The Deep Purple Podcast

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Postcards From The Edge . . . OF CONNECTICUT!

• Postcard from Florida
• World Flag stickers
• Ry Cooder (and more) CD/CD-ROM collection . . . and one cassette!

Core Band:

• Drums – Matt Sorum (tracks: 2, 10)
• Drums, Percussion – Gary Ferguson (tracks: 1, 3 to 9, 11, 12)
• Guitar – Joakim Marsh* (tracks: 1, 3 to 7, 11, 12)
• Guitar –  Marc Bonilla (tracks: 8)
• Guitar – Stevie Salas (tracks: 2, 10)
  • https://www.steviesalas.com/
  • https://en.wikipedia.org/wiki/Stevie_Salas
  • Worked with Eddie Money, Bootsy Collins, and Was (Not Was)
  • In 1989, Salas participated in Bill & Ted’s Excellent Adventure by performing the guitar solo for the character Rufus (played by George Carlin) in the closing scene
• Keyboards – Marc Bonilla (tracks: 1)
• Piano – Hans Zermüehlen (tracks: 4, 11)
• Piano – Marc Bonilla (tracks: 4, 9, 12)
• Vocals, Bass, Co-producer, Lyrics By, Composed By [Melodies] – Glenn Hughes

MUSICIANS

Glenn Hughes (Vocals, Bass)
Jocke Marsh (Guitars)
Stevie Salas (Guitars)
George Nastos (Street Funk Guitar)
Marc Bonilla (Electric & Acoustic Guitar, Piano, Keyboards, Mellotron, Strings)
Hans Zermuehlen (Clavinet, Piano, Wurlitzer Piano, Keyboards)
Keith Emerson (Organ)
Matt Sorum (Drums)
Gary Ferguson (Drums)

RECORDING AND PRODUCTION CREDITS

Produced by: Glenn Hughes and Michael Scott (except Track 2 and 10)
Co-Producers: Steve Salas (Track 2 and 10) and Marc Bonilla (Track 8)
Executive Producer: Ken Ciancimino
Associate Producer: Gordon Perry
Remix: Laurence Tolhurst (“Freedom“) Engineered by: Mike Scott & Dave Ahlert
Mastered by: Kerry Crafton & Gordon Perry at Goodnight Dallas Studios, Dallas, Texas

The album was recorded late 1998 in Los Angeles.

Art Director/Designer: Darwin Foye

Photography: Robert John

Technical:

• Engineer [Assistant] – Monique Mizrahi, Stephanie Gylden, Tony Alvarez
• Mastered By – Don C. Tyler
• Producer, Engineer, Mixed By – Michael Scott
• Executive Producer: Ken Ciancimino
• Associate Producer: Gordon Perry

Album Art & Booklet Review

• Art Direction, Design – Darwin Foye (2)
  • Owner of 5th Density
    • https://web.archive.org/web/20040418221424/http://www.5th-density.com/
  • Did album art for a number of Glenn Hughes, Joe Lynn Turner, and HTP albums in the late 90s, early 00s.
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  • https://web.archive.org/web/20010611155556/http://www.photogopher.com/rjohn/
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“I stand behind this album as one of my faves. It has tremendous depth. Not as serious as some of my past work, but that’s fine with me. This CD will grow on you. A well-recorded album with an immense understanding of pre-production. Jocke and myself were locked away in my house in Los Angeles in November of 1998. I want to thank him for that healing period.”

Favorite song – The Way It Is

Favorite ballad – Curse

Album Tracks:

1. The Way It Is
   • (Sampo Axelsson, Hughes, Marsh)
   • Favorite song – The Way It Is
   • Glenn Hughes (b, v), Jocke Marsh (g), Gary Ferguson (d), Marc Bonilla (k)
2. You Kill Me
   • (Hughes, Salas)
   • Engineer, Mixed By – Kevin Smith*
     • https://soundbetter.com/profiles/117759-kevin-w-smith
   • Mixed By – Glenn Hughes
   • Mixed By, Co-producer – Stevie Salas
   • Glenn Hughes (b, v), Stevie Salas (g), Matt Sorum (d)
3. Neverafter
   • (Hughes, Marsh)
   • Clavinet – Hans Zermüehlen
   • Strings – Marc Bonilla
   • Glenn Hughes (b, v), Jocke Marsh (g), Gary Ferguson (d), Marc Bonilla (strings) Hans Zermüehlen (clavinet)
4. Rain On Me
   • (Hughes, Marsh)
   • Glenn Hughes (b, v), Jocke Marsh (g), Gary Ferguson (d), Marc Bonilla (piano), Hans Zermüehlen (piano)
5. Curse
   • (Axelsson, Hughes, Marsh)
   • Electric Piano [Wurlitzer] – Hans Zermüehlen
   • Mellotron – Marc Bonilla
   • Favorite ballad – Curse
   • Glenn Hughes (b, v), Jocke Marsh (g), Gary Ferguson (d), Marc Bonilla (mellotron), Hans Zermüehlen (wurlitzer piano)
6. Freedom
   • (Hendrix)
   • Glenn Hughes (b, v), Jocke Marsh (g), Gary Ferguson (d)

