Episode #126 – The Dead Daisies – Live in Joliet, IL (September 11, 2021)

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  • Deep Dive Podcast Network
  • Deep Dive Podcast Network
    • Welcome 2 “new” shows to the network
    • #1 is a brand new Podcast called Diary Of The Madmen – The Ultimate Ozzy Podcast.
    • #2 is Universally Speaking – The Red Hot Chili Peppers Podcast – a podcast that’s been around just about as long as The Deep Purple Podcast.
      • https://www.bentownsendmusic.net/rhcp-podcast

The Show:

Set List:

Link to Setlist.fm: https://www.setlist.fm/setlist/the-dead-daisies/2021/the-forge-joliet-il-1b8c11e0.html

  1. Unspoken – Holy Ground
  2. Rise Up – Burn It Down
  3. Dead and Gone – Burn in Down
  4. Chosen and Justified – Holy Ground
  5. Mexico – Revolucion
  6. Bustle and Flow – Holy Ground
  7. Lock ‘n’ Load – The Dead Daisies
  8. Fortunate Son (Creedence Clearwater Revival cover)
  9. Midnight Moses (The Sensational Alex Harvey Band cover)
  10. Drum Solo
  11. Mistreated (Deep Purple cover)
  12. My Fate – Holy Ground
  13. Leave Me Alone – Burn It Down
  14. Like No Other (Bassline) – Holy Ground
  15. Holy Ground (Shake the Memory) – Holy Ground

Encore:

  1. Long Way to Go – Make Some Noise
  2. Burn (Deep Purple cover)

Show Recap:

  • 6 Songs from Holy Ground
  • 4 Covers
  • 6 Songs from previous The Dead Daisies albums
    • 3 from Burn it Down, 1 from Revolucion, 1 from Make Some Noise, 1 from The Dead Daisies
  • Drum Solo

Show Breakdown:

  • Drive to the show
  • Scanner and Getting my audio device in
  • Meeing Ryan M!
  • Seating fiasco
  • The Black Moods
  • Don Jamieson
  • Glenn’s false start
  • Drum Solo
  • This Time Around? No, Mistreated
  • “Juliet?” No, Joliet
  • Burn
  • Photo shoot
  • The lights!
  • John’s Deep Purple Podcast family adventure!

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Episode #125 – Deep Purple – The House of Blue Light (Part 1)


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Lead up to the Album:

  • In the winter of 1985 Gillan and Glover began working on their new album.
  • Gillan says they did so without Blackmore because he “wasn’t really interested in listening to us.”
  • In spring of 1986 they returned to Stowe, Vermont where they’d recorded Perfect Strangers.
  • Early on Gillan said that there didn’t seem to be any motivation by the band to put this album together.
  • Glover said the Perfect Strangers tour had gone really well but when they tried to put this album together that it was a struggle.
  • As with the previous album they set Colin Hart to the task of finding a place.  They wanted to remain in Stowe but this time found The Stowe Playhouse and rigged up Le Mobile to be able to record there.
  • This time each band member was booked separate accommodations along with their families, spouses, girlfriends at the time.
  • Glover and Gillan arrived ahead of the others to begin working on material.
  • The standard argument about writing credits cropped up again with Ritchie wanting to be careful not to hand out too much credit to the others in the band.
  • Colin says in his book that he disagreed with this because the way they put together songs was as a band.  He also says that no one other than Gillan would confront Ritchie about this.  He says that Paice, Lord, and Glover would quietly complain about parts of the songs but it would be left to Gillan to confront Ritchie.  Hart says: “The others would load the gun as long as Ian would fire it.”
  • This paints an interesting picture.  Ritchie would act surprised by these complaints and tell Bruce Payne that the others seemed fine with it.
  • Hart says that it seems like Ritchie wanted out but didn’t know what he wanted to do instead so until he figured that out he was going to be difficult.
  • Hart says Gillan and Glover worked in one corner on writing, Ritchie kept to himself, and Lord and Ian were interested by non-confrontational observers.”
  • Gillan describes the writing conditions as less than optimal in his book Child in Time.  He says he and Roger were in a small windowless room with bits and scraps of paper cobbling together lyrics.  For that reason they decided to drive the mobile unit to Roger’s house in Connecticut and finished the tracks Mad Dog, The Spanish Archer, Bad Attitude, and Unwritten Law there with Nick Blagona.
  • They finished the record by the end of June but no one seemed too happy with it.

