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Everybody shouting, working up a sweat Stepping over lines, you know what happened next More trouble, than anyone can use It’s a pre-determined thing, you lose your right to choose No way to turn it around You got no more time, no time to calm yourself down Once you press the button, man, it’s coming to a head Pretty soon, babe, you’ll be a long time dead
Little brother, I’m telling you now Your pride can take a hit Little brother, take a deep breath Cool off, man, forget about it
Drop the weapon Kick it away Drop your gun Look the other way Drop the weapon Live another day Drop your blade Listen to what I say
Who you trying to impress? You making a bid To be a big shot brother, but you’re just a small kid Now your reputation got a minor stain It’ll be washed away by tomorrow’s rain Little brother, I’m telling you now Your pride can take a hit Little brother, take a deep breath Cool off man, forget about it
Drop the weapon Kick it away Drop your gun Look the other way Drop your weapon Live another day Drop your blade Listen to what I say
No sound of silence Just streets of violence We’re in overload Wrong side of the road Oh, San Francisco Where the hell did you go? We have enough of that Peace and love
Drop the weapon Kick it away Drop your gun Look the other way Drop the weapon Live another day Drop your blade Listen to what I say
No sound of silence Just streets of violence We’re in overload Wrong side of the road Oh, San Francisco Where the hell did you go? We have enough of that Peace and love Come and hold my hand Then we can all stand And say a prayer To someone out there Anyone out there
(Airey, Gillan, Glover, Morse, Paice) From the Deep Purple album WHOOSH!
During my teenage years I had a temporary bout of immortality, but then there were no guns or knives to test the illusion.
Current Playlist Review
This week John and Nate both choose to replace songs on their respective playlists. John replaces “The Long Way Round” and Nate replaces “Man Alive.”
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Listener Mail/Comments
Comments about the show? Things you’d like us to cover? We’d love to hear from you. Send us an email at info@deeppurplepodcast.com or @ us on Bluesky, Facebook, Instagram, or Threads.
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Adam Corke “oldfangledthing” on Discord sent in this clip from Planet Rock in 2020 in advance of the “Whoosh!” release:
“It’s dangerous to talk about the future because as soon as you mention something someone will be on your back going, ‘What happened with that thing you talked about?’ I don’t know. But I’d do another album on one condition: as this album is called Whoosh! then the next one should be called Splat! It’s like that old joke about a bug hitting a windscreen: what was the last thing that went through his mind? His arse . . .”
The opening track off of “= 1”, “Show Me” features the line:
Before you fall into a trap and then sumpt’ns going splat
We incorrectly identified the artwork as being being by: Candy Medusa
From an interview in Norway Rock Magazine with Roger Glover:
What is the concept behind “Splat!”? Is that also something for Ian?
Well, it started maybe as a bt of joke after an album called Whoosh!”. I must admit I didn’t like it as a title for the album. But, you know, we’re five people and we have different thoughts and stuff. Both musically and idea-wise and everything-wise, it’s a compromise. We don’t always agree, but we end up having to agree because otherwise we wouldn’t exist. So you learn to love things you hate. But Ian Gillan was very, very firm and very confident about “splat!”. I couldn’t think of anything else. You can come up with “The Metamorphasis of Venus” or something like that.
We also called an album “bananas” once, so, you know, we can do anything. I often used to imagine a review in a magazine when thinking of an album title. “And here’s a new album called whatever it is!” and I try to imagine what it feels like to read that for the first time. And certainly “Splat!” is very simple. It’s not something you forget.
In loving memory of Peter Cooper (1965-2025)
Only thing I could find was the Nashville music journalist Peter Cooper born in 1965 but he passed away in 2022.
Album Tracks:
All songs written by Airey, Gillan, Glover, McBride, Paice
Although they know what’s coming next (Splat!) God and Darwin are down the pub, having a pint whilst discussing humanity’s population eruption. ‘Charlie, we gotta get the numbers right next time.’ ‘Hum-de-hum, de-hum – de-ha’, says Darwin, who doesn’t like to interfere.
