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Reviewing Randomly Generated Playlist
Randomly generated playlist containing two songs from each Deep Purple studio album.
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Reviewing Randomly Generated Playlist (continued)
Brendan Ashbrook – Logo Designer
Listener Mail/Comments
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Backing vocals: Lynn Robinson (tracks 1–5, 8–9, 15) and Dee Beale (tracks 4–5, 10–11)
The original double vinyl release omitted “Street of Dreams”, although it was included on the cassette version before “Jealous Lover”. The first CD issue, a single disc, omitted both “Street of Dreams” and “Tearin’ Out My Heart”. These were restored on the 2CD remastered edition of 1999, which features different lengths for several tracks along with the original artwork.
Conductor [Orchestra Conducted By] – Mr. Takashi Hiroi* (tracks: C1)
live at the Budokan, Tokyo, Japan, March, 1984
The instrumental “Difficult to Cure” is taken from the final Japanese Rainbow date in 1984 and features a full orchestral accompaniment. The guitar solo was re-recorded and differs from the video release.
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The cover photograph of Ritchie Blackmore was taken by Ross Halfin after a concert at the Deutschlandhalle in Berlin in November 1982. The person all the way in the background is Don Airey running towards the stage trying to get in the shot. (as told by Don Airey himself in 2005)
Backing vocals: Lynn Robinson (tracks 1–5, 8–9, 15) and Dee Beale (tracks 4–5, 10–11)
The original double vinyl release omitted “Street of Dreams”, although it was included on the cassette version before “Jealous Lover”. The first CD issue, a single disc, omitted both “Street of Dreams” and “Tearin’ Out My Heart”. These were restored on the 2CD remastered edition of 1999, which features different lengths for several tracks along with the original artwork.
On March 14, 3 cameras were set up right in front of the stage with the intention of capturing the whole thing on video. The Japanese group Action was the support act. During their performance in the Budokan, not everyone had the patience to wait. There was already a lot of shouting for Rainbow. At 7 p.m. the hall lights went out for the second time. Everyone immediately started shouting excitedly “RITCHIE, RITCHIE!!!”. Yeah, the party started.
The big eyes looked intently at the audience. They made big spots during “I Surrender”. I was very impressed by the fantastic “Catch the Rainbow”. I loved it!! The highlight was “Beethoven’s Ninth” with the orchestra. It was sublime! I was under the (wrong) impression that I was in the most holy place. The orchestra was visible above the drum kit and illuminated by rainbow-colored spots. The show lasted about two full hours and I have to admit: “Rainbow is the king of hard rock!”
Finally the tracklist: “Over The Rainbow intro tape”, “Desperate heart (although I’m not sure)”, “Miss Mistreated”, “I Surrender”, “Spotlight kid”, “Catch The Rainbow”, “Power” , “Keyboards solo”, “Street of Dreams”, “Fool for the Night”; “Guitar solo”, “Beethoven’s Ninth (with the orchestra)”, “Guitar solo”, “Drum solo”, “Blues”, “Stranded”, “Death Alley Driver”. Encores: “Firedance”, “All night long”, “Woman from Tokyo”, “Since You Been Gone”, “Smoke on the Water”, “Over The Rainbow outrotape”.
The song “Can’t Happen Here” has wrong location and date in the booklet. It was actually recorded at “The Orpheum Theatre” in Boston, MA, USA on May 7, 1981.
Hemisfair Arena Convention Center, San Antonio TX, USA – August 18, 1982
“Live Between The Eyes” recorded in San Antonio Texas in middle of 1982 American tour shows Rainbow at their peak with this lineup, in my opinion. While Joe Lynn Turner wasn’t as heavy metal a singer as Ronnie James Dio he did have an incredible voice and range and was always in great vocal shape. Bobby Rondinelli on drums was a powerhouse and also played better when people were watching. David Rosenthal was again in my opinion the best keyboardist to play in Rainbow and you could tell by the interaction with Ritchie. He loved playing back & forth with David as David was pitch-perfect and could mimic anything Ritchie came up with. Roger Glover was the catylist who held it all down and was a jack of all trades and producer of the album.