Personnel:

Technical:

  • Producer – Deep Purple, Roger Glover
  • Production Manager – Raymond D’Addario
    • Worked with Elf, Rainbow, Deep Purple
  • Engineer – Nick Blagona
    • http://www.nickblagona.com/
    • Covered previously on show
    • Worked a lot with Deep Purple and Ian Gillan, Cat Stevens, Nazareth, Crack the Sky
    • Sadlly passed away in 2020
  • Recorded By – Guy Charbonneau
    • Le Mobile studio operated by Guy Charobbeau
    • Recarded at the Playhouse in Stowe, Vermont
  • Tour Manager – Colin Hart (2)
    • A man who needs no introduction.
  • Management – Bruce Payne, Thames Talent Ltd.
  • Mastered By – Greg Calbi
    • Mastered at Sterling Sound in New York
  • Mixed By – Harry Schnitzler
    • Mixed at Union Studios in Munich, West Germany
  • Crew – Charlie Lewis (4)
    • Worked with Roger Glover on Mask, Gillan/Glover, Rainbow
  • Crew – Cookie Crawford
    • Worked with Blackmore for years in Rainbow before following him to Deep Purple
  • Crew – John Murphy (15)
    • Deep Purple only.
  • Crew [Maintenance] – Dawk Sound
    • Only three DP credits. Need additional info on this one.

Album Art & Booklet Review

  • Photography By [Portraits] – Dieter Zill*
  • Design, Art Direction – Andrew Ellis
    • Previously an assistant at Hipgnosis
    • Co-founded Icon in 1982
    • Worked with Alan Parsons Project, Pink Floyd, and UFO
  • Design, Art Direction – Davies And Starr
    • http://www.chalkiedavies.com/
    • British photographic husband-and-wife duo who started working together in 1979 primarily to produce record sleeves and promotional material for rock bands. In 1988 they moved to New York and decided to leave rock photography and concentrate on their still-life work instead.
    • Worked with Pete Townshend, Tears for Fears, David Gilmour, and David Bowie
  • Cover Symbols?
    • Owl/Demon – Ritchie? Owl? Moon?
    • Broom/Rocket – Gillan? Garth Rockett?
    • Arrows & Bow – Roger, a Sagittarius (the archer) – Spanish Archer
    • Theater Masks – Jon who had a background in theater?
    • Crossed Arms – Paicey? Drums?  Ritchie? Slaves and Masters
John’s 1993 sketch of “The House of Blue Light” artwork.

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Album Tracks:

Visit my website https://vinyl-records.nl for complete album information and thousands of album cover photos

Side One:

  1. Bad Attitude (Gillan, Blackmore, Glover, Lord)
    • Song is 32 seconds longer on the 1987 CD release.
    • Gillan: “I was pissed off…for a change!” Ian wheezes with laughter and leans forward to plant an elbow on each knee. “No, it’s a thing everyone says in America – and I hate posey expressions. I wish people could talk properly. When we reformed a few years ago, Ritchie and I were playing football and we had a row on the pitch which ended with me telling him to piss off. So he turned round and said, ‘There’s no need to cop an attitude’ and I said, ‘What do you mean, ‘cop an attitude’, can’t you speak English?’
    • Gillan was upset that Ritchie had picked up some Americanisms after living in the US for the past 12 years.
    • “Anyway, that theme just kinda developed and this song attacks that kinda thing. It has no hidden meaning or anything, it’s just a groove.”
  2. The Unwritten Law (Gillan, Blackmore, Glover, Paice)
    • Song is 20 seconds longer on the 1987 CD release.
    • “‘The Unwritten Law’ is next, and that’s about The Clap. I mean, there is a code – know what I mean? If you’ve got a dose you don’t go spreading it around. It’s a general comment on how people should have a little more responsibility. We tried to think of other unwritten codes to include in the song…but I can’t think of any at the moment!”
    • Gillan: regarding being asked if this was a different kind of song for Deep Purple: “Yeah, I nearly killed Ritchie when I heard that riff -it’s the most difficult riff I’ve ever had to write for! I was going round for ages going ‘diddle-id, diddle-id’ behind his back,” the singer laughs, mimicking the riff. “Still, it’s a different vehicle, and that’s one of the great things with this album – without doubt it’s my favourite album since ‘Fireball’.”
  3. Call of the Wild (Gillan, Blackmore, Glover, Lord)
    • The song was released as a single later that year, and made it onto the UK Singles Chart at #92.
    • Regarding Vince Gutman’s Marc System drum system Ian Paice was using:
    • Gillan: “Yeah, that’s a telephone call about this bird…oh, it’s a cheap pun really, but it’s an interesting lyric and it has an interesting chorus. We thought it was too soft and sloppy at first – it nearly got rejected, strangely enough – but when it was finished it seemed to have a nice edge to it. It sounds like some of the more accessible songs Purple have done in the past.”
  4. Mad Dog (Gillan, Blackmore, Glover)
    • Song is 7 seconds longer on the 1987 CD release.
    • Gillan: “Right, what’s next? ‘Mad Dog’… that’s just good fun.”
  5. Black and White (Gillan, Blackmore, Glover, Lord)
    • Song is 1 minutes longer on the 1987 CD release.
    • Gillan: “And then there’s ‘Black & White’, which is a light-hearted attack on the press – and not only the press, but people’s attitudes towards it. Some people believe that if they see something in black and white it must be true, although very often it isn’t true at all. I mean, I have no objection to the press in the slightest – _bastards!_ – but it is difficult to tell people that what they read in the papers isn’t necessarily true. _’A reliable source informed me…’, ‘A close friend said…’_, what a load of bollocks! It _can_ be entertaining, and we do get a selection of newspapers at home… Although I don’t get any music press because I don’t like music very much…”
    • Gillan goes on to explain that he likes making music and he does have the radio on at times but he’s not really interested in what goes on in the business because the business doesn’t interest him.