I found myself failing to complete a test matrix and consequently unable to prove – to a bloody robot – that I was human. I paused and thought ‘this has got to stop’ but of course it was far too late for that. So, I idle away my dehumanisation by having perverse and cryptic intercourse with AI, which seems to have no sense of厖卆nything. It is being driven of course. If you ask the right questions, AI is obliged to answer truthfully協or now. Make the most of it.
Jessica’s – is a Bawdy Bar wherein resides the salt of the earth. I noticed a typo when reviewing the first sketch of the story. And that gave me the set-up, the first two lines. Rather like ‘The Rider’, I could have written twenty verses for this song as I’ve spent most of my life in such great company and places…it’s all true guv’.
Third Call
As of this recording this song was left off of Gillan’s Wordography. In its place was a song called Hoot ‘n’ Slither. The lyrics and description (at the time of writing) are here: https://gillan.com/wordography-114.html
In an interview with The Sun Gillan talks about this missing track:
“For some time now, I’ve been trying to make an album sound as if all the songs belong,” he says.
“There’s one exception on this record and I’m not happy about it,” he announces by way of a slight digression.
When I suggest that the track in question might be Third Call, which seems more to do with sex than metaphysics, Gillan replies: “Oh, how did you guess?
It should have been called Sore Thumb.
“I’ve done my own little album on my computer, replacing it with a song destined to be a B-side or bonus track called Hoot ’n’ Slither, which does fit.”
So is the omission of “Third Call” a bit of sour grapes for Gillan?
I was daydreaming and walking home along the lane from Henly’s roundabout to Brabazon Road, sometime in 1962. It wasn’t raining that day. A stranger who became known to me as Andy was about to pass when I stopped him to ask if he knew anyone on the estate who could play the guitar. Amazingly, he said he was learning the instrument, along with some friends.
‘Splendid’ I thought, and called them all to rehearsal at my place, Saturday morning at 10 am, and that’s when it all began for me. You never know what might happen if you don’t give it a shot.
Features a passage from Bach’s Jesu, Joy of Man’s Desiring
While I’d heard this a million times (mostly at church as a kid) I couldn’t place it other than recognizing at as Bach. Thanks to patron Ovais Naqvi for identifying it immediately!
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.
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.
Adam Corke “oldfangledthing” on Discord sent in this clip from Planet Rock in 2020 in advance of the “Whoosh!” release:
“It’s dangerous to talk about the future because as soon as you mention something someone will be on your back going, ‘What happened with that thing you talked about?’ I don’t know. But I’d do another album on one condition: as this album is called Whoosh! then the next one should be called Splat! It’s like that old joke about a bug hitting a windscreen: what was the last thing that went through his mind? His arse . . .”
The opening track off of “= 1”, “Show Me” features the line:
Before you fall into a trap and then sumpt’ns going splat
We incorrectly identified the artwork as being being by: Candy Medusa
Billy has had enough and raises his head above the parapet sufficiently to be noticed by the political elite, whose members really don’t like it when this unwashed man forgets his place and dares to speak out.
So they call him an Arrogant Boy, and tell him to get back in his hole.
Diablo
“Diablo” is the second single from Deep Purple’s 24th studio album, “SPLAT!”. The song was premiered on June 5, 2026, accompanied by the music video.
Ian Gillan explained the meaning of this song by saying, “It’s about my lover who comes from her hometown. and she’s on a mission to go to Diablo, the most dangerous place on Earth. So, it’s all about taking chances, and just for once in your life do something exciting, step out of the mould, take that little curios bend in the road instead of the sticking to the highway and do something that will, for the rest of your life, either guide or warn you.”
Frontman Ian Gillan has said about ‘Diablo’: “It is all about taking chances. Just for once in your life, do something exciting, step out of the mould, take that curious bend in the road instead of sticking to the highway and do something that will, for the rest of your life, either guide or warn you.”
