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.
OSTRAVAR Aréna (previously ČEZ Aréna is located in Vítkovice, Ostrava, Czech Republic. It opened in 1986.
The capacity of the arena is 9,779, plus 16 skyboxes, making it the fourth-largest hockey venue in the Czech Republic. The rink can be converted into seating for concerts, increasing the capacity to 12,500.
This was the opening show of the 1991 Slaves and Masters tour, postponed form January 29th.
Setlist:
Intro
Burn
Black Night (incl. Long Live Rock ‘n’ Roll)
Truth Hurts
The Cut Runs Deep (incl. Hush)
Perfect Strangers
Bass Solo / Fire In The Basement
King Of Dreams
Love Conquers All
Difficult To Cure
Keyboard Solo
Knocking At Your Back Door
Lazy
Wicked Ways
Highway Star
Smoke On The Water (incl. Drum Solo & Woman From Tokyo)
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.
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.
The band was taking an equal split but Gillan felt that he was the one taking the real risk.
They were scheduled to fly back from shows they were performing to appear on “Top of the Pops.”
Bernie refused to do it. The rest of the band weren’t terribly happy about it either. Gillan made ethe decision that they had to do it to support the record label.
Gillan gave the band an ultimatum and said the car was coming to pick them up and that if you weren’t in the car, you weren’t in the band.
Everyone turned up except Bernie.
Gillan phones up Phil Banfield and said asked him to find a guitar player.
Banfield found Janick but he wasn’t allowed to be on Top of the Pops because he wasn’t on the recording so they did the appearance without a guitar player.
Gillan rehearsed with Janick in the hotel room.
They rehearsed the new album in Lyme Regis in Dorset at Drake Hall (named after Sir Francis Drake).
“I think they wanted us to be more like Rainbow. In retrospect I think that was incredibly stupid because I think Gillan had a more long-term effect on what happened later in terms of thrash than Rainbow ever had.
“I joined on £30 a week and at the end of it, big tours, three top 10 albums, I was on, I think, £45 a week. There was a complete shambles about publishing. It was badly organised and to be honest I would have to say an awful lot of that was Ian’s responsibility. He was the guy in charge and he promised things he wasn’t able to do.”
An argument over an upcoming appearance on Top Of The Pops led Torme to walk away when he was told he wouldn’t be paid for it.
He adds: “I really regret how I did it, I shouldn’t have done it in that way. It was terribly negative and I love all of them.”
I’ll Rip Your Spine Out (Gillan, McCoy, Underwood)
Restless (Gillan, McCoy)
Men of War (Gillan, McCoy)
Sunbeam (Gillan, Gers, McCoy, Underwood)
Side Two:
Nightmare (Towns)
Released as a single and made it to #36 on the charts
Hadely Bop Bop (Gillan, McCoy)
Life Goes On (Gillan, Towns)
Born to Kill (Gillan, Towns)
Thanks To Our Foundation Level Patrons:
The $3.33 Half Way to Evil Tier
Raff Kaff
Spike the Rock Cat
Spike’s Mom
$3 “Nobody’s Perfect” Tier
Peter Gardow
Ian Desrosiers
Mark Roback
Duncan Leask
Stuart McCord
Flight of the Rat Bat Blue Light
Øyvind Fjeldbu –
Runar Simonsen –
JJ Stannard
Ruinous Inadequacies
$1 Made Up Name Tier
The “Born to Spill” Leaky Mausoleum
Stephen Sommerville The Concerto 1999 Fanatic
Hank the Tank
Private Eyes
Ashen Lionel
Blackmore’s Tights
John Miceli
Bustin’ Out The Spreadsheet
Reception and Charts:
UK Chart Entry: 7 Nov 1981
Highest Position: 12
Total Weeks on Chart: 15
Reviews:
Darker Than Blue Issue 25 July 1982
GILLAN: Double Trouble. Virgin VGD 3506: UK: Oct 1981
Some of it has grown on me, and what seemed initially like a non-starter bar one track now rates somewhat higher. ‘I’ll Rip Your Spine Out’ is one of my favourites, let down only by the rather predictable synth tone in the solo. It’s ‘Men Of War’ which really slays me, and has done from the first play. The vocals soaring in and out, growling and screaming – magnificent. The guitar works well, but again I find the keyboards somewhat ordinary. The album ends with the only two Gillan/Towns compositions, of which I think I prefer ‘Life Goes On’. A marked change in style instrumentally, and some good vocals. We even get some of the Mary Longs sneaking in near the end, with a nice dramatic close. Which is more than you can say for ‘Born To Kill’. it fizzles out after such a good build up through all the different tempos etc. Certainly good stuff, Colin playing well, and I feel I’d go for it more had they not done it so well live. At times I do find myself missing the Gillan “thrash” of yore, and the mix isn’t anything to shout about, but the album certainly has more going for it than the last poor effort. Gers slots in well, only two Blackmoresque solos throughout.