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Episode #124 – Eddie Hardin – Wizard’s Convention (Bonus Tracks)

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Bonus Tracks:

  1. I’m Looking Forward To Tomorrow
    • Written by Hardin
    • Vocals by Billy Ocean
    • Masters version includes another very different take on the song featuring Maggie Bell
  2. Time For Another
  3. The Put Down Song
    • PATRONS!!!!
  4. Goodnight Children
    • Vocals by Eddie Hardin
  5. Summer Days
    • Released as a single on June 20, 1975.
    • Written by Hardin and Mike d’Abo.
    • Features lead vocals by Hardin and Dio
  6. Seems I’m Always Gonna Love You
    • Vocals by Eddie Hardin and Ronnie James Dio

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Episode #123 – James Gang – Miami

Link to video on Cocoscope: https://www.cocoscope.com/watch?v=94558

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Lead up to the Album:

  • They headed into the studio in spring of 1974 to record “Miami.”
  • Bolin once again was the chief songwriter writing or co-writing every song on the album.

Personnel:

Technical:

Album Art & Booklet Review

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Album Tracks:


Side One:

  1. Cruisin’ Down The Highway (Bolin, Peters)
    • Single release from the album with “Miami Two-Step” as B-side.
  2. Do It (Bolin, Kenner)
  3. Wildfire (Bolin, Tesar)
  4. Sleepwalker (Bolin, Tesar)
  5. Miami Two-Step (Bolin, Peters, Fox)

Side Two:

  1. Praylude (Bolin)
  2. Red Skies (Bolin)
  3. Spanish Lover (Bolin, Cook)
  4. Summer Breezes (Bolin)
  5. Head Above The Water (Bolin, Peters)

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Reception and Review

  • Miami was released in July of 1974.
  • The album made it to #97 on the charts.
  • On its release it was a little disappointing to fans of “Bang.”  The material on this album was not viewed as being as strong.
  • When the James Gang called after Joe Walsh had left them, Bolin figured, “What the hell, I’ll eat this month instead of starving.” He remained with them through nearly a year and two successful albums, Bang and Miami (writing most of their material and sharing production credits), but he does not recall his tenure with the Cleveland cowboys as a high point in his musical career. “I left the James Gang just as they were starting to make good money,” he says with a grin, “but I didn’t give a fuck. I’d be giving the audience everything I had, doing spins and stuff, and I’d turn around and the drummer would be…” (he makes an obscene gesture towards his crotch and breaks into laughter). “They were resentful of my attraction to the audience. My musical communication with them was just lost, and it was affecting my music. And my music is all I have.” Bolin split both the Gang and the Colorado scene to try and build a solo career in L.A.
  • Jim Fox: Miami was a very difficult record to make, and even nearly 40 years later I remember it as challenging. I think the troubles Roy Kenner was going through at the time have been well documented. He was preoccupied by necessity with non-musical things stemming from a very minor drug bust in Los Angeles that involved, rehab, community service, etc. For a time, we felt that might be no alternative but to replace him, and much time and effort was spent auditioning other vocalists, all to no avail. In the end, Roy freed himself up enough to finish the recording process, but while we worked very hard on the record, I feel as if we were never satisfied with it completely. I agree that there were some good moments on it, and with the benefit of time, they are a bit easier for me to see. Still, a tough record to make with mixed results in the end.
  • Jim Sheridan review of Miami, ca. 2000
    • JAMES GANG – MIAMI (1974)
    • The follow-up, Miami, is equally interesting. Tommy gets a few spotlights; the instrumental “Miami Two Step” is a Doc Watson-ish acoustic number with some slide careening in at the end, while “Praylude/Red Skies” lets Tommy dip as deeply into the jazz licks bag as he ever would with The James Gang. The latter track is actually a song Tommy bought with him from his previous band Energy, whose version of the track appears on From The Archives Vol. 1. The riff from “Teaser” has its roots in “Do It,” which contains some smooth slide work. “Spanish Lover” features Tommy’s lead vocals, a beautifully dreamy number that again stands out in the intensity and individuality of the singing — this is the Bolin that Tommy fans look to hear. Two other songs that deserve praise for their majestic vision are “Sleepwalker” and especially “Head Above the Water,” which foreshadows “Wild Dogs.” These discs are both fully realized, atmospherically charged works that demand to be heard.
  • Bolin left the band almost exactly at the time Miami was released.
  • Bolin: “I called my manager, Mike Belkin, in Cleveland and told him I was quitting,” Bolin revealed, “and he told me that I was shortchanging myself because of the band’s potential to make good money. I told him I wasn’t happy anymore and there wasn’t much he could say about that.”
  • Jim Fox, on Tommy Leaving: “Obviously he was hurting. He had things he wanted to do. It was a general consensus after the Miami album that we weren’t where we wanted to be. And it did center around the singer. And we tried a whole lot of singers out. I mean a whole lot of singers, everyone we could think of, including some of Tommy’s close friends. And in the end it just didn’t work we could find someone who could do the job we were hoping to get done. Our singer Roy Kenner was having some personal problems, some distractions and it wasn’t working out.”