My girl and I went to Diablo – by far the most dangerous place on Earth – for her rite of passage.
She likes to fight and so – in preparation for the Fist-Fest – she pickled her knuckles in brine.
After twenty preliminary and qualifying victories in just four days she faced the fearsome Guts Mackenzie in the final and knocked him out in the second round. The belt now hangs proudly on the wall in her hardware store and she tells the story of her trial to anyone who cares to listen.
We’ve all heard and laughed about the stories of excess, relating to contract riders, where star performers demand that a list of whimsical indulgences be provided backstage.
I was thinking…what could I add to my tour rider, which was pathetically unimpressive?
One day, with friends on a beach in Ria Formosa…we were scoffing belimas and cold beer when someone said, ‘You can’t eat a doughnut without licking your lips…’
Inspired by the plight of Winston Smith. Winston is the protagonist in George Orwell’s remarkably prescient book – 1984.
Published in 1949
More recently, the NHS (UK’s National Health Service) banned usage of the word ‘Lunatic’. Most of my friends are lunatics and so I have taken deep offense on their behalf.
After his final ‘crack’ hit, the man rose from his dereliction at the entrance to Noble Street and started walking in search of a haven. He found a deserted film set on the High Plains of New Mexico and befriended an abandoned gipsy horse.
In the home that fell from the sky, for him and the only horse in town, the man sat at the bar, contemplating, and the horse stood outside at the rail, simple waiting – and swishing his tail.
Clan MacLaren would gather at Creag an Tuirc (The Boar’s Rock) in times of trouble, to prepare for battle, mostly against MacGregor clansmen, who also laid symbolic claim to the rock.
I peered through the mist and saw two of the fearsome warriors, weary, battle scarred and finally at peace….until….they became aware of an approaching threat to the sanctity of ‘their’ rock.
Just before dawn, you will hear the beating of wings,
As the Angel of Light hurries the night away.
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SPLAT! marks the 24th studio release from Deep Purple since the band formed in 1968. This is the second release featuring their newest member Simon McBride, the 8th lineup that Deep Purple has taken to the studio.
Simon’s influence and energy were immediately present on their 2024 release = 1. Simon, who wasn’t even born when Deep Purples began their 8 year hiatus in 1976, brings a level of technicality and musicianship to the band well beyond his years and is easily the equal of his veteran bandmates. This addition to the band must have been galvanizing for the group as we see them release back-to-back albums a mere two years apart, something they haven’t done since 1996’s Purpendicular followed by 1998’s Abandon.
The concept of SPLAT! saw its genesis during the days when the band were working on the album Whoosh! and was even a Gillan pick for the name of the 2020 release. The concept is simple: humankind on a collision course with death (either collective or singular) like a bug encountering a windshield on the highway.
The album does not suffer from lack of marketing. It is presented as a limited box set featuring a CD, LPs, singles, and a booklet. There are also numerous variations including purple colored vinyl, translucent yellow vinyl, cassette, reel-to-reel, and for those of you with a bit of extra disposable income, a €19,995.00 SPLAT! branded reel-to-reel machine from high end audio company Revox.
For those of you that want to promote the new album when not listening there are t-shirts, jackets, enamel pins, enamel pins, vinyl slip mats, patches, and more available on their Splat! Store. While = 1 featured very sparing design in black and white SPLAT! shows off a rich color palette and lends itself a little better to merchandise and apparel.
The album itself was preceded by three singles showing off the look and feel of the album. The singles were then packaged together as an EP beginning with the most recent release “Guilt Trippin'” as the lead song and featuring two recent live version of the songs “Portable Door” and “Anya.”