The bonus live LP is a real duffer, and a poor recording (mostly from the Reading festival 1981). The sleeve artwork is crummy. Enough, what about the singles?….
From Kerrang #22 Aug 12-25 1982 entitled “If I Were A Carpenter”
In a field somewhere between London and Reading lies a tape of “Double Trouble.” A two-record set containing both live and studio material, it surpassed all previous Gillan albums in terms of overall sales. Yet a pre-release earful of the studio half (and only part of that) during a fifth-gear burn up on the M4 proved more than enough for Ian Gillan himself. The songs he liked, the mix, handled by US producer Steve Smith, he didn’t.
“I wound down the window, ripped the tape out of the cassette player and threw it away. It was…*crap*!”
There are times, even for one of rock’s most articulate spokesmen, when the simple, graphic expression carries most meaning. Clearly Ian gleans little pleasure from the memory of that album but, a pub near the Hounslow district of London being our chosen rendezvous, he can at least console himself with a pull on a pint.
“All the power was missing from it,” he continues, setting down his glass, “I just hated it. The sound was more acceptable for American audiences, I suppose, but I don’t really give a monkey’s toss about American audiences or any audience when it comes to writing the songs. Which isn’t to say I don’t care about the fans, just that, ultimately, you have to make your own judgment on music, you’ve got to be proud of what you do because you’re the one who has to live with it, be it a success or a failure.
“As far as I’m concerned the public can take me or leave me and what I do. No compromise at *any* stage at all. I’m not interested in it. I left Deep Purple for that reason, because suddenly we were beginning to do what the audience expected. Even if ‘Double Trouble’ had been multi-platinum…well, I haven’t played it since.”
In “Child in Time” Gillan writes:
About after he ditched the cassette out the car window
“A few weeks later I listened to it again and realized that I had completely missed it. How stupid I had been because it was a fine piece of progressive rock, and I don’t think I had ever felt that since early Purple days. Songs like “Restless, “I’ll Rip Your Spine Out,” Hadlely Bop Bop” “No Easy Way” and the single “Nightmare” all jumped out at me.Who said you couldn’t make a good album while on the road? Gillan were doing it with consistency while playing 200 shows a year.
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.
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.
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.
Is Richie Blackmore an enigma or just an a***hole? Either way, he’s one of the best guitar players there has ever been. Did he invent the ‘neo-classical’ movement? How big was his influence on metal? Let’s talk about The Man In Black.
Special guest, Nathan Beaudry from The Deep Purple Podcast!
See below for some thoughts on David Coverdale’s legacy on his 71st birthday from Nate as a guest on Vintage Rock Pod!
On this day in 1984 the classic, iconic, legendary MkII Deep Purple reunited to release the album Perfect Strangers. Blackmore, Gillan, Lord, Glover & Paice joined forces for the first time in 11 years to release a record many fans still hold dear to this day. Joining me to talk about this release is friend of the show, Nate from the Deep Purple Podcast!