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Episode #122 – Glenn Hughes – Play Me Out (Bonus Tracks)

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  • Deep Dive Podcast Network
  • Apple Podcasts Reviews
    • 2021-08-02
    • Jas (only available nickname(
    • United Arab Emirates
    • 5 Stars!
    • Covers every possible detail of the DP extended family and is perfect for a diehard fan such as myself. Started off just listening to the Deep Purple/Rainbow episodes, but quickly caught on to the other stuff, which is also great. P. S. Listening to the Whoosh! revisiting made me realise that And the Address is actually played half a step lower than the original. (Originial in Em and Whoosh! version in Ebm) Keep doing what you’re doing guys! -J
  • Dead Daisies coming to Joliet, IL on September 11, 2021!

Lead up to the Album:

  • Episode #27 – Glenn Hughes – Play Me Out
  • During 1974 Glenn Hughes met David Bowie.  Angie Bowie told Hughes that David had seen him at California Jam and wanted to meet him.
  • Bowie was interested in how Glenn Hughes got into Deep Purple being more of a soul and R&B guy.
  • Bowie was present when Hughes was singing “Hold On” during the Stormbringer sessions.
  • Hughes says that for the rest of that summer he and Bowie were “inseparable.”
  • In the special edition 2 disc release it’s theorized that this album could have turned into a Hughes/Bowie collaboration or even another Trapeze album.
  • Play Me Out features a lot of lyrical content about losing his girlfriend to Jon Lord.
  • Hughes joined back up with Galley and Holland in Trapeze for a quick little US tour that was intended to precede a new studio album.
  • On the tour Trapeze performed “Space High” and “L.A. Cut Off.”
  • Things with Trapeze fell apart shortly after that and Hughes put his efforts toward the solo album.

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  • $3 “Nobody’s Perfect” Tier
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    • Ian Desrosiers
    • Mark Roback
    • Anton Glaving
    • Andrew Meyer
    • Duncan Leask
    • Stuart McCord

Bonus Tracks:

  1. Smile
    • Getting Near To You
      • Recorded at Axis Sound, Atlanta, March 1978
    • Fools Condition
      • Recorded at Axis Sound, Atlanta, March 1978
    • Take Me With You
      • Recorded on DAT at Glenn Hughes’ home studio, 1994
    • She Knows
      • Recorded on DAT at Glenn Hughes’ home studio, 1994

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      • Flight of the Rat Bat Blue Light

    Reception and Review

    • Jon Lord: “The amazing thing about Glenn was that, whatever bad state of health he was in through his addiction, his voice was always brilliant. HE always felt he could have fronted Purple, and I think he set out on ‘Play Me Out’ to show the rest of us what he could do. I always think it was also the way he wanted Purple to go after we’d recorded ‘Come Taste The Band.”
    • Play Me Out was released in July of 1977 and was not a commercial success.

    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.

    Episode #121 – Whitesnake – Ready An’ Willing

    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.

    Link to video on Cocoscope: https://www.cocoscope.com/watch?v=93770

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    Lead up to the Album:

    • We discussed in our previous episode on “Lovehunter” that Paice had joined so soon after recording that Coverdale wanted to have him redo the drums on the album but time and money did not permit.
    • Bernie Marsden said Paice was coming to see them at a few shows and when he asked him why he was there he said he’d like to play drums in the band.  Dowle was out but Marsden said they weren’t getting along too well at that time.  Dowle was a city boy preferring to stay in London while the rest of the band were out in the countryside.
    • When Paice Ashton Lord imploded Paice didn’t know what to do.  He didn’t consider himself a leader enough to start his own band.
    • Murray said he had suggested Tommy Aldridge for the band at this point but no one else in the band knew who he was.
    • Paice said he’d been off not really playing anything seriously for about three years
    • Murray said that with Paice joining the band he took them in a different direction and that the same had happened with Lord the previous year.
    • Paice says that Whitesnake was “the funniest band I’ve ever been in.”  Tells story of everyone on stage laughing when David Coverdale was on stage thrusting his hips and “extending the mic stand as a part of his personage” and they looked in the crowd and only say 15 year old boys.
    • Murray says that this wasn’t a singer with a backing band, it was a band of equals.  He talks about the power behind the band.
    • Murray, Marsden, and Moody all had shirts made that said “DEEP PURPLE” but when you got closer it was revealed that they actually said “no I wasn’t in DEEP fucking PURPLE.”
    • They didn’t take kindly to the Deep Purple comparisons and rumors started to swirl about there being a Deep Purple reunion.
    • Coverdale said there was no “conscious effort” to pick up where Deep Purple left off.
    • Coverdale says that Whitesnake was always a live band and it didn’t always translate well to the album.  He says “Ready An’ Willing” was the first time they got it right and gives a lot of the credit to Ian Paice.