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Deep Dive Podcast Network:

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

• Deep Dive Podcast Network

Brendan Ashbrook – Logo Designer

For More Information:

• https://en.wikipedia.org/wiki/The_Way_It_Is_(Glenn_Hughes_album)
• https://www.discogs.com/release/818867-Glenn-Hughes-The-Way-It-Is?srsltid=AfmBOoplaFvXqMzHk-1BdFTkNwecFilbuEUdjaSMkeSrXw8HABif_T1I
• https://musicbrainz.org/release/5148a0bf-3c72-4842-9638-46f09c232a27
• https://www.glennhughes.com/twii.html
• https://www.discogs.com/release/4147520-Glenn-Hughes-The-Way-It-Is (US Release)
• https://web.archive.org/web/20030224055314/http://www.melodicrock.com/interviews/glennhughes.html
• https://web.archive.org/web/19991128084605/http://www.glennhughes.com/twii_index.html

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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https://www.suhr.com/instruments/reb-beach-standard

“I bought my first guitar built by John Suhr in 1986. I was writing a twisted Sister record with Dee Snider called “Love Is For Suckers.” Dee said it looked like a coffee table. I played it and fell in love and knew that was ‘The One’. I borrowed the $1200 from my brother, who was the director of the Metropolitan Opera in NYC. I made payments to pay it off and this guitar has been the one ever since.”

-Reb Beach

Album Tracks:

All tracks are written by David Coverdale and Doug Aldrich.

1. One of These Days
   • It’s a song for everyone else who’s been in a situation where they’ve come out of a relationship, it’s run its course, but they’re unable to let go. They’re holding on to stuff that isn’t realistic anymore, instead of remembering the good stuff, treasuring it and perhaps letting it go. You can still hold the energy of how good something was, but ultimately you do have to let go and get on with your life. We have layers and layers of relationship stuff, and some of them work well for you and the other ones give you a pain in the shoulder, a pain in the heart, or wherever. You simply have to address them. And ultimately, this song will give you a bit of a heads-up on how to deal with that stuff. Or not.
2. Love and Treat Me Right
   • Yet another love theme, just from a different angle
   • If I’m feeling low I think about you, I can’t wait to see you;
   • I don’t mind playing your nasty games. I like that little play on “I get high when I’m feeling low”, that high being high on love, and hi
   • gh on the old physical how’s your father!
3. Dogs in the Street
   • I had the idea for that title after we did the Good To Be Bad album. I’d think, “That’s a good rock idea” and I was messing around with different chord sequences, but I could never really get any further. So I sent my basic idea down to Doug in LA and, of course, he grabbed it with both hands and sent me back something extra… very inspiring… We do a lot of writing on iChat, incidentally, which is very funny. Dogs… has the darkest vocal on the album. It’s a very gritty theme, with all the neon city-street stuff. It’s about incendiary love.
   • That kind of dangerous love that just comes in and suddenly pulls you both out of your safety zone, and you tend to almost dare each other to walk the tightrope. It’s fire and gasoline, it’s incendiary love and it’s got a Bad Boys feel to it.
   • Doug really loves this song.
4. Fare Thee Well
   • This is like the longer version of We Wish You Well theme, you know, a “Thank you so much for the journey”.
   • Actually, lyrically I must offer apologies to Saltburn because when I say, “Back where I belong”, it means back into the embrace of my wife. I’m not actually going back to Saltburn at this moment in time, anyway. I’m not sure my wife would go for the climate! But it’s a song very, very close to my heart.
   • This is another one that I adore driving to because it takes you on a separate journey from the one you’re on. It’s a celebration of what you’ve gone through together. And I love that ‘Let’s have a drink before” line, “Let’s have a drink before we say goodbye… Who knows, we might see each other tomorrow?” In an hour!
5. Whipping Boy Blues
   • I had the original, basic idea of this song years ago, and when Doug and me were doing demos, I pulled it off the shelf and said: “What do you reckon?” We worked on it a little bit but didn’t have that initial inspirational ‘fire’. So we made some cool changes and put it on the back burner for potential future use, because I always felt it was worth something. When we went back to it this time, the whole thing came out great, and it felt like absolutely the right time to unleash it. It’s particularly raunchy. It’s about a very, very naughty woman. A dominatrix. And as the boys and girls who support my work know, this kind of woman has given me fabulous inspiration to write fun rock’n’roll songs about such experiences. It’s tongue firmly in cheek, you know, but a fab slice of ‘Snake. It’s surprisingly one of my wife’s favourite tracks; she thinks it’s a whole heap of fun. There’s also a little lyrical tribute to The Yardbirds – I’ll leave you to discover it for yourselves!
6. My Evil Ways
   • As a kid I loved Errol Flynn, or Captain Blood the character Flynn played in the 1935 movie classic]. I had no idea of his womanising ways back then; I just thought he was a great pirate, a great Robin Hood and a great, good-looking hero who made all the girls swoon. And I remember reading a book about him called My Wicked, Wicked Ways. So I thought of the title for this song. This time my wickedness, naughtiness and risqué stuff like that. A lot of these guys were basically doing what rock’n’rollers thought they started, except more privately. Nobody was advertising the bacchanalia, Fellini-esque goings on behind the scenes of tours until the media became more open about it. That goes for a lot of the entertainers and musicians back then. You will never see any journalist writing about Beatles tours, about all of the obvious naughtiness that must have occurred. But now nothing’s sacred. Everybody has a video device or camera in their telephone, and everybody has a cellphone. So you know, you take a momentary walk on the wild side and bang, you’re going to be on some website within five minutes!
   • So this is a total balls-to-the-wall ‘Snake song, and in concert this could be an interesting vehicle for a Tichy ‘Thor, The God of Thunder’ drum solo from hell.
7. Forevermore
   • It’s definitely one of my favourite songs that I’ve ever been involved with, without a doubt. I love the feeling of it. I’ve got to give Doug credit here. We had finished the writing for what I considered were all the songs for the album, and Doug said he had another little idea. I initially said “No”, but realised that was very unfair, so when he started to play the opening chords to what became Forevermore I said, “OK, you’re on!” We immediately started working on it and it unfolded into an amazing, intricate piece of music. In a major key, no less. It’s a reflective lyric, a song of a love that will last forevermore, and has a beautiful melody, if I say so myself. And I think it’s gonna be very special for people to have this song to be able to put in their pocket, to accompany them on their life’s journey.
   • We also have another recording of the song with a lilting acoustic arrangement and harmonies. Both Reb and Michael are exceptional singers. Just beautiful vocal touches.
   • They’re the best yet.