Spotlight Kid opened the show with a bang and we used some pyrotechnics at the intro controlled by Raymond d’Addario. the eyes themselves were run by a tech from See Factor by the name of Sal Lupo who loved pointing them at the soundman (Gordon Patterson) and lighting tech (Tony Mazzuchi) just for laughs. those eyes were stored while traveling in two cases the size of a Volkswagen Beetle and didn’t fit thru many a stage door especially in Europe. We also had two beautiful background singers in Lynn Robinson and Dee Beale who filled out the sound nicely. I was told they used to sing on the “Benny Hill” show on tv, not too sure on this but thats what i was told.
San Antonio was a great place to play and was known by the crew as the spandex capital of the world as the girls backstage were a great inspiration and came dressed to kill! Usually on shows like this where the band knew they were being filmed they would have been nervous, but everyone looks very relaxed here and the playing was very good. Before the show in the tuning room Ritchie would be loosening up by kicking soccer balls and excercizing his fingers playing his usual favorite things like the Brandenburg concerto and such. he also used to drink Johnny Walker Black and Coke to an imaginary line on the bottle where he knew he got a nice buzz going. Ritchie did suffer from stage fright in a way as he knew all eyes would be on him and this was alot of pressure for one person to handle. the new songs from Straight Between The Eyes came off beautifully especially “Tearing Out My Heart”.
When it came time for “Kill The King” you can see the smash-up guitar (a strat-imitation with the maple neck) was fitted with a black Fender pickup in the treble position and i had scalloped the neck so Ritchie enjoyed playing it before he went about smashing it to pieces. I got so good at keeping them in tune like his main guitars that he could play them for quite a while before laying them to waste… as I’ve said before his main guitars never went out of tune on stage and he only switched from #1 to #2 for a more deeper heavier sound and this was done at the break in Beethovens Ninth as he came back out on stage for his solo.
I also used to give him more preamp during solos by turning up the input on his Aiwa tape deck and you can see him motion to me with his hands in a circular motion on “Spotlight Kid” on this tape. I could tell he was enjoying himself here and his amps sounded hot this night. Since tube amps can be affected by temp and humidity their sound could change drastically.we were trying to change his tubes once a week on whatever head he was using most often and we would experiment with them when he’d show up for a sound check. He didn’t always come to soundcheck so he relied on me to make sure it was sounding good.
I usually stuck to whatever amp he was playing the night before. His amps always sounded best when they were about to blow their resistors, so i had keep my eyes on them and used to stand behind them watching their orange glow. When he played the intensity would show in the glow of these KT88’s. I used to keep a record of when the tubes were changed in each of his three marshall major heads he used. The tubes were hard to come by in these days and were very expensive. This video was done by Polydor and as far as I know there were no overdubs done on it. This was a very honest example of Rainbow at their best.
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From Discogs:
Originally released on the 15th of November 1983 by CBS Associated Records in the USA with red perigram on logo and title and original tracklist.
In Europe (specifically in UK) it was released on the 2nd of December by Epic Records with blue perigram on logo and title, often alongside with different tracklists like including “Spiders”
The album marks Ozzy’s change to a synth infused pop-metal sound, with both its “sonic production, and in Ozzy’s imaging.
This is Osbourne’s first album to feature guitarist Jake E. Lee and only studio album to feature drummer Tommy Aldridge.
Bark at the Moon is the only Ozzy Osbourne album on which the songwriting is credited entirely to Osbourne. However, guitarist Jake E. Lee maintains that he composed a significant amount of the album’s music but was cheated out of his writing and publishing claims by Osbourne’s wife and manager, Sharon. Lee claims that after he had composed the songs and completed recording his parts in the studio, he was presented with a contract which stated that he would have no claim to any writing or publishing relating to the album. The contract also stated that Lee could not mention this publicly. Lee claims he signed the contract because he had no legal representation and because Sharon threatened to fire him and have another guitarist re-record his parts if he refused.