    Personnel:

    Technical:

    Album Art & Booklet Review

    • Sleeve [Concept] – David Coverdale
    • Photography By [Inner Sleeve] – George Bodnar
      • http://www.gbimages.com/
      • Sadly passed away in 2011.
      • Album credits include UFO, Whitesnake (Live in the Heart of the City), Gary Moore, Iron Maiden, and more.
    • Coverdale credits “The Plough” in Rusper for developing our Quasimodo impressions and Groucho Marx stoop.  This was a reference to the pub they frequented with a low ceiling and beams.  Coverdale says he is 5’8” and had to duck to avoid hitting his head.  He says many people got black eyes and cuts on their heads form banging them on the beams.

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    Visit my website https://vinyl-records.nl for complete album information and thousands of album cover photos

    Album Tracks:

    Side One:

    1. Fool for Your Loving (Marsden, Coverdale, Moody)
      • Guitar solo – Bernie Marsden
      • Reached number 13 in the UK charts as a single
      • Reached number 43 in the UK charts and number 53 in the US Billboard Hot 100 charts
      • Would later be recorded again for Slip of the Tongue
      • Murray says he came in when they were mixing it and Ian had turned down his bass. He said he was really upset but got a call from Martin Birch in the middle of the night saying he’d corrected the mix.
      • Marsden said they’d written this for B.B. King but when they did the demo but Martin Birch decided they had to keep this one from themselves.
    2. Sweet Talker (Marsden, Coverdale)
      • Keyboard solo – Jon Lord
    3. Ready an’ Willing (Coverdale, Paice, Lord, Moody, Murray)
      • Guitar solo – Micky Moody
      • Murray says this was written while Bernie Marsden was on vacation so that’s why they came up with it without him.
      • Marsden said that Paice refused to put his name on the track because he’d get 2000 less if they did.  They talk a lot about “The Bank of Paice” and how he’d offer to lend people 20 but have them pay him back 25.
      • Normally they’d have one track on the album that everyone would get credit on but Coverdale sided with Paice on this one.
    4. Carry Your Load (Coverdale)
      • Guitar solo – Bernie Marsden
    5. Blindman (Coverdale)
      • Guitar solo – Bernie Marsden
      • Originally from David Coverdale’s solo album “White Snake” from 1977

    Side Two:

    1. Ain’t Gonna Cry No More (Coverdale, Moody)
      • Guitar solo – Micky Moody
    2. Love Man (Coverdale)
      • Guitar Solo – Micky Moody
    3. Black and Blue (Coverdale, Moody)
      • Keyboard solo – Jon Lord
    4. She’s a Woman (Marsden, Coverdale)
      • Keyboard solo – Jon Lord
    Visit my website https://vinyl-records.nl for complete album information and thousands of album cover photos

