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Episode 326 – Michael Schenker Group – Assault Attack

Link to video episode on YouTube: 

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  • From Germany!
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Lead up to the Album:

  • Reportedly after returning from the Japanese tour (where they recorded the live album “One Night At The Budokan”) Cozy Powell and Peter Mesch (the band’s manager) announced that they wanted a better singer for the band. They suggested David Coverdale but Schenker had his mind made up that he wanted Graham Bonnet.
  • It’s thought that this and other disagreements were the reason that MSG and Mensch parted ways.
  • In February of 1982 Bonnet joined the band. Powell and keyboardist Paul Raymond left the band after this and were replaced.
  • After being together for about 4 months the band went to France to record the album at Château d’Hérouville (also referred to as Honky Château)
    • https://en.wikipedia.org/wiki/Ch%C3%A2teau_d%27H%C3%A9rouville
    • Elton John Recorded three albums here “Honky Chateau” “Don’t Shoot Me I’m Only The Piano Player” and “Goodbye Yellow Brick Road”
    • Rainbow recorded “Long Live Rock and Roll” here.
    • The studio closed in 1985 but reopened in 2020.
    • Martin Birch did this session immediately after completing “Number of the Beast” with Iron Maiden.

Core Band:

Additional Musicians:

  • Keyboards – Tommy Eyre
    • Tommy Eyre was the replacement for Paul Raymond for the recording of the album.

Technical:

  • Producer, Engineer – Martin (The Ninja) Birch
  • Engineer [Second] – Benedict Tobias Fenner*
    • Prolific engineer working with Radiohead, The Cranberries (co-producer), The Feeling, James, Marti Pellow, David Bowie, Brian Eno, Elvis Costello, INXS, Depeche Mode, The Kinks, Whitesnake, Trevor Rabin, Robin Trower, Michael Schenker Group, Bob James, John Patitucci, Bob Mintzer, Gary Husband and Janek Gwizdala.
    • Fenner has worked with many producers including long associations with Brian Eno, Elvis Costello, Andy Richards, Ray Davies, Trevor Rabin, Martin Birch, Eddie Kramer and Richard Niles.
  • Engineer [Second] – Patric Drouget*
  • Management – Damage Control Management
  • Producer, Engineer – Martin “The Ninja” Birch

Album Art & Booklet Review

  • Other [Album Title] – Jack Magill
  • Photography By [Cover] – Fin Costello
  • Photography By [Group] – Brian Aris

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Album Tracks:

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

Side One:

  1. Assault Attack (Schenker, Bonnet, Glen, McKenna)
    • This song was included in the video game “Brutal Legend” which was released in 2009.
    • Video game was made by Tim Shafer which made one of  this host (Nate’s) favorite video games of all time, 1995’s Full Throttle which was also a heavy metal themed game as well as the first two Monkey Island games and Psychonauts.
  2. Rock You to the Ground (Schenker, Bonnet)
  3. Dancer (Schenker, Bonnet)
    • This was the only single from the album. It was released with the B-side “Girl From Uptown) which was included in the later CD reissue as a bonus track.
  4. Samurai (Schenker, Bonnet, Glen)
Visit my website https://vinyl-records.nl for complete album information and thousands of album cover photos

Side Two:

  1. Desert Song (Schenker, Bonnet)
  2. Broken Promises (Schenker, Bonnet, Glen)
  3. Searching for a Reason (Schenker, Bonnet)
  4. Ulcer (Schenker)

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Bustin’ Out The Spreadsheet

Chart (1982)Peakposition
Japanese Albums (Oricon)[6]9
Swedish Albums (Sverigetopplistan)[7]34
UK Albums (OCC)[8]19
US Billboard 200[9]151

Reception and Charts:

  • The album was released in October of 1982.
  • Ranked #481 in Rock Hard Magazine’s book The 500 Greatest Rock & Metal Albums of All Time.
  • Get With The Programme. The Michael Schenker Group Assault Attack UK tour of 1982 was only 14 dates starting in late November. 2 at Manchester Apollo, one at the Hammy and a haul around the provinces.
  • Peak chart position:
    • UK – 19
    • Sweden – 34
    • Japan – 9
    • US Billboard 200 – 151

Reviews

  • Martin Popoff ranked this album 10/10 in the “Collector’s Guide to Heavy Metal.”
  • https://zrockr.com/2015/11/05/michael-schenker-group-assault-attack/
  • Kerrang Review
  • Sounds 3 / 5
  • Metal Hammer 6 / 7
  • All Music 3 / 5 (User rating of 4.5 / 5)
    • Assault Attack Review by Andy Hinds
    • Michael Schenker’s pairing with former Rainbow wailer Graham Bonnet made perfect sense, since Schenker’s facile, classically flavored Euro metal guitar style is a graceful extension of Ritchie Blackmore‘s innovations. The results on Assault Attack are pleasing; while Schenker predictably delivers top-notch performances, Bonnet‘s vocals are edgier and more engaging than those of former MSG singer Gary Barden. [A bonus tracks edition of Assault Attack was released in 2006.]

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Episode 325 – Captain Beyond – Live in Arlington, TX (1973)

Link to video episode on YouTube:  https://www.youtube.com/watch?v=do5NMNRw7Ow

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Postcards From The Edge . . . OF CONNECTICUT!

  • Ralphie continues binge-listening to the show!
  • Peter Gardow sends family floral heirlooms to to the state of Illinois!