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Bustin’ Out The Spreadsheet

Reception and Charts:

• Released on March 9, 2011.
• Released in a digibook with an additional 132-page magazine along with a double sided poster and a collector’s pin badge. Package is named “Limited Edition Collector’s Pack”. Digibook spine mentions edition as “Exclusive Limited Edition”.
• The track 14 & 15 were recorded live at Donington Park, Leicestershire, England [United Kingdom] – 18th August 1990.
• These tracks were later released as part of Whitesnake – Live At Donington 1990
• Forevermore: Revisited, Remixed and Remastered released on September 26, 2025.

Reviews:

• http://www.allmusic.com/album/forevermore-mw0002114341
  • AllMusic Rating: 3.5 out of 5
  • User Rating (582): 4 out of 5
  • Forevermore Review by Thom Jurek
  • Three years ago, Whitesnake released Good to Be Bad, a comeback album that reached the U.K.’s Top Five. It walked the line between their brand of U.K. hard rock and ‘80s glam metal. On Forevermore, David Coverdale polishes the production — a tad — focuses the guitars more, and successfully fuses Whitesnake’s various eras, and succeeds in spades. There is a new rhythm section with drummer Brian Tichy and bassist Michael Devlin. Forevermore commences with “Steal Your Heart Away,” an old-school, nasty, slide guitar workout with a harmonica solo, that revs into a full-blown blues-rocker with a killer chorus. Guitarists Doug Aldrich and Reb Beach shine on the instrumental bridge. The album’s first single, “Love Will Set You Free,” is top-notch Whitesnake that nods back to the early years while grounding itself in the present. “All Out of Luck,” and “Tell Me How” measure up in the same way. “I Need You (Shine a Light)” is an enormous surprise; its hook is so infectious it sounds like Coverdale‘s been listening to Cheap Trick‘s earliest records. The acoustic midtempo ballad “One Of These Days” carries a trace of country in its melody, hearkening back to the Restless Heart era. Coverdale reveals he’s more than competent to write a fine, lyrically savvy love song, when he’s not thinking with his dick. “Fare Thee Well,” another acoustic number, showcases Coverdale at his most intimate. “Whipping Boy Blues” is a dirty slide rocker that reconciles both sides of the band. “My Evil Ways,” with its calamitous drum intro, is punishing; Coverdale pulls out all the stops to deliver his finest vocal performance on the set. The album’s true highlight, however, is in the closing title track. Over seven minutes, it begins as an acoustic number before morphing into a stellar Whitesnake power ballad. After a two-and-a-half minute acoustic guitar/vocal intro, the band enters with a “Kashmir”-like chord sequence; they keep it slow but increase the drama; it eventually explodes into a bone crusher with killer guitar solos and a gorgeous melody. Forevermore, despite its tighter arrangements and more polished production (and “Dogs in the Street,” its lone loser cut) is Whitesnake at its Brit hard rock best.
• http://www.blabbermouth.net/cdreviews/forevermore/
  • https://web.archive.org/web/20141231081147/http://www.blabbermouth.net/cdreviews/forevermore/
  • If you were one that loved the earlier WHITESNAKE catalogue or may have enjoyed WHITESNAKE‘s MTV period, but got burned out on it, then “Forevermore” is the album for out. Alternately, if you want an album of powerhouse performances and dyed-in-the-wool British blues-based hard work, then you sure as hell can’t go wrong with this one either. From top to bottom, a dandy of an album.
  • Author: Scott Alisoglu
• https://www.loudersound.com/reviews/whitesnake-forevermore
  • 4 out of 5 stars
  • Whitesnake: Forevermore
  • Saltburn’s most famous son is back, with a collection of songs to delight fans of classic rock both young and old.
  • David Coverdale doesn’t exactly have a lot to prove at this point, does he? Whitesnake’s frontman has contributed a formidable number of classics to rock’s songwriting canon over the last four decades, and so the ongoing Whitesnake renaissance can be reasonably viewed as pure bonus territory for all concerned.
  • But three years on from Good To Be Bad, Forevermore clearly seeks to barge its way to the upper tier of ’Snake product.
  • Firstly, it’s great to be able to state unequivocally that reports of the deterioration of Coverdale’s voice have been greatly exaggerated. He might not be hitting the high notes that he nailed with gusto 20 years ago, but those pipes are on splendid form throughout. And, significantly, his current band have both the flair and the necessary cojones to bring the best out of his not quite-twilight years as rock’s most exuberantly lascivious frontman.
  • In particular, guitarists Doug Aldrich and Reb Beach are both remarkably gifted players, and their lead breaks and subtle flourishes add much colour and grit to these songs. The opening Steal Your Heart Away is a case in point. Brash, muscular and yet still infused with that bluesy oomph that somehow got lost around the time of the largely wretched Slip Of The Tongue, it offers the perfect combination of the much-revered pre-poodle era and the strutting bravado of the chart-ruling LA years.
  • Lyrically, too, Coverdale is as unashamedly up-for-it as ever. He wants love, he wants it now and, as you may well have assumed, he’s going to get it any old how. On the thunderous, metal-tinged All Out Of Luck he asks if you could take him home tonight and make him feel alright. Oh, go on then, Dave. If you insist. Meanwhile, first single Love Will Set You Free powers along with a big, wicked grin on its face, another ready-made anthem that smartly showcases this line-up’s mastery of each side of Whitesnake’s dual personality. Soon after, Tell Me How piles up the vocal harmonies amid a maelstrom of churning blues rock riffs and the rather preposterous sound of Coverdale wondering aloud whether or not he can win our love.