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    Reception and Review

    • The first Whitesnake album to chart outside the UK.
    • Album went gold in the UK selling more than 100,000 copies.
    • Both Micky Moody and Bernie Marsden credit this album as their favorite with Whitesnake.
    • Reviews:
      • Record Mirror – “A man’s gotta do” – ouch
        • “Swaggering Coverdale, the John Wayne of heavy metal…”
        • “Just the thing to complement a sunny THusday morning, this is a glorious celebration of broken love — Coverdale sounding like a wounded bullfrog in desperate need of a mate.”
        • “Cheers, applause, take a bow. You’re good for at least another 10 years.”
      • Sounds – “Butch Bonanaza” – Geoff Barton – 4 stars
        • “Although the album’s cover’s no ‘Lovehunter’ there’s enough sexist action on the lyric front to keep our feminist freiends frothing at the mouth for some time to come, I’d say.”
        • “Whitesnake have always been the bullseye in the ‘liberated’ women’s dartboard and it’s easy to see why. Band leader David Coverdale, with his in-concert wolf howls and on-album dembads for his ‘baby’ to love him till he’s black and blue, is a frontman of the hard rocking, chest-beating gorilla archetype. A dying breed in these wimp-out days, more’s the pity, but what the hell, it’s all no-action, tongue-incheek innuendo anyway, nothing to really get hot under the collar about.”
        • The album closes with a duo of disappointments — “Black and Blue, the usual WHitesnake good-time barroom honky tonkalong and the only side to the band I actively dislike; and “She’s A Woan’, too crass over the top and straining, even for these ears.
        • But even so, well worth four stars of anyone’s typewriter.”
      • Record Mirror – Dante Bonutto – 5 +s
        • “With ‘Ready An’ Willing’ though what you expect is what you get: an album of diamon-hard rock (not HM) played with skill, verve and, above all, feel.”
        • “‘Blindman,’ a song from Coverdale’s first solo album [is] given the truly titanic treatment it deserves.”
        • “In fact the only ting I don’t care for is the sleeve which is functional rather than eye-catching. Give me a glossy gatefold with free swe-on patch and musical lawnmower offer anyday but then, I suppose, that just goes to show that you can’t always tell a book — or a record — by its cover.  +++++ and worth every one.
      • Melody Maker – Frank Worrall
        • “But I’m at a loss as to why the lyrics are so self-indulgent and childish — and more so when Coverdale follows with two effervescent songs full of poignant reflections. ‘Blind Man’ is a rueful balland accepting life’s uncertainties; ‘Ain’t Gonna Cry No More’ stoutly defies pessimistic thoughts with a dynamic change of speed in the middle.”
        • “Unfortunately the group then return to the “me-Tarzan-you-Jane” slat, closing with three songs glorifying man’s physical prowess. Again the music is classy and the content cause for concern.”
      • Chart Song Words – 4 stars
      • Cedar Rapids Gazette – Whitesnake enters prime with latest – Pan Fruehling
        • “Ready an’ Willing” is an album which shows off a superb rock band just entering its prime. Whitesnake is a group with experience and skill, with the ability to know how to use their talents with variety, taste and dynamics.”
        • “All nine tunes on ‘Ready an’ Willing’ are Whitesnake originals, and every one is a gem.  The biggest problem I have is picking out the record’s highlights, since it’s a standout album from beginning to end.”
      • Daily Press, Newport News, Virginia
        • “Ready An’ Willing strikes me as a down and dirty Blood weat And Tears without the horn section or an Englih Bob SEger and The Silver Bullet Band.”
        • “Whitesnake is a powerful band that pays attention to detail. Ready An’ Willing is nine numbers performed powerfully.”
        • “Ready An’ Willing, a strong album by a group that has to live down a celebrated past, is not a rehash of what Blackmore provided for Deep Purple. It may not be new, but the approach is for the former famous trio.”
      • Des Moines Triibune
        • “Whitesnake, the blues-based rock band featuring three former members of Deep Purple, should not be confused with the Rod Evans-led aggregation currently billing itself as Deep Purple.”
        • “We’re one of the biggest bands in Europe,” boasts the feisty, long-haired Englishman. “And we’ll be bloody frightening whent he colonies finally get a look at us.”

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    Episode #120 – Whoosh! (Revisited!)


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    • A gift from Peter Gardow!

    Social Media Update:

    • Deep Dive Podcast Network
    • Apple Podcasts Reviews
      • Niels from denmark
      • 5 Stars!
      • Very entertaining♥️really fun i can laugh with you as i was in the conversations like to have a “fan talk”with you
    • Dead Daisies coming to Joliet, IL on September 11, 2021!

    Previous Reviews (First Time Reactions):

    Album Tracks (Act 1)

    1. Throw My Bones
    2. Drop the Weapon
    3. We’re All the Same in the Dark
    4. Nothing at All
    5. No Need to Shout
    6. Step by Step

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    Album Tracks (Act 2):

    1. What the What
    2. The Long Way Round
    3. The Power of the Moon
    4. Remission Possible
    5. Man Alive
    6. And the Address
    7. Dancing in My Sleep

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    Episode #119 – Trapeze – Trapeze

    Link to this week’s video episode on Cocoscope: https://www.cocoscope.com/watch?v=90977

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    Patron Updates:

    • Postcards from Hell: Notes from a purple mind Paperback
      • A journey through a man’s journey through depression, low self esteem and borderline alcoholism through to acceptance and forgiveness of himself. Using the music of Deep Purple as a reference point the book is a series of short stories explore such concepts as institutional abuse, violence, loyalty, betrayal, love, loss and death
    • Deep Purple press clippings from Australia!

    Social Media Update:

    Lead up to the Album:

    • Trapeze was the merging of two bands.  Terry Rowley and John Jones were in a band called The Montanas.  Hughes, Galley, and Holland were in a band called Finders Keepers.
    • According to Johnny Jones: In 1969 he and Terry Rowley were taking the train into London when they discussed forming a new band and talked about all the people they’d like to play with.  Terry had worked with Holland and wanted him as the drummer.  This was on a Friday and by Monday the original 5-piece lineup of Trapeze was together.
    • Hughes says that Terry was very well educated musically and he wanted to have strings and orchestrations involved a they were all very taken with what the Beatles were doing.   For that same reason they really wanted to have multi-part harmonies.
    • Jones says that Yes was also a big influence on them.
    • In the 2CD Remastered release liner notes Malcolm Dome says: “The band name Trapeze was suggested by Rowly, and immediately gave them a sense of sophistication, which was highly appropriate when you consider what the debut album sounds like.
    • Jones says he originally suggested the name “Trapezium” because he knew of a folk band called Pentangle.  Terry it is suspected suggested shortening it to Trapeze.
    • Hughes describes the first time seeing Johnny Jones at a Montanas show on stage with sunglasses on and thinking this was the first rock star he’d ever seen.
    • According to Hughes they came close to signing with Apple.  Hughes says that in the end things just fizzled out.
    • Instead of the Beatles it ended up being The Moody Blues who offered Trapeze a deal and John Lodge, the Moody Blues bassist, agreed to produce their album.
    • Like many albums at this time they didn’t have time for pre-production but they had songs written so they went into the studio and performed them.
    • Hughes says that he believes Lodge hadn’t produced anything before