Lead up to the Album:

  • After the release of Sufficiently Breathless they reunited with Caldwell on drums for a year.
  • Evans would leave the group in 1974.
Version 1.0.0

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The Venue:

Setlist

  1. Voyages of Past Travelers / Distant Sun
  2. Drifting in Open Space
  3. Pandora’s Box / Thousand Days of Yesterdays (intro)
  4. Frozen Over
  5. Dancing Madly Backwards (On a Sea of Air)
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  7. Myopic Void
  8. Mesmerization Eclipse & Drum Solo
  9. Stone Free (Encore)

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Episode 324 – Whitesnake – Good To Be Bad (Part 2)

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  • Easter Greetings from Connecticut
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The autographed Butterfly Ball programme described during the episode. Click here to see the full programme.

Deep Purdre Pics as Discussed on the Episode:

AI Imagines Fat Albert as a guest on the Deep Purple (Purdre) Podcast
Deep Purdre
AI’s rendering of John wearing a “Deep Purdre” T-shirt

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Album Tracks:

All songs written by David Coverdale and Doug Aldrich

  1. Summer Rain
  2. Lay Down Your Love
  3. A Fool in Love
  4. Got What You Need
  5. ‘Til the End of Time

Japanese Bonus Tracks

  • All for Love (Doug Aldrich guitar solo)
  • Summer Rain (Acoustic version)

European Bonus Disc

  • Summer Rain (Acoustic Version
  • All I Want All I Need (Radio edit)
  • Take Me With You (Live
  • Ready to Rock (Enhanced video)