1.) Arrogant Boy
The opening track for the album is also the lead single titled “Arrogant Boy.” The single wastes no time opening with a galloping riff by Simon and band. Lyrically the song is about “Billy” who is described in less-than-flattering terms by Gillan. While short for a Deep Purple song, something Bob Ezrin has pointed them toward, it wastes no time featuring solos, a musical flourish section reminiscent of Yes, and a half-tempo bridge with excellent vocals from Gillan.
2.) Diablo
Diablo is maybe the least assuming of the three released singles. It features a simple riff which reminds this listener of “I’m The Slime” by Frank Zappa. The most notable thing about this song is that it features playing by Keith Urban who contributes a solo along with Simon and Don. It may mark the first time a guest guitarist has laid down a solo on a Deep Purple tune. There have been a few guest musicians over the years, mostly more recently, but this may be the first solo. Overall if you aren’t aware of it you may miss it and it seems like an interesting use of Urban as a featured artist.
3.) The Rider
The song opens with a reverberated vintage synth sound reminiscent (to my ears) of a Buchla. After this it goes into chugging hard rock with plenty of creative fills from Ian Paice. The title of the song evoked a lone rider on a horse or perhaps a motorcycle which, to be honest, was not all that appealing to me. Once the vocals started it became evident that it was about the rather fussy conditions of a live performer. The song launches into one of Simon’s most melodic solos in the middle and hits a reprise of the synth intro before concluding.
4.) The Lunatic
This track starts off with the whole band playing a laid back groove. After a verse it quickly breaks into a 7/8 time change before returning to a melodic chorus with brilliant harmonized vocals by Gillan. A new riff is introduced as the song’s organ solo starts. Don lays out one of his most commanding and roaring solos of the album before playing a complicated unison run along with Simon and back to the chorus. As for who the lunatic is, the lyrics keep you guessing.
5.) The Only Horse in Town
Don plucks out a beautiful distorted organ passage before swelling drums, bass, and guitar join in. After the opening bit is played a few times through it morphs into an all too familiar modern Deep Purple progression to introduce the vocals. I have to say that the subject matter suggested by a song called “The Only Horse in Town” did not leave me anticipating this track. That being said the opening line to the second verse made me laugh out loud and I was converted by Gillan’s wacky lyrical sensibilities.
6.) Sacred Land
The opening of the song invokes the sound of a hurdy gurdy but is most likely a synth of some sort. The sound drones on through most of the song. The verse has a Celtic feel to it and mentions the Glen of Creag and Tuirc, a grassy knoll on a crag that is likely familiar to the many Scots listening but that this American had to look up. In this song we’re treated to the first synth solo that is reminiscent of what was peppered throughout = 1 followed by a Simon solo and a fill by Paice that is brilliant in its simplicity.
7.) The Beating of Wings
Unexpectedly this song reminds me of one of the many brilliant slow blues tunes by the great Robert Cray. What captivates me about Cray is his ability to fit many great blues tropes inside of songwriting that is atypical in that genre. Don plays some dirty electric piano to accompany the slow, guitar blues riff played by Simon. The chorus takes the song into a new melodic territory before going back into the verse with some great piano fills by Don and Hendrix-esque ad libs by Simon.
8.) Guilt Trippin’
Beginning with a tinkling Airey piano intro, Guilt Trippin’ was the third single released and the name given to the EP which came out ahead of the album. The song features a very frenzied vocal performance with Gillan. The verse has a staccato and fairly monotone delivery accompanied by a more distant screaming unison lower down in the mix. The piano solo seems a bit out of place even after multiple listens. While it’s obviously expertly played I can’t help but imagine how an organ solo would have done in its place. Of the videos released this one sticks close to the theme of the album complete with a fly that (spoilers!) goes SPLAT! at the very end.
9.) Scriblin’ Gib’rish
A classic swelling organ yields to a chugging guitar while transforming into a discordant synth in the background. It’s easy to be distracted by all of it while Gillan performs the verse with interesting word choices ending in an “ahh-oooh” on each line. The chorus is very typical of this era of the band and leads into a trademark unison run by Don and Simon followed by a synth and guitar solo in the same order.