    Personnel:

    Technical:

    • Producer – John Lodge
      • Of the Moody Blues
    • Research, Coordinator [Co-ordination] – John Tracy
      • Author of sleeve notes for numerous releases.
    • Coordinator [Co-ordination Assistant] – Jack Stansfield, Sue Henry
      • Jack, only credit.
      • Sue worked with Trapeze, Marianne Faithful, John Mayall.
    • Engineer – Bill Price
      • Engineer at West Essex Sound Studio
      • Worked with hundreds including Mott the Hoople, Pete Townsend and The Clash.
    • Engineer – Chris Neal (2)
      • Only a few credits in the 70s.
    • Engineer – John Punter
      • Worked with Roxy Music, Mr. Big (not that one), and Martyn Ford.
    • Engineer – Roger Quested
      • Continued to work with Trapeze, Pink Floyd (Meddle), and Cat Stevens.

    Recorded: Morgan Studios / Decca Studios, London

    (P) 1970 The Threshold Record Co. LTD., England

    Distributed By London Records INC.

    Album Art & Booklet Review

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    Album Tracks:

    Side One:

    1. It’s Only A Dream (Galley)
    2. The Giant’s Dead Hoorah! (Hughes)
    3. Over (Jones, Galley)
    4. Nancy Gray (Hughes)
    5. Fairytale – Verily Verily – Fairytale (Jones, Galley)

    Side Two:

    1. It’s My Life (Jones, Galley)
    2. Am I (Hughes)
    3. Suicide (Jones, Galley)
    4. Wings (Hughes, Rowley)
    5. Another Day (Hughes, Jones, Galley)
    6. Send Me No More Letters (Rowley)
    7. It’s Only A Dream – Reprise (Galley)

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    Reception and Review

    • The album was released in May of 1970.  The follow up album “Medusa (which we covered in Episode #40) was released in November of 1970.
    • This lineup was only together for 18 months.
    • Hughes remembers the vocal harmonies and arrangements very fondly.
    • Shortly after 

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    Episode #118 – Captain Beyond – Live in Montreux 1972

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    Social Media Update:

    • Deep Dive Podcast Network
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      • Simon Ford – 5 Stars – From the UK!
      • John and Nate, share their journey into Deep Purple plus all the roots and branches. We’ve all had those sweaty palms, thumbing through the racks to find rare imports,and memorabilia, and it’s those shared experience that I reflect on as we travel the road to Purpledom! The tone of the show is dedicated,welcoming, fun, humorous but willing to take on differing opinions, to the usual handed down rule of thumb! Keep in up fellas. From,Simon Ford,Glastonbury, U.K

    Lead up to the Album:

    • This was in April 1972 at the Rose d’or Festival. On the same bill were Gary Wright’s Wonderwheel, The Doors (without Jim, Ray took the lead vocals), Sutherland Bros.&Quiver, Lindisfarne, Claire Hamill & Amazing Blondel. More Captain Beyond footage you may see on this video (Captain starts 5:23) https://www.rts.ch/play/tv/rose-dor/video/rose-dor?urn=urn:rts:video:4061153
    • This was Captain Beyond’s debut show.

    Personnel:

    • Bobby Caldwell – drums (Johnny Winter)
    • Rod Evans – lead vocals, percussion (Deep Purple)
    • Lee Dorman – bass, backing vocals (Iron Butterfly)
    • Larry “Rhino” Reinhardt – guitar, backing vocals (Iron Butterfly)

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    Setlist:

    Audio and Video Restored and Remastered by BrunoSamppa, December 2020

    April 30th 1972 – Super Pop Montreux – Swiss Broadcasting Corporation

    1. Can’t Feel Nothin’ (Part 1)

    2. As The Moon Speaks (To The Waves Of The New Sea)

    3. Astral Lady

    4. As The Moon Speaks (Return)

    5. I Can’t Feel Nothin’ (Part 2)

    6. Dancing Madly Backwards (On A Sea Of Air)

    7. Armworth

    8. Myopic Void

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    Episode #117 – Bobby Harrison – Funkist


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    Lead up to the Album:

    • Bobby Harrison was born in 1939 in London.
    • He started in the 1950s in a group called The Rockafellas.
    • In 1960s he formed the group Powerpack and put out singles in 1966 and 1967.
    • He was a founding member of Procol Harum and was in the band when they recorded their number 1 hit “A Whiter Shade of Pale.”
    • Harrison and the band’s guitarist, Ray Royer, quit shortly after that to form the band Freedom.
    • Freedom would go on to play dates with Black Sabbath, Jethro Tull, and The James Gang.  They got a lot of attention for their cover of The Beatles’ “Cry Baby Cry.”
    • This album is considered by fans to be the “missing link” between Freedom and Snafu.
    • The material on this album was originally intended to be material for Freedom.  He wanted to get more away from R ‘n’ B and more into funk.
    • Freedom’s last album was called “Is More Than A Word.”
    • In 1972 Harrison left Freedom and started collaborating with Micky Moody who was playing in “Juicy Lucy.”
    • This is considered the “missing link” between Freedom and Snafu.  Freedom’s last album was 1972.  Snafu’s first album was 1973.  This album was released in 1975.
    • Harrison: “I didn’t know really what to do after Freedom broke up, and I was approached by my management to do a solo album. So I thought, “Okay, I got all these songs floating about.”  I decided also that I could pick and choose all these musicians.
    • Harrison says that this album was ready to go but the record company shelved it for a while, that’s why it came out after Snafu was out for a couple of years.

    Personnel:

    Technical:

    Album Art & Booklet Review

    • Artwork [Photo Montage] – Greg Hodal*
      • Had done a previous release by Snafu.
    • Design [Sleeve Design Produced By] – Cream (7)
      • Designed hundreds of album covers for bands such as Gary Glitter, Snafu, Deep Purple (Made in Europe), The Troggs, George Harrison, and many more.
    • Lacquer Cut By – Wly*
      • Mastering engineer whose real name was Wallace Edward Traugott.  Did thousands of albums in the 50s, 60s, and 70s.
    • Other [Special Thanks To] – Claire & Zoey
    • According to Roger Dean there was going to be a UK release of this album with his cover art but it doesn’t appear to have been released.

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    Album Tracks:

    Side One:

    1. Cleopatra Jones (Joe Simon)
    2. Whiskey Head (B. Harrison, W. Monaghan)
    3. Thinkin’ Bout You (B. Harrison, W. Monaghan)
    4. King of the Night (B. Sergeant, B. Harrison)

    Side Two:

    1. Little Linda Lovejoy (B. Sergeant, B. Harrison)
    2. Spotlight (B. Goldberg, G. Goffin)
      • Barry Goldberg was a blues and rock keyboardist, songwriter, and record producer.
      • Worked with Al Kooper, Leonard Cohen, Maggie Bell, Muddy Waters, and Ted Neeley’s album 1974 A.D.
      • Gerald Goffin was an American lyricist and songwriter. Has over 2,000 entries on Discogs.
      • https://www.discogs.com/artist/241547-Gerry-Goffin
      • https://en.wikipedia.org/wiki/Gerry_Goffin
      • Wrote many number 1 hits including “Will You Love Me Tomrrow”, “Take Good Care of My Baby, “The Loco-Motion”, and “Go Away Little Girl.”
      • Worked with Carole King and they were married from 1959 to 1969.
      • Arranged By – John Cameron (2) (tracks: A1, B2)
      • Producer [Produced By] – Steve Rowland
    3. Long Gone (B. Harrison, M. Moody)
      • Guitar: Micky Moody
      • Keys: Matthew Fisher
      • Drums: Bobby Harrison
      • Bass: “Chrissie” Stewart
      • Harrison: “I really like that track, it’s so “spaced out” for want of a better term) it’s so laid back.  The Snafu version was much more matured, but the early one has a very special feel about it.”
      • “I wrote the lyric for it, and it’s all about going on tour.”
      • Producer [Produced By] – Bobby Harrison  & Matthew Fisher 
    4. Looking For a Friend (B. Sergeant, B. Harrison)

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    Reception and Review

    • The album was released and got to No. 76 in the Billboard charts.
    • Harrison says he never received any money from Captiol Records from the album’s release.
    • Harrison was upset doing the album with all of these incredible musicians and the label deciding not to put it out initially.
    • After this album Harrison and Moody formed Snafu which also featured Pete Solley who would also later join Whitesnake.
    • Harrison: “Bringing together a bunch of top quality players like the ones I had on this album can work out very well, but it can also be a total disaster.  I was very lucky it worked well.  WE worked at some very famous studios too, mainly at Olympic No. 1, but a few tracks were also done at Trident and Morgan.  I remember clearly doing the tracks with Tony Iommi from Black Sabbath at Morgan.
    • Snafu’s first album was the self titled “Snafu” released in 1973.
    • In the early 1980s Snafu broke up and Harrison moved to Iceland.
    • Bobby Harrison is currently in a band called Journey that plays Christian-oriented rock in Essex.

    For Further Information:

    Listener Mail/Comments

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