US/Canadian bonus CD; all tracks taken from Live in the Shadow of the Blues

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Bustin’ Out The Spreadsheet

Reviews

  • https://web.archive.org/web/20130120085952/http://heavymetal.about.com/od/cdreviews/fr/whitesnakegoodt.htm
    • 3.5/5
    • Whitesnake has been around for 30 years, and a band with that sort of longevity has to fight to stay modern and relevant. When it comes to new material from bands we grew up with, fans can be ambivalent. We’d rather hear “Still Of The Night,” “Here I Go Again” or “Is This Love” for the billionth time than something new.
    • With Good To Be Bad, Whitesnake proves they still have plenty left in the tank. The 2008 lineup of the band includes vocalist David Coverdale, guitarists Doug Aldrich (Dio) and Reb Beach (Winger, Dokken), bassist Uriah Duffy (Travers/Appice), keyboardist Timothy Drury (Don Henley) and drummer Chris Frazier (Steve Vai).
    • The songs on the CD are classic Whitesnake, full of big guitar riffs and melodic hooks. There’s a nice combination of rockers and ballads, and Coverdale’s voice, although a bit raspy at times, still sounds great. In a different era there would have been about 4 huge radio hits on this CD, and Whitesnake fans should really enjoy Good To Be Bad.
    • (released April 22, 2008 on SPV Records)
  • https://www.allmusic.com/album/good-to-be-bad-mw0000784829
    • 4 out of 5
    • Good to Be Bad Review by Thom Jurek
    • Good to Be Bad marks Whitesnake’s 30th anniversary as a band — though frontman David Coverdale is the only original member. It’s their first studio album since 1998’s Restless Heart, which was never released in the United States. The current incarnation of Whitesnake is Coverdale, guitarists Doug Aldrich and Reb Beach, bassist Uriah Duffy, keyboardist Timothy Drury, and drummer Chris Frazier. Frazier is the band’s newest member; the others appeared on 2006’s Live…In the Shadow of the Blues. This is a seasoned road group, but it remained to be heard if they could pull it off in the studio. The answer is hell yes! Listening to this wondrous racket, it seems strange that such a timeless sound has vanished from mainstream rock — guitars just don’t sound like this on records anymore. What’s really weird is that this sound, as seemingly “retro” as it is in recalling the 1980s, is actually a real alternative to what’s on corporate radio in the 21st century. There are some outstanding cuts here. “All for Love,” the album’s centerpiece, contains a majestic power chord intro. It evolves into the big bad four-note riff that the tune hinges on. It’s got a killer rough-and-rowdy hook in the refrain that’s trademark Whitesnake. Another killer arrives with the wild unhinged blues licks that open “Best Years.” The tune’s riff is an inversion of the Allman Brothers‘ “Whipping Post,” and the verse is based on the same changes. This tune is one of the hardest rockers to come swaggering down the stadium rock alley in a dog’s age. “Can You Hear the Wind Blow” features enormous guitars and shimmering keyboards that contrast with the blues wail in Coverdale‘s voice. There is déjà vu here, too: the hook is reminiscent of “Rock You Like a Hurricane” by the Scorpions. Aldrich‘s guitar playing is a huge boon to the Whitesnake sound. He’s obviously listened to Jimmy Page, and the slippery, knotty, and funky blues licks in tracks like “Call on Me” reflect that, but his sound with its effects pedals is more overdriven and bigger than life, offering the base for Whitesnake’s core sound — straight-out festival rock, y’all. This wouldn’t be a Whitesnake recording without a power ballad, and “Summer Rain” is a beauty. Coverdale sings a country-tinged melody; he’s all vulnerable singing above a washed-out meld of acoustic guitars and a gently but insistently swelling organ, kissed by cymbals and a bass drum. Of course, there’s an enormous electric guitar solo near the end to bring it home. Coverdale‘s voice is lower in the 21st century, but just as effective in Whitesnake’s brand of hard rock. “A Fool in Love” begins with the sound of a crackling vinyl record; it gives way to pure balls-out blues-rocker, with slide guitar in Brit metal overdrive. The closer, “‘Til the End of Time,” starts as an acoustic blues, but by the time the big tom-toms roll in and the keys weave through those guitars, it feels like something off Led Zeppelin III. Coverdale has always stuck very close to his blues-rock roots and continues to mine them; his brand of ROCK with chugging outsized guitars is palatable because of his reliance on crafting excellent choruses and hooks. It’s a hell of a comeback and ranks right near the top of the Whitesnake catalog.
  • https://www.theguardian.com/music/2008/apr/18/popandrock.shopping4
    • 3 out of 5
    • (steamhammer)
    • “I wouldn’t want to be singing Slide It In in front of a bunch of blokes,” said the Snake’s David Coverdale last weekend. You don’t get those sort of quotes from Foals, which may explain why the unreconstructed heavy rockers’ return is being greeted with joy in older metal circles. On their first album for 11 years, the veteran band Coverdale now jokingly dubs “Greysnake” robustly fight off any musical developments that have taken place since 1979. Dragons are slain, winds blow, heads bang, solos twiddle and a body shakes – unfeasibly – “like a red hot tree”.
    • It’s as unfashionable as a leather raincoat, but Summer Rain and Lay Down Your Love boast industrial-strength choruses straight from the days when the sight of Coverdale and codpiece on MTV convinced alarmed parents to lock up their daughters and stuff loo roll in their ears.
  • https://www.ign.com/articles/2008/04/22/whitesnake-good-to-be-bad-review
    • 8.1/10
    • Whitesnake – Good To Be Bad Review
    • Coverdale and Co. prove that there is indeed, life after the ’80s.
    • By Jim Kaz
    • Updated: May 12, 2012 4:44 am
    • Posted: Apr 22, 2008 2:18 pm
    • Out of the ashes of Deep Purple, a young and ambitious David Coverdale struck out on his own with Whitesnake toward the end of the ’70s. With major success overseas the blues-infused combo was unable to crack the US until its breakthrough 1987 album hit the streets a decade later.