  • Of course, a Whitesnake album is as much about the big crowd-pleasing ballads as it is the nuts-out rockers, and Forevermore has several absolute crackers. Fare Thee Well sounds like something Rod Stewart might have done back when he actually mattered, and comes replete with the kind of sauntering, rootsy breeziness that will make it a surefire festival favourite this summer. With a tune so instantly hummable and familiar that you may suspect Coverdale wrote it in his sleep, Easier Said Than Done could easily be a case of ’Snake-by-numbers, but like everything else here it’s delivered with utmost conviction. Best of all, the title track’s sublime seven minute sprawl brings together a beautifully simmering acoustic intro, a fantastic vocal turn from The Cov and some electrifying ensemble rocking that revels in its own Zep-like pomp.
  • It is, by some distance, the best thing Whitesnake have released in decades. Anyone worrying that old age has blunted the end of Coverdale’s jousting lance need only listen to the fiery, zip-bursting devilry of My Evil Ways, which tears along at a breathless pace – lusty eyes wide as saucers – and features the best scream to emerge from Dave’s leathery larynx since Still Of The Night.
  • Considering that Whitesnake could easily be settling into cosy obsolescence, a metaphorical tartan lap blanket hiding all evidence of action in the musical trouser department, tracks like this, and the equally excitable Whipping Boy Blues are something of a welcome revelation.
  • Great songs, great performances and a production job – courtesy of the self-monikered Los Bros Brutalos, namely Coverdale, Doug Aldrich and a chap called Michael McIntyre (probably not the comic, but add your own punchline in a posh shrieky voice if you wish) – that avoids a glut of sonic polish in favour of clarity, clout and plenty of analogue warmth, Forevermore is a very fine Whitesnake album indeed. Point proved.
  • Dom Lawson
  • Writer
• https://www.theguardian.com/music/2011/apr/21/whitesnake-forevermore-review
  • In a world where Jack White has made heavy blues the height of rock fashion, Whitesnake make more sense than they have since leader David Coverdale’s ex-wife was posing on car bonnets in their mid-80s videos. Their 11th studio album opens in spritely fashion, Steal Your Heart Away offering a reminder that Coverdale was doing this before White was even born. It doesn’t take long, though, before Whitesnake’s perpetual problem – quality control – rears its head. There’s too much nondescript, chugalong rock, and Coverdale’s voice is not what it was. It doesn’t help, either, that you’re getting an hour of the stuff, rather than the 40 minutes that allowed the highlights of Ready an’ Willing or Saints & Sinners to shine rather more brightly. By the time the Kashmirisms of the closing title track hove into view, non-partisans may be willing the album to end.
• https://www.metal.de/reviews/whitesnake-forevermore-44248/
• https://web.archive.org/web/20210514165806/https://www.metal.de/reviews/whitesnake-forevermore-44248/
  • Sicher, naheliegend wäre es, David Coverdale und seine Band WHITESNAKE angesichts der Veröffentlichung von „Forevermore“ mit einem guten Rotwein zu vergleichen, der im Laufe der Zeit immer weiter gereift ist. Schließlich hat der Sänger im vergangenen Sommer den Namen seiner Band für einen kalifornischen Zinfandel hergegeben und mit vollmundigen Worten die Werbetrommel gerührt. Ein solcher Vergleich allerdings wäre, darüber herrscht Einigkeit, reichlich unoriginell und abgestanden. Außerdem wäre ein solcher Vergleich doch ziemlich falsch.
  • Denn auch wenn David Coverdale mit WHITESNAKE bereits seit 35 Jahren am Start ist, heißt das ja nicht, dass er sich seinem Alter entsprechend präsentieren würde (mal von reinen Äußerlichkeiten abgesehen), dass er jetzt gesetzt, gereift oder gar weise geworden wäre. Im Opener „Steal Your Heart Away“ singt „I want it all / I want it now“, und man glaubt es ihm auf’s Wort. Coverdale ist kein bisschen älter geworden. Statt über Rotwein, Golf und die eigenen Enkelkinder singt er über „Dogs In The Streets“, „My Evil Ways“ und „Love“ in all ihren Facetten. WHITESNAKE verträgt sich eben nicht mit weichgespülter Alltagsphilosophie, sondern ist Draufgängertum in seiner besten Form.
  • Gut, man mag einwenden, dass „Forevermore“ musikalisch retro ist, und zwar in der Form, dass die dreizehn Songs die meisten Phasen der Bandgeschichte abdecken: Da gibt es den bluesig-harten Opener „Steal Your Heart Away“ mit der Slideguitar, der an die Frühphase der Band erinnert. Da gibt es mit „Love Will Set You Free“ einen Song, der von DEEP PURPLE in ihrer Spätphase stammen könnte (wäre da nicht das vergleichsweise moderne Gitarrenspiel des Axt-Duos Beach und Aldrich). Und da gibt es die Ballade „Easier Said Than Done“, die abgesehen von der Produktion an die Achtziger gemahnt. Aber „Forevermore“ ist gewiss kein Album, das David Coverdale und seine Mitstreiter wie Endfünfziger aussehen lässt.
  • Und „Forevermore“ knüpft ziemlich deutlich an seinen Vorgänger „Good To Be Bad“ an, und das in doppelter Hinsicht: Die musikalische Direktive wurde beibehalten, und ebenso wie beim 2008er-Album findet sich kein wirklicher Übersong. Klar, der Opener ist schmissig, „All Out Of Luck“ ziemlich elegant, „Love & Treat Me Right“ mitreißend, „Dogs In The Streets“ gemein rockend und der siebeneinhalbminütige Titeltrack annähernd episch. Immerhin. Zudem findet sich auf dem Album trotz der Länge von über einer Stunde kein Füllmaterial, sondern mindestens solide Nummern, die so mancher Nachwuchsrocker-Combo gut zu Gesicht stehen würde. Die Schlange züngelt also nach wie vor, windet und rekelt sich – und vielleicht kommt irgendwann doch nochmal der tödliche Biss. Ausgeschlossen erscheint mir das angesichts der derzeitigen Verfassung von Mr. Coverdale und Co. nicht.
