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Episode #173 – Whitesnake – Saints & Sinners

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Lead up to the Album:

  • In December of 1981 Micky Moody quit Whitesnake.
  • Moody: “By ’81 people were becoming tired. We had too many late nights, too much partying. We weren’t making nowhere near the kind of money we should have been making. Whitesnake always seemed to be in debt, and I thought “what is this?, we’re playing in some of the biggest places and we’re still being told we’re in debt, where is all the money going?”. We hadn’t got much money out of it and to be told you’re 200,000 pounds in debt, when you just had six golden albums. It wasn’t just me, cause everybody was getting tired, pissed off and losing their sense of identity. It was over by then, we couldn’t get any further. It’s difficult for a band to go more than three or four years without getting tired of each other and losing ideas. Nothing lasts forever. Everybody wanted to do something different after a few years, a solo album or write with someone else.”
  • Soon after Moody quit David Coverdale called a meeting put the band on hold.  He used this opportunity to break ties with long time Deep Purple and Whitesnake manager John Coletta.  From that point on Coverdale took over the business end of the band.
  • In 1982 Marsden quit the band as well.  In Marsden’s book he states that David Coverdale called a meeting and dismissed the remaining members of the band with the exception of Jon Lord.
  • In August of 1982 David Coverdale tried to get Micky Moody to return to the band to complete the album.  Along with new guitarist Mel Galley they finished up backing tracks.  Birch was there for final production and mixing.
  • Marsden states in his autobiography: “How could it all go so wrong? The answer lay not so much in what we were doing as what we weren’t. We were no longer working with the seventh member of the band, its heart – one Martin Birch. He was the glue that held Whitesnake together. With hindsigh, it’s bloody easy to see. Martin was not there from the start of the album sessions and so, MArtin Birch, it was all your fault!”
  • Marsden goes on to say that Birch was producing Rainbow and also Iron Maiden which was taking up much more of his time and likely because Iron Maiden was paying him more than Whitesnake’s label was willing to.  Marsden: “. . . when we were informed that Martin would not be producing us any more, not one of us asked any questions, and shame on us all for that. We should have asked why, and we should have demanded answers.”
  • They got together at Nomis Studios in west London to work on the album with Guy Bidmead who’s worked with Marsden on his solo album.
  • Marsden says he and David had written new material but that Moody hadn’s seemed interested in writing any new songs.
  • Marsden describes this album as the beginning of the end.
  • They went on to record at a studio called Rock City which Marsden says none of them liked. He described the studio as being technically fine but lacking the high-end perks of previous sessions and that none of the band felt at home.
  • Shortly after they left Rock City and moved to Clearwell Castle in Gloucestershire.  Marsden said that after that move the vibe was back.
  • The album was mixed at Britannia Row where Marsden did some guitar overdubs.
  • Marsden describes two sessions where Jon and Ian were both no shows. He then suggested they end the band and David told him it was already int eh worlds.
  • There was an attempt to fire their label, Seabreeze, to which Coverdale didn’ts how up.
  • Marsden says that Coletta gathered with Lord, Paice, Murray, and Marsden tot ell thema lll he was out of the band.
  • Marsden says after they all left he pulled Marsden aside and told him he’d been offered to sign him as a solo artist but that he had to sign the contract that day.
  • He said the band ended without any sort of fight or anything, it just sort of fizzled out.
  • After this the album was finished without all of the ordiginal contributors to the songwriting or recording.
  • In Moody’s book he mentions taht the manager of Clearwell Castle, Bernard Yeates, told them that he’d booked a wedding reception during the sessions and that the bride’s parents had been warned taht there would be a rock band hanging out at the bar and the common areas.
  • Moody tells a story of Billy Connolly and his then girlfriend Pamela Stephenson being wedding guests and they ended up partying with them at the wedding indulging in “a combination of toot and booze.”  Connelly picked up Moody’s banjo and began playing it.

Core Band:

Includes printed inner sleeve (with a thumb cut) and merchandise insert.

The backing trax were recorded at Rock City, Shepperton; The Truck Mobile at Clearwell Castle, Gloucestershire and Brittania Row, London.

The vocal trax were recorded at Battery Studios, London.

Mixed at Battery Studios Sept/Oct 1982.