    • Tweaking the sound and style, Coverdale recruited a new, more camera-friendly lineup for videos and touring, putting forth a slick pop-metal package tailor-made for American airwaves and MTV. The formula worked a charm and the album sold millions, thanks in part to glitzy videos featuring Coverdale’s belle-of-the-day Tawny Kitaen spread eagle on the hood of his Jag.
    • But criticisms were rampant, coming from the highest echelons of rock hierarchy with people like Robert Plant hammering the band for stealing his shtick. All the egos, excess and Zeppelin-isms would eventually put Coverdale in the unenviable position as poster child for the pomp and poof of the ’80s hair-band movement.
    • Now after more than a decade of obscurity, the band is back for another shot. While it’s difficult to really think of this as a Whitesnake album with just one original band member, I resolved myself to look past that and judge it solely on the sounds. Fortunately, it was a pretty easy sell.
    • The songs fall somewhere between the bluesy bits of the early days and the high-gloss sheen of the poster-child era. The lineup that features vet Tommy Aldridge on drums is deft enough, but not so flashy as to upstage the boss. And with a booming, organic production, the sounds are also a bit different from what you might expect of a 21st century hard rock album, and that’s what ultimately makes this one stand out. Like a well-worn leather jacket, Good To Be Bad has a warm familiarity about it that just feels right…whenever.
    • The opening thud of “Best Years” sets the tone with thick, chugging guitars and a blanketing organ line that provide the perfect foundation for Coverdale’s signature snarl. The semi-autobiographical lyrics hint at how good it is to be back in the game, a sentiment that comes through in spades throughout the album. “Can You Hear The Wind Blow” is another bluesy jaunt that would easily fit in with the band’s late ’70s repertoire. “A Fool In Love” goes straight for the retro factor, even including pops and crackles in its bluesy intro.
    • No Whitesnake album would be complete without a couple big ballads, and this one’s no exception. “All I Want All I Need” recalls the prior hit “Is This Love” and is eerily similar to the soul standard “I’ll Be Around” in its verses. But the band shines on the acoustic-based “Summer Rain,” which possesses all the soul and authenticity a thousand and one hair bands failed to capture back in the day. On the flipside, the addictive “Lay Down Your Love” is sure to rouse the haters as it unabashedly apes Led Zeppelin’s “Black Dog” in its own seedy, hard-rock grooves. But, in a sense, it’s the best song the Zeps haven’t recorded in years.
    • A few faux-pa’s aside Good To Be Bad has enough shining, mega-rock moments to endear itself to fans old and new. Without posturing or pretension, it just rocks.
    • Download Worthy:
    • 1. “Best Years”
    • 2. “All For Love”
    • 3. “Lay Down Your Love”
    • 4. “Got What You Need”
    • 5. “Summer Rain”
  • https://www.metal.de/reviews/whitesnake-good-to-be-bad-10123/
    • 7/10
    • Haaa… ein neues WHITESNAKE-Album! Unglaublich, oder? Ich hätte nicht damit gerechnet, dass die Schlange noch zuckt, geschweige denn damit, dass es irgendwann noch mal ein neues WHITESNAKE-Album geben würde. Wer das bisher ebenso sah, liegt auch nicht ganz falsch. Denn von WHITESNAKE ist außer dem großen Namen und Sänger David Coverdale nichts geblieben.
    • Als vor rund 20 Jahren ”1987“ erschien, war dies für viele alte WHITESNAKE-Fans der Schlusspunkt unter der Geschichte einer großartigen Hardrockband, in deren Analen große Namen wie Jon Lord, Neil Murray, Ian Paice, Cozy Powell und natürlich das kongeniale Gitarrenduo Moody/Marsden einige unter vielen waren. Vom grandiosen Bluesrock und den doppelbödigen Balladen vergangener Tage war nahezu nichts geblieben, stattdessen schwang da ein gewisser Adrian Vandenberg die Klampfe wie ein kanadischer Holzfäller die Spaltaxt, WHITESNAKE klangen irgendwie nach Heavy Metal und das war ganz blöd. Sagten jedenfalls viele; für mich war’s die erste Scheibe auf der WHITESNAKE stand und ich war völlig begeistert.
      Tja, dann kam ’ne ganze zeitlang nix mehr. Vor zehn Jahren erschien das akustische -quasi ohral, höhö- zu verabreichende Brechmittel ”Restless Heart“ von DAVID COVERDALE & WHITESNAKE, und auch ich fiel vom Glauben an die weiße Schlange ab.
    • Groß war dann die Überraschung, von einer Tour und DVD im Jahre 2006 zu hören und auch davon, dass WHITESNAKE sich zwecks Aufnahme eines neuen Albums im Studio befänden. Tja, inzwischen sind sie wieder aus dem Studio raus, die Platte ist gepresst und liegt zum Kauf im Laden. Die Frage ist jetzt, ob man sich ”Good To Be Bad“ denn auch kaufen kann/darf/soll. Alte Fans können hier wenig falsch machen. Zwar gibt’s nicht viel Blues auf ”Good To Be Bad“, dafür aber wirklich angenehme Rocknummern und drei Balladen, hiervon sogar eine echt tolle, akustisch instrumentierte (”Summer Rain“). Super! Mit der hier gebotenen Balance kommen höchstwahrscheinlich auch jüngere Freunde der Schlange gut klar, so dass diese herrlich unzeitgemäße Scheibe ein echter Hit in diesem Sommer werden könnte.
      Nach wie vor eindrucksvoll ist das kraftvolle Organ von Mr. Coverdale, der allen Nachwuchsträllerern einmal mehr zeigt, wo und wie hoch der Hammer bzw. das Mikro hängt. Hut ab! Einziger Wermutstropfen ist, dass es auf ”Good To Be Bad“ keinen so richtigen Kracher wie ”Still Of The Night“ oder die Überhymne ”Here I Go Again“ gibt. Na, dann eben beim nächsten Mal. Ich jedenfalls freue mich schon ganz doll auf den Sommer, auf die Festivals und darauf, WHITESNAKE mal live zu sehen.
  • https://www.metal-hammer.de/artists/whitesnake/
    • 6/7
  • https://metalstorm.net/pub/review.php?review_id=5442
    • 8.0
    • Nineteen years after the last official release of Whitesnake, the new album of the British combo is finally out, and yes that’s great to see that the band is back and better than ever. If David Coverdale was wondering if the fans were waiting for a new release I can tell him that yes, after the excellent “Live: In The Shadow Of The Blues” released in 2006 we were all waiting for a new release. The good thing here is that we will not be disappointed, Whitesnake’s new album just rocks!