  • Eckart Maronde
  • – Dreaming in Red –
  • Sure, it would be tempting to compare David Coverdale and his band Whitesnake, given the release of “Forevermore,” to a fine red wine that has matured beautifully over time. After all, the singer lent his band’s name to a Californian Zinfandel last summer and promoted it with effusive praise. However, such a comparison, it’s generally agreed, would be rather unoriginal and clichéd. Besides, such a comparison would be quite inaccurate.
  • Because even though David Coverdale has been fronting Whitesnake for 35 years, that doesn’t mean he presents himself in a way that reflects his age (apart from purely physical appearances), or that he has become settled, mature, or even wise. In the opener “Steal Your Heart Away,” he sings “I want it all / I want it now,” and you believe him completely. Coverdale hasn’t aged a day. Instead of singing about red wine, golf, and his grandchildren, he sings about “Dogs In The Streets,” “My Evil Ways,” and “Love” in all its facets. Whitesnake simply doesn’t lend itself to watered-down, everyday philosophy; it’s pure swagger in its finest form.
  • Okay, one might argue that “Forevermore” is musically retro, in the sense that the thirteen songs cover most phases of the band’s history: There’s the bluesy, hard-rocking opener “Steal Your Heart Away” with its slide guitar, reminiscent of the band’s early days. There’s “Love Will Set You Free,” a song that could have come from Deep Purple in their later period (were it not for the comparatively modern guitar playing of the axe-wielding duo Beach and Aldrich). And there’s the ballad “Easier Said Than Done,” which, apart from the production, harks back to the eighties. But “Forevermore” is certainly not an album that makes David Coverdale and his bandmates sound like men in their late fifties. And “Forevermore” clearly follows in the footsteps of its predecessor, “Good To Be Bad,” in two ways: the musical direction has been maintained, and just like on the 2008 album, there’s no real standout hit. Sure, the opener is catchy, “All Out Of Luck” is quite elegant, “Love & Treat Me Right” is infectious, “Dogs In The Streets” rocks with a raw energy, and the seven-and-a-half-minute title track is almost epic. At least there’s that. Furthermore, despite the album’s length of over an hour, there’s no filler material, but rather a collection of at least solid tracks that would be a welcome addition to many a up-and-coming rock band’s repertoire. The snake is still slithering and writhing – and perhaps the deadly bite will come eventually. Given the current form of Mr. Coverdale and company, I wouldn’t rule it out.
  • Eckart Maronde
  • – Dreaming in Red –
• https://www.metal-hammer.de/reviews/whitesnake-forevermore/
  • 07. April 2011 von Frank Thießies
  • Coverdales Comeback-Album GOOD TO BE BAD war vor drei Jahren eine recht positive Überraschung. Da war für alle etwas dabei: ein bisschen Blues-Vergangenheit, ein bisschen Achtziger-Whitesnake-Wiedererkennungswert und zudem klanglich neuer Biss. Aber Hand aufs Herz: Wie oft hat man die Scheibe nach der Veröffentlichung wieder rausgekramt?
  • Auf FOREVERMORE macht die aktuellste Besetzung (Neuzugänge Michael Devin am Bass und Brian Tichy an den Drums) dann auch (fast) genau da weiter, wo sie im Kern aufgehört hat. Doug Aldrich und Reb Beach bilden abermals das technisiert starke, manchmal aber auch emotional zu starre und zu deftig dröhnende Gitarren-Rückgrat für Coverdales Stimme, die zwar nicht mehr ganz so lasziv röhrt wie früher, aber dennoch nicht an Charakter eingebüßt hat. Und auch wenn das Songwiting (ab der zweiten Albumhälfte) in seiner stilistischen Bandbreite etwas breiter gefächert ist, fehlt es an dem Überhit-Potenzial, das Whitesnakes beste Werke ausgezeichnet hat. Was nicht heißen soll, dass das lockere ‘I Need You (Shine A Light)’, der flockige Country Folk-Charme von ‘One Of These Days’ oder der vor klassischem Whitesnake-Wiedererkennungswert nur so strotzende Rocker ‘Dogs In The Streets’ keine guten Ansätze liefern.
  • Allerdings leidet der durchgehende Hörspaß unnötig unter Vorhersehbarkeit und der fürchterlich angestrengt drückenden, überkomprimierten Produktion von Coverdale, Aldrich und Michael McIntyre.
  • Coverdale’s comeback album GOOD TO BE BAD was a very positive surprise three years ago. There was something for everyone: a bit of blues history, a bit of 80s Whitesnake recognition, and a new sonic bite. But let’s be honest: how often have you dug out the album since its release?
  • On FOREVERMORE, the current lineup (new additions Michael Devin on bass and Brian Tichy on drums) picks up (almost) exactly where it left off. Doug Aldrich and Reb Beach once again form the technically strong, but sometimes emotionally rigid and booming guitar backbone for Coverdale’s voice, which may not roar quite as lasciviously as it used to, but has lost none of its character. And even though the songwriting (from the second half of the album onwards) is somewhat broader in its stylistic range, it lacks the hit potential that distinguished Whitesnake’s best works. That’s not to say that the laid-back “I Need You (Shine A Light),” the fluffy country folk charm of “One Of These Days,” or the rocker “Dogs In The Streets,” which is brimming with classic Whitesnake recognition value, don’t offer some good ideas.
  • However, the overall listening pleasure suffers unnecessarily from predictability and the terribly strained, overcompressed production by Coverdale, Aldrich, and Michael McIntyre.
• https://www.rockhard.de/reviews/whitesnake-forevermore
  • 5.5 out of 10.
  • Review is in German and behind a paywall.