Osbourne himself admitted several years later in the liner notes to The Ozzman Cometh that Lee had been involved in the album’s writing to at least some degree, stating that the album’s title track was in fact co-written by the guitarist. Osbourne’s bassist at the time, Bob Daisley, has mirrored Lee’s account of the album’s production, stating that he co-wrote most of the music with Lee and wrote the vast majority of the lyrics. Daisley has stated that he accepted a buyout from Osbourne in exchange for a writing credit. Osbourne’s former drummer Lee Kerslake, who also played with Daisley in Uriah Heep after leaving Osbourne’s band, stated that Daisley had been hired by Sharon Osbourne to write the Bark at the Moon album for “$50–60,000 or whatever it is. He was offered the chance to write with Ozzy. Words, music – write the album.
Shortly after Bark at the Moon’s 1983 release, a Canadian man named James Jollimore murdered a woman and her two children after allegedly listening to the album. The media and Christian groups began to infer that the music was Satanic and had influenced Jollimore to commit the act. The timing was particularly inopportune for Osbourne, who was, at the time, facing allegations that his song “Suicide Solution” had influenced a fan to commit suicide (despite the song not being about actual suicide, it is instead about AC/DC’s lead singer drinking himself to death).
In 2002 it was re-issued again, although this version was actually a new remix of the album. This 2002 remixed version of the album was met with mixed reaction; many elements found in the original mix are not present in the remix, namely several lead guitar parts. In addition, the song “You’re No Different” has an alternate ending (with the fade-out removed) and “Centre of Eternity” has an altered intro segment. This edition also included the bonus tracks “Spiders” and “One Up the ‘B’ Side”, originally the B-side of the “Bark at the Moon” single.
Some EU pressings identified the track “Centre of Eternity” as “Forever”, on tours for the album, Osbourne referred to it as “Forever”
“Spiders in the Night” was originally only included on the European, Australian, New Zealand and Greek releases, but was included on the 1995 CD reissue and the 2002 reissue, listed simply as “Spiders”
Within several weeks of its release it was certified gold for over 500,000 sales in the US, today it has sold over 3,000,000 copies in the US.
In the UK, it was the third of four Osbourne albums to attain silver certification (60,000 units sold) by the British Phonographic Industry, achieving this in January 1984.
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Hey Nate & John!
I’ve been listening to Deep Purple since high school — Machine Head had just come out & was hooked right away! Followed Rainbow as well for a while. I found The Deep Purple Podcast through Scott’s Smoke On The Podcast. I had stumbled across Smoke On The Podcast looking for a song that I didn’t have a copy of. I started at the beginning & binged everything he had released through last September on a road trip from Nebraska to Las Vegas. I had heard you guys guesting & then started on The Deep Purple Podcast. I am currently alternating between old episodes (Up to #60) and current ones. I especially enjoy the DP adjacent album reviews. And of course, John’s nicknames
btw — I’m an East Coast boy myself. I grew up in Rosedale, Queens, NYC, and am a blues deejay on a community radio station (Rosedale Mississippi is where Robert Johnson supposedly sold his soul to the Devil) John’s East Coast accent is a taste of home!
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Glenn Hughes & Dead Daisies in St. Charles, IL on May 30th, 2026.
Who Do We Think We Are (1973) was the fourth and final studio album of the Mk2 Deep Purple line-up of Ritchie Blackmore, Ian Gillan, Roger Glover, Jon Lord and Ian Paice. At the time of release, Purple were the most successful, top-grossing, stadium-touring heavy rock band on the planet; a position confirmed by the virtuoso performances captured on the double live album, Made in Japan (1972), and the Billboard chart success of the double A-side Live/Studio single “Smoke on the Water.” The idea for the title of the album came from drummer Paice, who told Melody Maker that the band received “piles of passionate letters either violently against or pro-the group”, with the angry one’s typically beginning: “Who do Deep Purple think they are?” This quote appears as part of the album artwork, a collage of press-clippings that dramatically contrast the success of the band with the controversy that surrounded it, particularly negative reviews of the band smashing up their equipment as the finale to their live performances. Like Black Sabbath and Led Zeppelin, Purple were derided as proponents of “heavy metal” rock.