    • It was maybe tricky to do a comeback after so many years (yes I know that David Coverdale released “Restless Heart” in 1997, but it was not a real album of Whitesnake and it was finally a bit anecdotic in the end) but I have to concede that Coverdale didn’t do any mistakes with this new release. Sure, the album features some love ballads which are a bit boring (but that’s not surprising too?) but in general the real Heavy songs are great. “Best Years” or “Can You Hear The Wind Blow” both have great guitars riffs (which probably come from the influences of Doug Aldrich), those songs (and they’re just examples) are great and super Heavy. Maybe that I cannot say that we’re reaching the level of a “Still Of The Night” or “Crying In The Rain” but then really we’re just behind them? All in all, if you like “1987” I quite sure that you’ll love “Good To Be Bad”, the new album is not surprising that’s right but it’s classy Heavy / Hard Rock really.
    • I really like Doug Aldrich and Reb Beach and I think that they give a lot of energy to the new music of Whitesnake. The other musicians do a great job here and the performance of David Coverdale is quite impressive, he is still a 
    • great singer for sure. The only problem for me with this release actually comes from its lyrics. Ok, I’m already hearing some people who’re saying that it’s “Whitesnake” and I agree, but I was expecting something else than love and blabla and unfortunately, one more time the lyrics are a bit? well you know, they talk about “love”, you see what I mean? Despite this negative point, the album is full of great music and its recording is perfect. Really I’m happy to say that Whitesnake’s comeback was not done for nothing and let’s hope that we will have the chance to see them on the road this year, with those new songs it will simply kick some asses live!
    • Yes, you have the answer now, “Good To Be Bad” is a really good album. This is maybe not the best Whitesnake but for sure this is among their best releases and that’s a lot better than a lot of their albums. Coverdale is not so young now but he still haves the class and he still knows how to write good songs. “Good To Be Bad” will be one of the greatest Hard Rock albums of the year 2008, guys that’s good that you’re back.
    • Rating breakdown
Performance:9
Songwriting:7
Originality:7
Production:9
  • Written by Jeff | 28.04.2008
  • https://web.archive.org/web/20150527225827/http://www.popmatters.com/review/whitesnake-good-to-be-bad/
    • 6 out of 10
    • Whitesnake
    • Good To Be Bad
    • by Marc A. Price
    • 10 August 2008
    • “It’s very butch. Very muscular…” says David Coverdale about the first Whitesnake album in 11 years. Pause for a while and take that in.
    • The endless 25th anniversary reunion of the masters of hairspray metal is into its sixth year and has spawned Good To Be Bad. Coverdale & Co. are not known for releasing groundbreaking material so one might be forgiven for expecting no surprises on first listen. One would be wrong. The biggest surprise is that it is not a bad record. Sure, it is full of double entendre-fueled cock rock, but as far that oeuvre goes this is a pretty respectable example.
    • cover art
    • Whitesnake
    • Good To Be Bad
    • (SPV)
    • US: 22 Apr 2008
    • UK: 21 Apr 2008
    • Amazon
    • iTunes
    • This is a summer blockbuster of a record. It is akin to Indiana Jones and the Kingdom of the CGI Gopher in so far as it does exactly what it says on the tin. People will enjoy both because they provide an opportunity to relive past youth (and hair) without taxing the brain in any way, shape, or form. Granted, Harrison Ford will be banking more cash as a result of his endeavor, but that is what you get if you keep retiring and then coming back, Dave.
    • This album ticks all of the boxes for devotees of the band. It drives down the familiar lane of Led Zeppelin riffs, big choruses, and is overflowing with “sexy” lyrics. While unlikely to win over any new fans, it will give the band something to sell at gigs. So, take her top down, ease the seat back, slide it in, and ride her at full pelt with this blasting from her speakers at full volume. Sometimes it’s Good To Be Bad.
  • https://recordcollectormag.com/reviews/album/good-to-be-bad
    • 4 out of 5
    • While 1987 has yet to be surpassed by the Saltburn singer and his ever-changing stellar cast of players, this celebration of 30 years of the Snake is a fine salute, running to 11 quality cuts of melodic hard rock. Best Years begins in amiable fashion, before the beefy riffs and rhythm of Call On Me, the acoustic-shaped balladry of All I Want All I Need, and the Thin Lizzy-like romp of All For Love. Coverdale’s gruff vocals
      are pitched over sweet harmonies to good effect on Summer Rain, while Got What You Need ups the fret factor. Lay Down Your Love is the nearest to a 1987 classic,
      but there’s enough to be going on with besides.
    • Tags
      Whitesnake
    • SPV | 80001131 CD
  • https://www.rockhard.de/reviews/whitesnake-good-to-be-bad
    • 8.0
    • WHITESNAKE
    • Good To Be Bad
    • Review
    • Reinhören
    • (59:28)
    • Richtig beschwert hat sich kaum ein WHITESNAKE-Fan darüber, dass seit einem Jahrzehnt kein neues Album erschienen ist. Stattdessen freute man sich über eine grandiose DVD und zahlreiche mitreißende Auftritte. Vielleicht war das aber auch nur reiner Pragmatismus, weil man lieber ohne neue Scheibe auskommen wollte, als sich eventuell über einen billigen und halbherzigen Abklatsch früherer Glanztaten ärgern zu müssen. Tja, da wurde Mister Coverdale wohl gnadenlos unterschätzt. Der WHITESNAKE-Frontmann belehrt uns jedenfalls eines Besseren, indem er sich mit dem großartigen Gitarristen Doug Aldrich im Studio verschanzte und elf Stücke aufnahm, die einen perfekten Querschnitt aus Hitalben wie „1987“ und „Slide It In“ bieten.
    • Natürlich könnte man behaupten, „Good To Be Bad“ sei am Reißbrett entstanden und wäre absolut berechnend, aber wen interessiert das? WHITESNAKE-Fans werden überglücklich sein, Tracks wie die grandiose Ballade ´All I Want All I Need´ und die (Blues-)Rocker ´Good To Be Bad´, ´A Fool In Love´, ´Can You Hear The Wind Blow´, ´Lay Down Your Love´, ´Best Years´ oder ´All For Love´ hören zu können, und bekommen genau das, was sie wollen: einen grandiosen Gitarrensound, der klingt, als ob es seit den Achtzigern nie Besetzungswechsel bei WHITESNAKE gegeben hätte, eine immer noch unter die Haut gehende Stimme, klasse Ohrwürmer aus der Blues- und Melodic-Ecke und natürlich jede Menge Love.
    • Autor:Jenny Rönnebeck