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For More Information:

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Postcards From The Edge . . . OF CONNECTICUT!

• Postcards from Florida!

Core Band:

• Bass – Michael Devin (2)
• Drums – Briian Tichy*
• Guitar – Doug Aldrich, Reb Beach
• Vocals – David Coverdale

Additional Musicians:

• Guest [Special Guests], Keyboards – Timothy Drury
• Guest [Special Guests], Vocals – Jasper Coverdale
• Other [Frontier Records] – Ezio At The Warehouse, Francesco At The Warehouse

Technical:

• Authoring [DVD Authoring] – Michael Magallon (tracks: DVD-1 to DVD-4)
• Engineer [Drums Recording/Assitant] – Eric Astor (2)
• Engineer [Drums Recording] – Mike Tacci
• Executive-Producer – David Coverdale
• Graphics [DVD] – Jon Farrell
• Producer [Los Bros Brutalos], Engineer [Los Bros Brutalos], Mixed By [Los Bros Brutalos] – David Coverdale (tracks: CD-1 to CD-16), Doug Aldrich (tracks: CD-1 to CD-16), Michael McIntyre (tracks: CD-1 to CD-16)
• Producer, Engineer, Mixed By – Los Bros Brutalos* (tracks: CD-1 to CD-16)
• Mastered By – David Donnelly*

Album Art & Booklet Review

• Artwork, Design – Hugh Gilmour

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Album Tracks:

All tracks are written by David Coverdale and Doug Aldrich.