Kev Roberts & his wonderful children: Matthew, Gareth, and Sarah
The $9.99 “What’s Goin’ On Here” Tier
Richard Fusey
Apple Podcasts Reviews:
FrankTheilgaardMortensen
From Denmark – 5 STARS!
My favorite Podcast of all time!
The Deep Purple Podcast is by far the best podcast I’ve heard! I love the band and all the solo-outputs, projects etc. In this setting we get tons of information about the many Deep Purple and related albums/releases – and all in the company with the great hosts/friends Nate and John. If you like Purple you need to check this out! If you like music you must check this out. They deserve the 5 STARS and if you love this show like me, then you can become a patreon and support this show. Nate and John has been my friends for the last couple of years, they just don’t know it
With over 30 charting “contemporary jazz” hits since 1976, Ritenour has been busy, contributing to over 3000 sessions of jazz, rock and Brazilian music. At the age of 16, while providing guitar at his first session with The Mamas & The Papas, he was nicknamed “Captain Fingers” due to his dexterity.
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.
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.
Kev Roberts & his wonderful children: Matthew, Gareth, and Sarah
A Note From Jeff Breis:
OK, great choice for a livestream, but you guys need to prepare. This is a live concert from 1972, not a pop-metal show from the 1980s. First, get a 1/2 barrel of Pabst and start drinking at 2pm. Have some other good music of the era playing in the background. When 6 o’clock rolls around, crank up this album, loud. Get into it. Make it too loud to talk over. This is an awesome album. Just dig the music, especially the 13 minute versions! This is what real rock ’n’ roll is about. Stretching out and ripping it up. Fuckin’ A, wonderful! I don’t want to see anybody sitting down!
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.
No video episode this week as we assumed it would be blocked. Enjoy a superior audio experience using one of the services below. https://www.youtube.com/watch?v=S_a-RE0ag94
In interview with heavymusicartwork.com: “But I guess the one I’m proudest of and really is the full package is Ozzy’s, 1981, ‘Diary Of A Madman’, the great set , brilliantly built by photographer Fin Costello’s work pixies, the ridiculous props, magic alphabets, the hand lettering, Ozzy being as drunk as a skunk at the shoot, Ozzy’s son Louis biting the head off the stuffed dove on the cover, just like daddy and of course becoming ‘THE HAND OF SATAN!!! Haaaaaaaargh!!! Yeah, I love that cover and it definitely sums up the early ’80’s.”
Thanks to Our Core Level Patrons:
The $7.77 KeepItWarmRat Tier
Michael Vader
The $6.99 “New Nice Price” Tier
Fielding Fowler
The Episode $6.66 Tier
Steve Coldwell
Arthur Smith
Anton Glaving
Richard Fusey
The $6.65 “Almost Evil” Tier
Kenny Wymore
$5.99 The “Nice Price” Tier
Robert Smith
Peter from Illinois
Michael Bagford
Karl Hellberg
$5 “Money Lender” Tier
John Convery
German Heindl
Adrian Hernandez
Jesper Almén
Oleksiy The Perfect Stranger Slyepukhov
James North
Mark Hodgetts
Will Porter
Zwopper The Electric Alchemist
Tim “Southern Cross” Johnson
Percival Frequency
Scott Zerns
Album Tracks:
Side One:
Over the Mountain (Daisley, Osbourne, Kerslake, Rhoads)
Bob Daisley: Title and lyrics were mine. To be fair, Ozzy’s melodies and scat singing before lyrics were written sometimes influenced what I wrote, the lyrics were written to fit his phrasing on most songs.
Daisley said Rhoads wrote the riff using eight notes but Daisley suggested going with sixteenth notes.
Daisley stated that over the years Frank Banali had been credited as coming up with the opening drums but he said there is no basis to these rumors.
Lyrics were written right before Ozzy recorded the vocal.
Flying High Again (Daisley, Osbourne, Kerslake, Rhoads)
Bob Daisley: The title and lyrics were mine, Ozzy may have put in a word or two again. In my book, there’s a whole story about how this song came about from an experience I had as a young lad playing in bands in Australia. The title actually came from a very ‘straight’ bloke who asked me a question about drugs.