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Episode 323 – Deep Purple – Knebworth ‘85

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The Venue:

  • Saturday, June 22, 1985
  • Knebworth House
  • Lineup:
    • Alaska
    • Mountain
    • Mama’s Boys
    • Blackfoot
    • UFO
    • Meat Loaf
    • Scorpions
    • Deep Purple
  • Reportedly there were approximately 70,000 people in attendance but had secured a license for up to 120,000.
  • The security bill was quite high and lead to the show to almost be canceled a week prior.
  • Eventually the financials were worked out with the police and the show was allowed to proceed.
  • They did not get a license to serve alcohol so people were free to bring their own beverages.
  • The show was advertised to have no camping and no bottles but according to concertgoers both were plentiful.
  • There was a radio show the night prior in the order the musical acts would go on. Gillan was reportedly seen walking through the campsites the night before to drum up some exciting for the following day.
  • Tickets for the show had a face value of £12.50.
  • As the day wore on the mud got worse and worse and started sliding down toward the stage. After 12 hours outside people started getting a little restless. Mud and bottles were being thrown.
  • Excerpt from the Stevenage Gazette: “Dozens of music fans were treated for hypothermia at the midsummer pop festival at Knebworth on Saturday. Emergency services had to work through the night as wintry conditions caused havoc at the all-day event attended by 70,000 people. Inches of rain fell, turning the arena and car parks into a mud bath and keeping 12 ambulance crews at full stretch caring for casualties of the weather. Six tractors loaned by nearby farmers were put into action to drag bogged-down coaches from the fields used as parking areas. In all, about 300 spectators were treated for various injuries and the effects of the cold. Ten people were taken to the Lister Hospital in Stevenage, mainly suffering from the effects of alcohol, or from burns received from one of the fires lit in the bid to keep warm. Police made 12 arrests in the surrounding area with only one of those arising from an assault made in the park“.
  • All the bands playing that day (with the exception of Scorpions) gave the BBC permission to record and broadcast the show.
  • The show was broadcast the following Saturday, June 29th.
  • The show was not filmed but some short videos were recorded by a local TV news station.
Photo courtesy of Mark Taylor
  • By all accounts there was a gap of about 1 hour between Scorpions and Deep Purple. As many concertgoers had been there well over 12 hours and with the weather conditions being what they were the result was a lot of thrown mud and bottles including at Tommy Vance who took the mid between sets.

Setlist

https://www.setlist.fm/setlist/deep-purple/1985/knebworth-house-knebworth-england-5bd7f304.html

  1. Toccata and Fugue in D-minor
  2. Highway Star
  3. Nobody’s Home
  4. Strange Kind of Woman
  5. Gypsy’s Kiss
  6. Perfect STrangers
  7. Under the Gun
  8. Lazy
  9. Knocking at Your BAck Door
  10. Difficult to Cure
  11. Space Truckin’

Encore 1:

  1. Woman From Tokyo
    • Short version explained on rockline clip
  2. Speed King

Encore 2:

  1. Black Night

Encore 3:

  1. Smoke on the Water

Interviews:

Interviews from Friday Rock Show the night before the concert: June 21, 1985.

Deep Purple Interviews: Jon Lord #1 (From ‘Friday Rock Show BBC’)

Deep Purple Interviews: Jon Lord #2 (From ‘Friday Rock Show BBC’)

Deep Purple Interviews: Ian Gillan #1 (From ‘Friday Rock Show BBC’)

Deep Purple Interviews: Ian Gillan #2 (From ‘Friday Rock Show BBC’)

Deep Purple Interviews: Ian Paice #1 (From ‘Friday Rock Show BBC’)

Deep Purple Interviews: Ian Paice #2 (From ‘Friday Rock Show BBC’)

Deep Purple Interviews: Roger Glover #1 (From ‘Friday Rock Show BBC’)

Deep Purple Interviews: Roger Glover #2 (From ‘Friday Rock Show BBC’)

Deep Purple Interviews: Ritchie Blackmore #1 (From ‘Friday Rock Show BBC’)

Deep Purple Interviews: Ritchie Blackmore #2 (From ‘Friday Rock Show BBC’)

Deep Purple Interviews: Ritchie Blackmore #3 (From ‘Friday Rock Show BBC’)

Deep Purple’s TV appearance June 1985 with Interviews from Knebworth 1985

Hi Nate,

Sorry I can’t make the livestream for this one, that would have been fun having been there, I’m sure you’ll have others online to share their memories. 

The road to Knebworth started, obviously, the previous year with the news of the reunion and the release of Perfect Strangers. I kind of agreed with Geoff Barton’s take on the album, it was a good album but not outstanding really. To me at the time it was enjoyable enough but sounded out of context in 1984, even by then things were changing and I thought Rainbow had sounded more modern. 

Still I looked forward to the tour announcement and once again faced the slight disappointment that followed the announcement of just one concert in Britain way down in South East. I couldn’t persuade any of my other friends to go but nonetheless I bought a ticket and contacted my Aunt, a headteacher, who lived in North London who agreed I could stay at her place, even better she knew two of her younger female colleagues were going to the festival. She arranged that they would collect me and drop me back afterwards, all good.

At the time I had a job that had me working all around Scotland, the week before Knebworth I was in Aberdeen, drive back to my flat in Edinburgh on the Friday afternoon, repacked for the weekend and got on an overnight train from Edinburgh to London, not even a sleeper train. Any hope I might find myself accompanied by other Purple fans was quickly dispelled when I realise just about everyone else on the train was heading for Milton Keynes where U2 were also playing a huge gig on their Unforgettable Fire tour. 

The day itself was as history records, the weather was awful and I was ill prepared for that, the facilities were also poor and food stands were very minimal. I can’t remember if we settled initially unwittingly amongst a gang of Hells Angels or if they arrived around us. Either way it was unsettling at first as that’s not really my look…., however they took to my Scottish accent and the fact I was there with 2 girls gave me an entirely unwarranted level of credibility;  they were ultimately good company for the duration of the event.

The support acts seemed to drag, there were some big names, but a bit unremarkable to me, I didn’t really know their songs too well. The weather didn’t help and my companions’ main interest was Meatloaf, who even they admitted was awful, after that they’d have happily gone home but they were stuck with me and I had come a long way to see Purple. 

The weather seemed to clear for them and again the set is a matter of record, I enjoyed it but saw very little beyond the light show, too far back. The next day was my 25th birthday and spent it on a slow train back to Edinburgh with incredibly muddy shoes. Back to work on Monday!