1. Steal Your Heart Away
   • It’s really about the idea that you’ve paid your dues and now it’s time to reap the rewards. And it’s really quite feral… very Frank Frazetta [famous sword-and-sorcery artist], a chest-beating frustration that has gotten to be so much that you’re screaming from the rooftop that you’ve had enough of this. That if I don’t find what I’m looking for now, I don’t know what I’m gonna do. So there is a kind of emotional destitution in this one, and basically there’s also a fucking good Whitesnake singalong hook! I personally can’t decide if it’s Cro-Magnon or Neanderthal!
2. All Out of Luck
   • As environmentally aware as I am, I’ve never been inspired to write about the magnificent trees in my garden. I just love’em and appreciate them. But with the subject that is love, whenever I sit down to write, these are the sorts of lyrics and songs that come out. So I say: “OK, God, if this is what I’m supposed to do.
   • I’m gonna research the topic of love on lots of different levels, and this particular lyric is a metaphor of love and gambling,” It’s an old device of mine, because I don’t gamble in terms of cards and casinos, but I have certainly gambled in relationships, for sure. It’s about having messed up. You took a risk and it didn’t pay off. Was that risk another woman? Maybe a one-night stand? And now you’re trying to get back in the good books. It’s taken that experience for you to realise how important the other person is in your life. And that’s the scenario. It’s actually one of the earlier songs that Doug [Aldrich] and I wrote, and it came together really quickly, because we seem to be on a very, very telepathic, immediate, connection when it comes to writing. Oh… and this one has got a cracking, tortured solo from Reb [Beach].
3. Love Will Set You Free
   • The whole lyrical theme is about the beginning of m relationship with my wonderful, beautiful wife Cindy, who is my best friend and partner. The first lyric says: “Something in your touch electrified me, completing me in every single way.” We use this expression to each other a lot, “You complete me”, as in if there’s any missing pieces in your person, you usually need somebody to finish the circle.
   • It’s a very fulfilling relationship. The first time we actually touched, held hands, it was like we had an electric shock.
   • It was an amazing feeling, and it’s still as amazing to this day.
   • There’s a stunning solo on this song too, one of Doug’s best, and I also think this is one of the best, most complete songs Doug and I have written. This is also the first video of the album and Cindy’s in it. The song is about her, I wanted her to be in it and she does a wonderful job. And before anyone asks, I don’t do comparisons! Before I forget, my son, Jasper is also in the video. ‘Tis a family affair!
4. Easier Said Than Done
   • Who hasn’t promised the earth to somebody they’ besotted with? You know, it’s the easiest thing in the world to say; “I’m gonna lay the world at your feet.” Unconditional love is to be treasured, and it doesn’t necessarily have to be an abundance of things or “Here’s the keys to Harry Winston, the jeweller”. But you do say things that show your commitment. It’s all part of the eternal aspect of love, how it’s potentially immortal. So it’s the perfect Valentine’s, you know? It says: “I might not be perfect, but you’ve got my love forever.” And, of course, this is one of the now anticipated big Whitesnake ballads – one for the ladies, of course, but we tend to get a lot of boys singing these songs too. Incurable romantics. And let’s not forget an incredible solo from Mr Aldrich. I relish and treasure solos like this, because when the singer stops telling the story, the soloist should continue the narrative. And I think this is a perfect example of a unique solo for that.
5. Tell Me How
   • Funnily enough, it strikes me as something from the Stormbringer/Come Taste The Band era (Referring to the Deep Purple Mk III and IV albums- Ed.). It harnesses soul and rock, the cross pollination, the hybrid. And it captures Michael Devin and Brian Tichy at their wrecking-crew best.
   • Not to diminish anybody else I’ve worked with, but this band just came together like a Savile Row suit! Iove the lyrics on this one, revolving around the theme of trying to win back a love that you’ve compromised. These are the lyrics that you can use to your beloved if you’ve let them down: “I’m guilty of a thousand crimes…” but I won’t do it again, I promise! I’m going to be working another mix of this one, the “have fun for farts and giggles” remix.
   • I really hope we get to do this one live.
6. I Need You (Shine a Light)
   • This has a big Motown feel for me, especially the chords. It’s related to Call On Me from Good To Be Bad or Give Me More Time from Slide It In. There’s a hint of Motown in the majority of the songs that I’ve been involved with, and as Michael Caine would say, “Not a lot of people know that”. It’s another song about a particularly hot lady…. um, I wonder who that could be?! And it’s a fun one with some fun lyrics, with a plea for attention when I say, “Hold the light and get me out of the darkness”. It is, like most of my songs, a celebration of love in all its assorted ways and forms… over, under, sideways, down… all of it.

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For More Information:

• https://en.wikipedia.org/wiki/Forevermore_(Whitesnake_album)
• https://whitesnake.com/forevermore-box-2025/
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History:

• The Lloyd Webber brothers grew up very close and shared an obvious background in music. The different styles they played made it unlikely that they would ever collaborate.
• The two bet on a Leyton Orient football match. Andrew lost and his payment was having to write Julian’s cello work.
• Andrew chose the theme of Paganini’s 24th caprice and added 23 variations for cello and rock band.
• The work was premiered at the 1977 Sydmonton Festival and performed by the rock band Colosseum II with julian on cello.
• It was rearranged and recorded in 1978.