But, as this volume’s innovative and internationally recognised Metal Music scholars argue, it was their success in communicating – over the course of a series of ground-breaking studio albums and especially in live performance – with a new, younger rock audience that helped to define the genre template we now recognise as “classic” heavy metal. Without this success, heavy metal would not have developed in the way that it did nor forged a lasting bond with its audience amidst the controversy which surrounded its rise; a controversy which centred on the way it choose to communicate with this audience, through extremes of volume and dramatic musicianship, particularly live.
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This set is culled from two nights of live performances at Ebbets Field in Denver that Tommy put together during the time he was in James Gang. The band was basically the then defunct ENERGY minus Tom Stephenson, with a “beeped” up percussion section. The versions of “You Know, You Know”, and “San Francisco River” are from the other night than the versions contained on the “Archives Volume 1”. The format of these shows allowed Tommy to dominate with some of his most ferocious guitar work. One night was broadcast live on KFML, and one night on KHPI.
This is the first self-release title by the Tommy Bolin Archives under their label.
Ebbets Field named after the famed Brooklyn Dodgers ballpark was a small club in the early to late 70’s located on 1020 15th street in Denver Colorado.It held 238 people which made for an intimate setting between performer and audience.The stage faced bleacher type seating which resembled seating at a sports venue.The walls,floor,and seating were all covered in black,orange,and brown shag carpet. Most of the Ebbets shows were broadcast on station KDPI and KFML in Denver.Shows were supported By The Listen Up Company who also were responsible for the fine sound of these shows.The club was paid by the bands record label to record the shows.Some shows were broadcast as they happened and others were broadcast later with the bands, permission.Music from Rock to Country To Bluegrass to Jazz was played there.I’m always interested in trading for any Ebbets Field shows I don’t have.Also looking to upgrade any shows that need upgrading.Any corrections on setlists and dates would be appreciated.Grading is based on sound quality only.Defects such as background noise,cut songs, & digital noise are noted.
When Tommy Bolin took a break from being in the James Gang, and returned home to Colorado 1974, he gathered up some of his closest musical buddies for two nights of performances at Denver’s legendary tiny Ebbets Field. Both nights were broadcast on the radio, and the result is this CD. If you love technically charged, inventive passionate guitar music that flows from powerful rock to over the top fusion playing, this set is for you. In it, Bolin proves why he is one of the most loved and respected of guitar cult legends. The likes of Jimmy Page, Jeff Beck, Joe Perry, Vernon Reid, and David Hidalgo are all huge fans of Bolin. With the purchase of this CD, you will understand why.
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Album Tracks:
All songs written by Blackmore/Night unless otherwise specified.
Storm
“The clouds grow dark, lightning splits the sky and the winds surround you. It is as if you could close your eyes and be swept away by the intensity of the storm. This song allows it to happen.”
Mid Winter’s Night
“Borrowed from a Provencial French carol from the sixteenhundreds a cold winder’s night in a small French farming town. A bed of straw and the church bells won’t stop ringing – sleep does not come easily.”
Merlijn:
Traditonal: “Maire, Lei Campagno” This traditional song dates from around the 16th century, and the Occitan language, which is now endangered. Broadly speaking it is about bells ringing on a mid-winter’s night keeping the narrator awake. It has been recorded in recent years by the Terra Nova Consort, as in link Maire, lei campagno
“Remember that feeling of the love that made every moment seem like a gift; every day seem like summer? You felt as if you could fly and you couldn’t help but smile all of the time. That feeling is All Because of You.”
Albert Dannemann – bagpipes on “All Because of You”
Waiting Just For You
“Going against what others tell you for love’s sake is part of living and loving, when you know its [sic] right – advice from outside influences makes no difference. Even if you have to wait for it. The main theme of thes [sic] melody is taken from an 18th century song by Clarke.”