It was a bit of a haul but glad I went, not sure in retrospect how successful it was, I think the promoter went bust because of it. U2 were the band of the moment that weekend and the weather most likely put many off if they thought they might go along on the day, I don’t think it was sold out. A proper UK tour might be remembered a bit more fondly. 

It did give me a better appreciation of Perfect Strangers though, I played it a lot afterwards for a while. 

Look forward to revisiting it all when the episode comes out!

All the best

Arthur

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Bustin’ Out The Spreadsheet

Reviews

  • Fayre Warning
  • Deep Purple at Knebworth
  • The rain-sodden, mud-splattered Kerrang! krew file a
  • front line report from the the recent Knebworth Fayre…
  • By MARK PUTTERFORD
  • (From Kerrang! No 98, July 11-24 1985, p. 42)
  • SO WHO doubted them then, eh? C’mon, WHO DOUBTED THEM!? As Deep Purple plugged into the driving power of ‘Highway Star’ and rocked rampantly through ‘Nobody’s Home’ with Ritchie Blackmore rolling in and out of some astounding solos, the years fell away meekly and the reincarnation of a legend exploded on us in a fireball of glory.
  • I can’t quite imagine that anyone expected the re-grouping of Blackmore, Gillan, Glover, Lord and Paice on the same stage to be a disappointment, but with a brain-boggling multitude of bare forearms thrusting rhythmically to a remarkable fresh recollection of the ancient ‘Strange Kind of Woman’, it all seemed faintly unreal. And when, after a short blues passage, Lord and Blackmore duelled viciously throughout a frighteningly pacey rendition of ‘A Gypsy’s Kiss’, it was distinctly lump in throat time. Twelve years? Sheesh!
  • With Ian Gillan looking and sounding healthier than he has for years, the epic brilliance of ‘Perfect Strangers’ revealed some flashing lasers during its haunting middle riff and ‘Under The Gun’ typified the fresh determination of a band revelling in the electric excitement of a truly momentous occasion.
  • Blackmore in particular appeared to be enjoying every note; dressed inevitably in black (including black wellington boots!) and with that familiar white strat riding on his slim hips, he stood with left knee twitching in a contentment confirmed with the occasional shake of the barnet, flicking elaborate hand-signals in all directions and blazing up’n’down the frets like only he can.
  • A nod of Blackmore’s machine head and Purple’s classic blues romp ‘Lazy’ unfolded into Ian Paice’s drum solo, the stage transformed into a titanic temple of technical excellence, swamped in colour and illuminated by the pumping adrenaline of a long-awaited homecoming. Say what you will, he’s still the best r’n’r drummer in the world for my money.
  • Next up, Lord’s eerie keys, Glover’s bobbling bass and Paice’s punching drums led the crowd into a massive cheer of recognition for ‘Knocking At Your Back Door’. And then Rainbow’s ‘Difficult To Cure’ instrumental found Jon Lord amusing himself like a mad professor in his lag during a lengthy, roaming solo. Finally, Ian Paice’s wispy hi-hat shuffled into the sprawling ‘Space Truckin” which, as the green pencil-thin lasers bounced off huge mirror balls spraying the thousands with a swirling mass of stars and a blinding array of lights flashed wildly, climaxed with Blackmore’s chaotic solo echoing savagely around the vast field like a violent thunderstorm.
  • After a dazzling deluge of sparks had showered the stage and more or lasers jerked sharply here and there, Purple returned with a ‘Woman From Tokyo’ and ‘Speed King’. Here, Lord and Blackmore stood shoulder to shoulder rifling riffs at each other and splashing about in wild abandon before charging back.
  • Masses of whizzing fireworks overhead threw light on the orgiastic ocean of bodies and heralded another encore in the shape of ‘Black Night’, and after what seemed like hours of cheering, the band trooped on yet again to play ‘Smoke On The Water’, with Blackmore and Glover swooping guitars halfway through. To cap it all, a firework display which made the Battle Of Britain seem like a total non-event mushroomed into the heavy, foreboding blanket of clouds, and hey… I didn’t even realise it was raining!

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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Posted on

Episode 322 – Whitesnake – Good To Be Bad (Part 1)

Link to video episode on YouTube:  https://www.youtube.com/watch?v=LJeVN4DIvIQ

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.

Subscribe at Apple Podcasts, Spotify, Google Podcasts, Overcast, Pocket Casts, Anchor.fm, Breaker, PodBean, RadioPublic, Amazon Music, Pocket Casts, or search in your favorite podcatcher! 

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The Deep Purple Podcast is 100% listener supported and ad-free! If you receive value from our show please consider supporting us!

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Postcards From The Edge . . . OF CONNECTICUT!

  • More from The Gardow and Ralphie!

Lead up to the Album:

  • The last Whitesnake album we reviewed was 1997’s “Restless Heart” which was truly a David Coverdale solo album.
  • On Christmas Day in 2002 David Coverdale announced “The Snake Rides Again” on the Whitesnake website.
  • This lineup performed live and the live album “Live . . . In The Still of the Night.” Marco Mendoza was replaced with Uriah Duffy who joined them for “Live: In The Shadow of the Blues.”
  • Tommy was then replaced by Chris Frazier for the recording of “Good To Be Bad.”
  • The band continued to tour starting in 2003 to celebrate the band’s 25th anniversary.
  • Coverdale claimed the tour was “just for fun” and wouldn’t be prolonged, the band started coming up with new material.