10.) Jessica’s Bra
When this song came up on the initial track listing I didn’t know what to expect. It’s a fairly inconceivable premise of a bar with a typo on the sign calling it a bra instead. Lyrically this is standard Gillan fare complete with double entendre and running through an odd cast of characters that populate the song’s story. Musically it begins again with a guitar line written in what I would consider the style of 8-bit inspired music which was, in turn, inspired by the hard rock that Deep Purple helped create. More on that later.
11.) Third Call
While giving no indication of where it’s heading the song starts with an ominous chord progression played on the organ. From there I can’t help but be reminded of a Robert Cray arrangement once again. Particularly the playing of Glover, Paice, and McBride together has that rollicking pop-blues feel that Cray has perfected in his career. The song seems to tell a story of a reluctant but irresistible romantic experience. Before the solo a tinkling marimba-like sound still makes me think my phone is ringing each time I hear it. The solo is accompanied by synth horns. While I’m normally opposed to such sounds these work perfectly until they are replaced with a great Hammond solo and finally a return to the organ intro to close out the song.
12.) My New Movie
The penultimate track on the album tells the tale of Gillan’s new movie. Is it telling a story of a literal filmmaker or is it a metaphor? It’s hard to tell. Musically it’s fairly standard with another of McBride’s endless great solos which fades to Don Airey’s snippet of Bach inspired playing reminiscent of “Nothing At All” from Whoosh! followed by another great
13.) Splat!
The title track comes last on this album and it’s quickly becoming one of my favorites. An excellent groove starts the song switching up to something even funkier in the chorus. The melody is reminiscent of Bleeding Obvious from the previous album. Before the key solo Don Airey treats us to what may be the funkiest bit of playing that Deep Purple has ever recorded, certainly since albums like Stormbringer or Come Taste The Band.
14.) Guinnesis
For many this will be the first song they heard from the new album, albeit during the live show before the album title was even announced. The instrumental evokes the sounds of 1980s video game music, and that’s not meant to be in any way derogatory. The video game music of the 1980s and 1990s was largely inspired by classic bands and their composers were fans of music from bands such as Deep Purple. Those sounds and compositions have now inspired the next generation to write music inspired by the music of their youth.
This song comes available only as a vinyl release as part of the limited edition box set. The only other way to hear it at this point would be to catch it at one of their live shows where it has recently been the lead feature in their encore.
After a few listens I wasn’t sure if I liked this album more than = 1 or about the same. Either way it’s very close. At most I think it’s an excellent continuation. If you liked = 1 then you’ll like SPLAT! It’ll probably take a little more time to make a definitive decision. That being said I don’t know that it matters. The band is on fire right now and releasing great material at an astonishing rate. They are inspired and having fun and it shows in everything they are doing.
You may have seen quotes from the band about this being “the heaviest album we’ve done in decades” or comparing it to Machine Head. I don’t think there’s much merit in either claim and likely just something that they have to say to appeal to more borderline fans. I’d say it’s no heavier than anything they’ve put out in a long time but that’s not a bad thing by any means. Comparisons to Machine Head are preposterous. I see little comparison and that’s a good thing. I’m sure there are those that would welcome this comparison but to me that would show a band that has not evolved in 54 years. The resulting album we are getting is anything but that.
This is a band that has a certain formula and a certain songwriting process that also tends to turn out different things with different lineups over the years. SPLAT! is the latest example of this process and the creative product of a group that continues to explore new themes while giving their fans the connection to the past that they crave.
If you’re a fan of the band and that formula you’ll need to check this album out. If you’re looking for Machine Head again then I have good news for you, it’s readily available for you in many formats.
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.