Jeremiah Clarke (c. 1674 – 1 December 1707)[1] was an English baroque composand organist, best known for his Trumpet Voluntary, a popular piece often playeat wedding ceremonies or commencement ceremonies. Blackmore’s Night copied the melody of this song. Note for note. “Trumpet Voluntary”: Prince of Denmark’s March / Trumpet Voluntary – Jeremiah Clarke
Michael Praetorius (born as Michael Schultze, probably 28 September 1571[1] – 15 February 1621) was a German composer, organist, and music theorist.[2] He was one of the most versatile composers of his age, being particularly significant in the development of musical forms based on Protestant hymns. His family name in German appears in various forms including Schultze, Schulte, Schultheiss, Schulz and Schulteis. Praetorius was the conventional Latinized form of this family name,[3] Schultze meaning “village judge or magistrate” in German. The Latin Praetorius means “magistrate-related or one with the rank of a magistrate. Praetorius was a prolific composer; his compositions show the influence of Italian composers and his younger contemporary Heinrich Schütz. A more commonly known Praetorius piece, for courante (French fo
Benzai-Ten
“In Japanese folklore there is a story of the Seven Gods of Good Fortune. Benzaiten is the only goddess in this group of deities. Legend has it that she is the daughter of a dragon and that she married a dragon king to stop him from eating humans. Her story spans the ages of the 11th century through to the 16th century. It is said she is the goddess of music, marriage, happiness, wealth and love. She plays an instrument called the Biwa which is a type of Japanese lute and that she lives at the bottom of Lake Biwa by the medieval city of Kyoto.
Japan 14th century, anonymous. A benzaiten (Benten) is an Asian Buddhist Goddess. She plays an instrument called Biwa which is a type of Japanese lute. She lives at the bottom of Lake Biwa by the medieval city of Kyoto. Based on traditional anonymous song. Traditional Japanese Music | Relaxing music by Traditional Japanese | Shamisen Music Collection #2 Koto & Shamisen music of the Edo Period – Japanese folk music (example of Benztaiten songs)
Blackmore’s Night : Fires At Midnight SPV 085 72432: EU : August 2001It’s now five years since Blackmore embarked on his current musical direction, attempting to forge some sort of medieval inspired pop/rock fusion and get away from the hard rock he’d publicly stated was now too boring for him to want to play (whatever that means). It was a typically dramatic move by the man and whatever one thinks of the results, you can’t argue that he’s better off doing something he actually enjoys. And lets face it, the last Rainbow album was so contrived, anything had to be preferable.I found his debut Blackmore’s Night album bland and uninvolving for the most part. Come this third offering I thought I’d give it a try and see whether anything had moved on. So far as I can tell it hasn’t; overall the production is crisper, the guitar work is integrated into the sound more fully and the acoustic playing seems to be more natural, but when it comes to the music we seem to be dancing round the same maypole once again.A short rocky opening piece leads right off into the single “The Times They Are A Changing” (SPV 056 72463 – with a non-album track and video as extras. Some percussion which reminds me of The Third Ear Band, plus nice guitar flourishes, are swiftly buried by non too subtle medieval musical pointers and tacky hand-claps. I don’t have a single Bob Dylan record to my name but Candice’s bland approach to this fierce sixties anthem makes me want to dash out and buy the original. “I Still Remember” opens well enough but is again flattened back thanks to the one dimensional vocal technique. There are a few bursts of stunning guitar in here, even a couple of “Gates Of Babylon” flourishes, and when you dig deep enough there’s enough here to suggest that an instrumental remix would be well worth spending some time on. Any such musings are quickly dashed by the reality of “Home Again” and I finally realise that Candice sounds like the more mannered excesses of Petula Clark’s more theatrical work. An unbelievably kitsch rowdy pub crowd sound effect throughout is simply risible, and the late night Italian restaurant mandolin bits near the end merely add to the unintentional humour of it all.There are a few quite disciplined solo acoustic pieces interspersed throughout the CD, “Fayre Thee Well” is the first, and if that’s your cup of tea then you’ll find them engrossing. The album title track is a biggy – over seven minutes worth. Another atmospheric opening passage before Candice jumps in, sounding exactly like she does on every other number. It’s all humming along, complete with a few bars of up tempo bagpiping, and you’re starting to lose it until at 4.15 seconds (index it now) Blackmore just suddenly opens up on the Strat and blazes away. Almost a minute and a half of blistering guitar that just blows away the last five years in an instant. As the rest of the musicians return, the whole thing – with Candice buried in the mix a little, storms along with a hint of what Blackmore could really achieve if he had the desire and vision to push this to the limit. Revel in it. After that nothing else comes close.