Core Band:

Technical:

Album Art & Booklet Review

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Album Tracks:

All songs written by David Coverdale and Doug Aldrich

  1. Best Years
  2. Can You Hear The Wind Blow
  3. Call on Me
  4. All I Want, All I Need
  5. Good to Be BAd
  6. All for Love

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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.

Brendan Ashbrook – Logo Designer

For More Information:

Listener Mail/Comments

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Posted on

Episode 321 – Mark 2 Does Mark 1

Link to video episode on YouTube:  https://www.youtube.com/watch?v=K7GAgENLD80

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.

Subscribe at Apple Podcasts, Spotify, Google Podcasts, Overcast, Pocket Casts, Anchor.fm, Breaker, PodBean, RadioPublic, Amazon Music, Pocket Casts, or search in your favorite podcatcher! 

How To Support Our Show:

The Deep Purple Podcast is 100% listener supported and ad-free! If you receive value from our show please consider supporting us!

Patron Benefits:

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Thanks to Our Executive Level Patrons:

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Mark 2’s First Live Show:

10 July 1969 – London, Speakeasy Club – UK

https://www.purple.de/dirk/purple/tours/1969/69-07-10.php

It happened to be Mark 2’s first live performance, as Ian Gillan recalls “I felt absolutely elated at joining Purple. When I first heard them I had never been moved musically so much in my life. At the time Deep Purple were the greatest band I could join. It made me realise I had to work much harder than I had ever worked before.”

Ian Gillan

These were the guys I fronted on 10 July 1969 on a tiny stage at the Speakeasy in Margaret Street in London’s West End. I stood before my peers that night – pros, other musicians and people in the music business. As soon as we started, the place went ‘Wooah’. It was awesome, and I just coasted through – the feeling of power indescribable. I played congas, for want of something to do during an instructional, and I cried – oh I cried.

Ian Gillan talks his first performance with Deep Purple

https://www.purple.de/dirk/purple/mark2.php#1969

Setlist for First Show July 10, 1969 with Mark 1 Comparisons

https://www.setlist.fm/setlist/deep-purple/1969/speakeasy-london-england-53d85f4d.html

DEEP PURPLE – LIVE IN AMSTERDAM 1969 & 1970 – BOOTLEG – Full HD

https://www.discogs.com/release/3236491-Deep-Purple-The-BBC-Sessions-1968-1970

https://www.setlist.fm/search?artist=3bd6acc8&page=7&year=1969

https://www.setlist.fm/stats/average-setlist/deep-purple-3bd6acc8.html?year=1969

The Painter – https://www.setlist.fm/setlist/deep-purple/1969/bbc-radio-5-live-london-england-2bb8c812.html

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Deep Dive Podcast Network:

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Listener Mail/Comments

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Posted on

Episode 320 – Colosseum II – Electric Savage

Link to video episode on YouTube:  https://www.youtube.com/watch?v=IbBRDVkUM7Y

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.

Subscribe at Apple Podcasts, Spotify, Google Podcasts, Overcast, Pocket Casts, Anchor.fm, Breaker, PodBean, RadioPublic, Amazon Music, Pocket Casts, or search in your favorite podcatcher! 

How To Support Our Show:

The Deep Purple Podcast is 100% listener supported and ad-free! If you receive value from our show please consider supporting us!

Patron Benefits:

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Thanks to Our Executive Level Patrons:

  • The “In Memorium” Tier
    • Gerald “Jerry” Kelly & Family
  • The $25 “Uncommon Man” Tier
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Postcards From The Edge . . . OF CONNECTICUT!

  • Memorabilia from the Graham Bonnet show featuring Crystal Fogg!

Lead up to the Album:

  • Their first album “Strange New Flesh” was not commercially successful leading Neil Murray to leave the band and Mike Starrs to be fired.
  • Their two follow up albums would feature Moore as lead vocalist on largely instrumental albums.

Core Band:

  • Bass Guitar [Fender Jazz] – John Mole
  • Drums [Rogers], Cymbal [Paiste], Gong [Paiste], Tubular Bells, Percussion [Latin], Producer, Directed By – Jon Hiseman
  • Electric Piano [Fender Rhodes], Grand Piano [Steinway], Synthesizer [Arp Odyssesy, Mini Moog, Arp Solina], Organ [Hammond], Clavinet – Don Airey
  • Guitar [Fender, Gibson], Vocals – Gary Moore

Technical:

  • Engineer – Dave Harris (3)
    • Worked with Donovan, The Temptations, Uriah Heep, Black Sabbath, Peter Gabriel
  • Engineer [Assistant] – Chris Tsangarides
  • Engineer [Assistant] – Nick Cook
    • Worked with many artists including Kate Bush and The Waves
  • Executive-Producer – Monty Babson
    • Singer and record producer who founded Morgan Records
  • Mastered By – HTM*

Album Art & Booklet Review

Thanks to Our Core Level Patrons:

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    • Jellybean
    • Evan Robison
    • Richard Fusey
    • Purple Swede

Album Tracks:

Side One:

  1. Put It This Way (Moore, Hiseman)
  2. All Skin and Bone (Moore, Hiseman)
  3. Rivers (Moore, Hiseman)
  4. The Scorch (Moore, Airey)

Side Two:

  1. Lament
  2. Desperado (Moore, Hiseman)
  3. Am I (Airey)
  4. Intergalactic Strut (Airey)

Thanks To Our Foundation Level Patrons:

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Bustin’ Out The Spreadsheet

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:

Listener Mail/Comments

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