trust, a position he describes as “The person who looks after the tape vaults and knows all the necessary information to document the contents – and preserves the Zappa masters from getting damaged by the passing of time”.”
  • Played with Z on their two albums Shampoohorn and Music For Pets, worked with Mike Keneally and Beer for Dolphins
• Guitar – Joakim Marsh*
  • https://sv.wikipedia.org/wiki/JJ_Marsh
  • Swedish guitarist, has worked with the group Spellbound, has worked with Glenn Hughes since starting on this album
• Guitar, Keyboards, Producer – Marc Bonilla
  • http://www.marcbonilla.com/
  • http://en.wikipedia.org/wiki/Marc_Bonilla
  • Worked with Keith Emerson, David Coverdale, Ronnie Montrose, Asia, and Edgar Winter.
• Vocals, Bass, Producer – Glenn Hughes

Technical:

• A&R [Shrapnel Records] – Mike Varney
• A&R [Zero Corp] – Kazuo Uchiyama
• Engineer [Assistant] – Tony Alvarez (2)
  • Only a few other credits on Discogs.
• Producer, Engineer, Mixed By – Michael Scott
  • Worked with Carly Simon, Jose Feliciano, and would go on to work with HTP.
• Executive-Producer, Management – Bill Hibbler
  • Only credits are this and Hughes’s previous album, “Feel.”
• Legal – Edward Z. Fair*
• Mastered By – Steve Hall
• Producer – Michael Scott
  • Worked with Carly Simon, Van Halen, Quincy Jones, Dwight Shrute, Jim Halpert.

Album Art & Booklet Review

• Artwork [Art Direction] – SUKA (4)
• Artwork [Design Assistance] – Amit Zohar
• Photography By – Jack Pedota
• Photography By [Photo Production Coordinator] – Tony Diaz (3)

• Recorded at Entourage Studios. Mixed at Westlake Audio.

• Mastered at Future Disc Systems.

Tracks 11-13 Recorded Live in 1997 Liquid Room, Tokyo, Japan

℗ © 1996 Issued under license from Glenn Hughes to Shrapnel Records Inc.

℗ © 1997 Shrapnel Records Inc.

(Duration times only listed for studio tracks)

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Album Tracks:

Note from CTC Issue 22:

From: Par.Holmgren@svt.se Subject: CTC: The guitar(ist)s on ADDICTION All, Damien asked me to specify about who is playing what on the new album. Well, basically Joakim is playing on *his* three tracks and Bonilla on *his*. But with these exceptions: * I’m Not Your Slave; Joakim is doing the HEAVY riff around the chorus; 1.37-1.52 and at the end from 3.41. * Madeleine; MB plays the guitarsolo and the accoustic guitars. * Blue Jade; Again MB does the accoustics.

1. Death of Me (Bonilla)
   • In an interview with CTC Marsh says that Bonilla had a lot of his mariarial in advance.
   • “Well, I’d say that Bonilla is very aware of contemporary modern music and keeps up to date on the alternative scene. And I think the musical mix on Addiction is kind of cool. It’s still based on hard rock, of course, which could appeal to the old Deep Purple fans. Personally, I just would have liked it to have more emphasis on guitar playing on it. Now the guitar playing is kept very strict and basic, because that’s what’s on the agenda today on the alternative scene. I would have liked some more guitar though!”
2. Down (Axelsson, Bonilla, Hughes, Marsh)
   • Glenn’s favorite song on this album.
   • JM: “It was Bonilla’s idea and Mike Scott’s, the other producer, and Bill (Hibbler), the manager, and Glenn who was very interested to see what it would be like. I think they were afraid that if this wasn’t the musical direction then the album wouldn’t stand a chance of airplay if the album was to be released in the US. Wailing guitar solos are totally dead. I mean, it’s Smashing Pumpkins and stuff like that that rules the US radio. Anyway, we wrote some songs that, well, like Madeleine that was more straight compared to Down, that we also wrote, which was more like Soundgarden-ish.”
3. Addiction (Bonilla, Hughes)
4. Madeleine (Axelsson, Bonilla, Hughes, Marsh)
5. Talk About It (Bonilla, Hughes)
   • https://en.wikipedia.org/wiki/Talk_About_It_(EP)
   • Released as a single and also as part of an EP with three previously unreleased tracks.

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Deep Dive Podcast Network:

Check out our website to find other like-minded shows taking deep dives into individual songs, bands, and albums.

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Brendan Ashbrook – Logo Designer

For More Information:

• https://en.wikipedia.org/wiki/Addiction_(Glenn_Hughes_album)
• https://www.discogs.com/release/3193964-Glenn-Hughes-Addiction
• https://www.glennhughes.com/addiction.html
• Glenn Hughes The Autobiography: From Deep Purple to Black Country Communion by Glenn Hughes
• https://musicbrainz.org/release/f62d5a08-7219-482b-9c9e-9d7234d6587b
• Darker Than Blue Issue 49  February 1997
• Coast to Coast Fanzine – May 19, 1997 –   #27
• Coast to Coast Fanzine  #26
• Coast to Coast Fanzine  #25
• Coast to Coast Fanzine  #24
• Coast to Coast Fanzine  #23
• Coast to Coast Fanzine  #22
• Coast to Coast Fanzine  #21
• Coast to Coast Fanzine  #20
• Coast to Coast Fanzine  #19 

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 Bluesky, Facebook, Instagram, or Threads.