Started off as a song called “Mean Machine” based on the vocals Lee sang during the writing process.
You Can’t Kill Rock and Roll (Daisley, Osbourne, Rhoads)
Bob Daisley: Ozzy’s title, and a few words were his but the meat and potatoes of the lyrics were mine. I wrote it about being screwed by record companies and being lied to, a premonition me thinks…
In his book “For Facts Sake,” Bob Daisley writes: “One of [the new songs] had a Pink Floyd vibe so I named it “Floydian,” which later became “You Can’t Kill Rock ‘n’ Roll.”
Believer (Daisley, Osbourne, Rhoads)
Bob Daisley: My title and lyrics. I was reading about the power of belief at the time and wanted to convey a positive message. Maybe a word or two from Ozzy and some inspiration from his phrasing but all my idea.
Randy and Daisley would joke that this bass riff sounded like “Purple haze”
Side Two:
Little Dolls (Daisley, Osbourne, Kerslake, Rhoads)
Bob Daisley: My title and lyrics. Again, maybe a word or two here and there from Ozzy but totally my idea. A song about Voodoo without mentioning the word. Fuck knows how I came up with that one…
Daisley says it was based on a riff he’d written in Windowmaker for a song called “Mean What You Say” while the middle eight was taken from a song he’d layed in Mecca’s single, “Black Sally” in 1969.
Tonight (Daisley, Osbourne, Kerslake, Rhoads)
Bob Daisley: Ozzy had originally sung ‘just a kiss before we say goodnight’ to open the song but I thought that was a bit soppy so changed the idea to someone down and out on the street. I think Lee came up with the ‘tonight’ where it ended up in the chorus but I wrote almost all the lyrics.
Daisley says this song had the working title “Just a Kiss.”
S.A.T.O. (Daisley, Osbourne, Kerslake, Rhoads)
Allegedly stands for Sharon Arden Thelma Osbourne
Bob Daisley: Not my title, Ozzy and Sharon changed it from ‘Strange Voyage’ which had been mine, to ‘S.A.T.O.’ after Lee and I were ousted. I wrote the lyrics about how life can be a strange voyage and was inspired by a Buddhist text entitled ‘A Ship to Cross the Sea of Suffering’. The S.A.T.O part is explained in my book.
The working title was “Headbanger.”
Daisley says this is the only song on the album not tuned down a semitone.
Lyrics were inspired by Buddhism
Ozzy and Sharon decided to change the title from “Strange Voyage” to this because they were both having an affair. It stood for S.A. (Sharon Adrian, her boyfriend) T. O. (Thelma Ozzy.)
Diary of a Madman (Daisley, Osbourne, Kerslake, Rhoads)
Bob Daisley: My title and lyrics. The title came from a movie of the same name which I’d seen starring Vincent price. When I told Ozzy about my idea he loved it and that became the title of the next album before we’d even started writing it. I wrote the lyrics about my own personal experience which I go into detail about in the book. When Randy, Lee and I first worked up the music for the song without Ozzy, he came in the next day, heard what we had and said, “Who the fuck do you think I am, Frank Zappa?”
Daisley says that at the time he wasn’t aware that some of the chord progressions weren’t entirely original. He said it borrowed from Randy practicing “Etude Number 6” by classical guitarist Leo Brouwer.
Daisley says Ozzy needed a few run throughs with Lee explaining to him how the vocals fit in to get it before he was comfortable singing it.
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.
Recently John appeared on episode #263 of the HaskinCast Podcast as part of a round table discussion talking about the Grunge music era of the early 90s. This sparked an unplanned discussion during episode #181 of our show which we cut out and include here as a bonus episode. If you want to hear John complain about Grunge then listen to HaskinCast Episode #263 – Roubdtable – When Grunge Hit. If you want to hear him complain more about Grunge music then listen to this bonus episode as well!