Ooh what a night it was, the night I fell apart I begged a lover not to go away but she went and broke my heart I found myself in a Vegas bar with a whole new set of friends Seen through the bottom of an empty glass Like looking through a fisheye lens
One night in Vegas
It was a morning of revenge for what I did the night before Which accompanied me to the following day to even up the score In a stone cold sober mood next afternoon at ten I found my tongue back in my mouth And I told myself not to drink again
One night in Vegas
I was three sheets to the wind The three shots did me in Three angels there above me As I was lying on the floor I knew I should have run for the hills But I still wanted more
I don’t remember the chapel but I woke up with a wife I looked at her, she looked at me and now we’re hooked for life How strange the situation, it’s now been thirty years Since I met that girl in Vegas And would you believe it, she’s still here
One night in Vegas Oh yeah I gotta tell you, one night in Vegas
This week both Nate and John make changes to their playlists. John replaces “No Need to Shout” with “One Night in Vegas” and Nate opts to replace “Man Alive.” Our first double-swap!
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If you fool around With the dealer Remember soon You’ll have to pay He’ll creep behind you Like a hunter Just to steal your soul away… I don’t want no one Messing with my woman But, just the same I don’t want to see nobody Fooling with you If you’re snowblind Madonna can hold you But, if you don’t understand There is nothing she can do for you…
Running from the dealer Trying to save your soul
I can feel the fire Coming from inside you I know what it’s like Cos I’ve been burned before Ain’t no mercy In the hunger, but You’re a fool to yourself Cos your dealer keeps you begging for more…
Running from the dealer Trying to save your soul
In the beginning all you wanted Was the calm before the storm If the bluebird plays the eagle He finds his song will turn to stone….
Dealer…..
Running from the dealer Trying to save your soul
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Current Playlist:
This week John replaces “I Need Love” with “Dealer” on his Come Taste The Band Playlist. Nate already had “Dealer” on his list.
Brendan Ashbrook – Logo Designer
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I was born into confusion My mother said to me ‘When you become a man you’ll understand’ But it’s still a mystery ‘And if you want to get ahead Get some decent clothes The only way to make it Dress the part’ That gets right up my nose
And I think to myself in this river of doubt This is something I can do without But strangeways is what I got
The indians are coming I saw it on tv They’re 20,000 strong But they always get depleted by the cavalry Salvation is at hand It’s guaranteed Just send a donation straight to God 1-800 toll free
And I think to myself in this academy of fear Where am I going what am I doing here But strangeways is all I got
Have you seen the headlines Princess engaged 3 million out of work But that’s on the 2nd page The alien has landed Finger in his ear Can’t hear a word I am saying But that ain’t such a bad idea
And I think to myself in this cradle of lust Ashes to ashes, and dust to dust But strangeways is all you get
Strangeways not outlined on Ian Gillan’s Wordography.
Current Playlist
Nate replaced “Dead or Alive” with “Strangeways” on his House of Blue Light Playlist. John, once again, holds steady.
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Mary Long is a hypocrite She does all the things that she tells us not to do Selling filth from a corner shop And knitting patterns to the high street queue She paints roses, even makes them smell good And then she draws titties on the khazi wall Drowns kittens just to get a thrill And writes sermons in the Sunday Chronicle
How did you lose your virginity, Mary Long? When will you lose your stupidity, Mary Long?
Mary told Johnny not to write such trash Said it was a waste of public money She made a fuss, they made apologies But everybody thought the show was funny When the nation knew you’d had children It came as such a surprise We really didn’t know you’d had it in you How you did it we can only surmise
How did you lose your virginity, Mary Long? When will you lose your stupidity, Mary Long?
Mary Long, you’re not alone But you’re a long way behind our times What we do in full frontal view Is more honest than your clean-up mind What I’m saying, Mary Long, is When you can spare a minute Go find your friend the porny Lord Dig yourself a hole and jump in it
How did you lose your virginity, Mary Long? When will you lose your stupidity, Mary Long?
Nate quite obviously replaced “Place in Line” with “Mary Long.” John holds steady with his WDWTWA playlist until something better comes along.
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New Show Format for Summer
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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
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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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