Core Band:

• Bass – Herbie Flowers
  • https://en.wikipedia.org/wiki/Herbie_Flowers
  • Played on Lou Reed’s “Walk on The Wild Side” and David Bowie’s “Space Oddity.”
  • Also played with Elton John, Al Kooper, Paul McCartney, Ringo Star, and George Harrison.
  • Played on Jeff Wayne’s “Musical Version of War of the Worlds.”
  • Sadly passed away in 2024.
• Bass [Fender Precision Bass, Hayman Fretless Bass Guitar] – John Mole
• Cello – Julian Lloyd Webber
• Composed By, Producer – Andrew Lloyd Webber
• Drums, Percussion – Jon Hiseman, Phil Collins
• Guitar – Gary Moore
• Keyboards – Don Airey, Rod Argent
  • Grand Piano, Synthesizer [Arp Odyssey, Mini Moog, Solina String Ensemble], Electric Piano [Fender Rhodes] – Don Airey
  • Grand Piano, Synthesizer [Mini Moog, Roland Rs 202, Yamaha Cs 80] – Rod Argent
• Piano – David Caddick
  • Worked with Webber as a musical director through the 80s and 90s.
• Synthesizer – Andrew Lloyd Webber
• Vibraphone [Vibes] – Bill Le Sage
  • British vibraphonist who played many acts including with The Charlie Watts Orchestra and the Kenny Baker’s Dozen. 
• Wind [Wind Instruments] – Barbara Thompson
  • https://en.wikipedia.org/wiki/Barbara_Thompson_(musician)
  • Married to Jon Hiseman until his passing in 2018.
  • Member of Colosseum.
  • Sadly passed away in 2022.

Additional Musicians:

• Musician [Additional Musicians], Bass – Herbie Flowers
• Musician [Additional Musicians], Drums, Percussion – Phil Collins
• Musician [Additional Musicians], Piano – Dave Caddick*
• Musician [Additional Musicians], Synthesizer – Andrew Lloyd Webber
• Musician [Additional Musicians], Vibraphone [Vibes] – Bill Le Sage

Technical:

• Engineer [Engineered By] – Martin Levan
• Lacquer Cut By – Porky (5)
• Coordinator [Production Coordinated By] – Bridget Hayward
  • Only other credit on Discogs is a title called “Stripping For Jesus.”

Album Art & Booklet Review

• Design [Cover Design] – Cream (7)
• The cover is based on the painting Frederick, Prince of Wales, and his sisters by Philip Mercier.
• Special thanks to Jon Hiseman, Julian Lloyd Webber, David Land and Biddy.
• Recorded at Morgan Studios, London.
  • https://en.wikipedia.org/wiki/Morgan_Studios
• Cover picture a “Variation” of Philip Mercier’s ‘Frederick Prince of Wales and his Sisters’.
• With apologies to London’s National Portrait Gallery.
• Dedicated to The Small Vole.

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Album Tracks:

Side One:

1. “Introduction”
2. “Theme (Paganini Caprice in A minor No. 24) and Variations 1-4”
   • The opening theme is used as the theme to The South Bank Show (1978–2010)
3. “Variations 5 and 6”
   •  became “Unexpected Song” with lyrics by Don Black
4. “Variation 7”
5. “Variation 8”
6. “Variation 9”
7. “Variation 10”
8. “Variations 11-15 (including the Tributes to Hank Marvin and Prokofiev)”

Side Two:

9. “Variation 16”
10. “Variations 13-14 Varied” (listed as 14-15)
    • In the musical for “School of Rock” written by Andrew Lloyd Webber there is a scene where Dewey Finn and Ned Schneebly play Guitar Hero and are playing Variations.
    • The notes in the chorus on the song “Stick It To The Man” is taken from Variation 14.
11. “Variation 17”
12. “Variation 18” (Rachmaninoff‘s Variation 18)
    • “Variation 18” is an instrumental version of the title song from the first Rice and Webber musical, The Likes of Us (1965, unperformed until 2005)
13. “Variations 19, 20 and 5 Varied (listed as 6)”
    • the UK’s children’s programme, The Book Tower (hosted by Doctor Who actor, Tom Baker) adopted a section of “Variation 19” for its theme tune.
14. “Variations 21 and 22”
15. “Variation 23”

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Bustin’ Out The Spreadsheet

Reception and Charts:

•  It reached Number 2 on the UK album charts.

Deep Dive Podcast Network:

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

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For More Information:

• https://en.wikipedia.org/wiki/Variations_(Andrew_Lloyd_Webber_album)
• https://www.discogs.com/release/1971920-Andrew-Lloyd-Webber-Variations
• https://musicbrainz.org/release/4a303fd0-1a5a-4779-b56a-b698dd062836

Listener Mail/Comments

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Thanks To Our Foundation Level Patrons:

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Listener Mail/Comments

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