Special thanks to Merlijn Rotte for his extra help in gathering historical information and reviews for these episodes!
Listener Mail/Comments
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By 1987, he worked as the official photographer with many major pop and rock bands of the early to mid-80s era including Culture Club, Thompson Twins, Guns n’ Roses, Bon Jovi, Motorhead, Terence Trent D’Arby, among others with his own studio in Chelsea London. By 1990, he was headhunted by the Rolling Stones to be their official tour photographer on the Urban Jungle/Steel Wheels tour of Europe and toured the world several times over with the biggest bands of the early 90s including Guns n’ Roses, Iron Maiden, Aerosmith, Ozzy Osbourne, Whitney Houston, and others.
Hanging Tree Artwork by Heather Findlay
Artist and musician who worked with and toured with Blackmore’s Night
Music video included as a bonus feature on CD release.
I Still Remember
“Reflections of a love long gone, but never forgotten. We all reminisce and wonder what could have been, sometimes. Part of this melody was taken from a traditional Renaissance song called ‘Mon Ami’ – my friend…how fitting.”
“You can travel to the ends of the earth and all that you are searching for will be right at home, awaiting your return.”
Ruby’s Choir credited “live on Home Again” in the album liner notes. The members are listed as Michelle, Anita, John, Cathy, Ken, Robert, Mike, Trish, Scott, Sue, Carmine, Mary, and Pete.
Crowning of the King
“Mainly a Tielmann Sussato song – this is the celebration of majesty and pageantry. Representing a new hope and a new chance with a new royal leader.”
Trad by Tielman Susato
Merlijn:
Tielman Susato: La Mourisque (one of the 12 Dancereys). First published in 1551 La Mourisque – Susato Tielman Susato (c. 1510 – after 1570) was a Renaissance composer, instrumentalist and publisher of music in Antwerp. While Susato’s exact place of birth is unknown, some scholars believe that because of his name—Susato meaning de Soest, of the town of Soest — he may be from the town of that name in Westphalia, or the town of Soest in The Netherlands. Susato was also an accomplished composer. He wrote (and published) several books of masses and motets which are in the typical imitative polyphonic style of the time. He also wrote two books of chansons which were specifically designed to be sung by young, inexperienced singers: they are for only two or three voices. Most important of his publications in terms of distribution and influence were the Souterliedekens of Clemens non Papa, which were metrical psalm settings in Dutch, using the tunes of popular songs. They were hugely popular in the Netherlands in the 16th century. Susato also was a prolific composer of instrumental music, and much of it is still recorded and performed today. He produced one book of dance music in 1551, Het derde musyck boexken … alderhande danserye, composed of pieces in simple but artistic arrangement. Most of these pieces are dance forms (allemandes, galliards, and so forth).
“Bonfires illuminate the darkened hills. Silhouetted figures celebrate the coming of the night. There you stand with the Seven Sisters watching over you as you ponder, in awe, the mysteries of the world.”
Alfonso X del Castille. King of Spain around 1200 Cantiga 353 Also sung version of it. Here is Cantiga 353 (Quen a omagen da Virgen e de séu Fillo honrrar) from Cantigas de Santa Maria, a collection of 420 poems with musical notation dedicated to the virgin Mary during the reign of Alfonso X of Castile El Sabio (1221-1284). The story: Only surviving son of a wealthy man is sent to live in a monastery. He was fascinated by a statue of the Virgin and Child and brought it food every day. The statue spoke to him and said come eat with my father tomorrow (shades of Don Giovanni). That night the boy and the abbott came to the statue, fell ill, died and were taken to heaven. Might have been nice to have lived a full life first, but that’s medieval logic.
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