Runouts:

‘ƱtopiA’ / ‘ƱTOPIA’ / ‘Ʊtopia’, ‘THE GAY BLADE STRIKES AGAIN…’ and ‘WE WISH YOU WELL…’ are etched; remainder is stamped.

‘Ʊ’ in runouts represents the Utopia Studios lyre symbol.

Variant 8 – the ‘U’ of Side A’s 30354 A-6U̶-1-1-1′ is crossed out with ‘x’

Technical:

Album Art & Booklet Review

  • Design [Cover] – The Concert Publishing Company
  • Photography By [Back Cover] – Virginia Turbett
  • The back cover features a picture of David Coverdale alone and full band credits were left off the album amidst the turmoil the band’s lineup was going through at the time.
  • Critical reception of the album cover was not good.  Simon Robinson describe it as, “a kitschy sculpture of the kind some folk insist on decorating their mantlepieces with.”
  • Sculpture seems to be based on the sculpture Psyche Revived by Cupid’s Kiss by Antonio Canova who also had a painting.
  • This sculpture was inspired by a Roman painting found in Herculaneum during Canova’s visit to Naples in 1787.
  • Canova also seems to have an oil painting based on this as well.

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Album Tracks:

Side One:

  1. Young Blood (Coverdale, Marsden)
    • Solo: Marsden
  2. Rough An’ Ready (Coverdale, Moody)
    • Solo: Moody
  3. Bloody Luxury (Coverdale, Marsden, Moody)
    • Solo: Marsden, Moody
  4. Victim of Love (Coverdale, Moody)
    • Solo: Moody
    • Moody put this solo down after being rushed back into the studio along with Mel Galley to do backing vocals.
  5. Crying In The Rain (Coverdale, Marsden)
    • Solo: Marsden
    • The song was written about the breakup of Coverdale’s first marriage, written in Portugal.
    • Marsden describes this as a great new song that was “drenched int he irresistible humour that was Whitesnake at the time.”
    • They had seen a TV news report interviewing about a local man about the mass extermination of farm animals int he area.  The news reporter seemed very serious about the death of the animals and the local man said “Plenty more about.”  They said the band cracked up at the man’s response.
    • He said that at the point of the song where David is supposed to sing “black cat moans when he’s buringn with a fever,” David instead did an imitation of the man and said, “Plenty more about!”
    • Marsden said they were laughing too heard and the session was almost ruined.  They had to take a break for an hour and ban Coverdale from the studio until they finished the track.
    • Marsden says there’s a tape of this take and he still thinks it’s hilarious.

Side Two:

  1. Here I Go Again (Coverdale, Marsden)
    • Solo: Marsden
    • Marsden said he recorded a demo of this and played it for Jon Lord who asked him to play the opening chords again.  When he heard them he said to Bernie, “You’re a clever little sod, aren’t you?”
    • Marsden said Lord loved playing the opening on the Hammond.
    • He said Coverdale went into “lyrical overdrive” after hearing the demo.  He said Coverdale wrote new lyrics to it.
    • Neil, Jon, Ian, and Bernie are all on backing vocals.’
    • Marsden said that the guitar solo has a nod to John Lennon’s “Woman” in the arepeggio.
    • Marsden said he thought they had a big song on their hands with this one as did David but, clearly, neither of them realized how big it would become.
    • Coverdale says he also wrote this in Portugal about the breakup of his first marriage.
  2. Love An’ Affection (Coverdale, Moody
    • Solo: Lord
  3. Rock An’ Roll Angels (Coverdale, Moody)
    • Solo: Lord
    • Marsden said for reasons that he couldn’t explain that Paice struggled with this song and had to redo it several times.  He said it was very unlike Ian and that Ian was very short on confidence at this point, which he also says was uncharacteristic.
    • After about ten takes Ian sent the band to the pub so he could record it alone with Guy.
  4. Dancing Girls (Coverdale)
    • Solo: Lord
  5. Saints An’ Sinners (Whitesnake)
    • Solo: Marsden

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Bustin’ Out The Spreadsheet

Reception and Charts:

  • The album peaked at number 9 on the UK Album Charts.
  • It’s said that Coverdale released this album “as is” based on time constraints and contractual obligations.
  • Micky Moody described the album’s songs: “the songs went form the sublime (‘Here I Go Again’ and ‘Crying in the Rain’) tot he ridiculous (‘Bloody Luxury’ and ‘Dancing Girls’), with a bunch of well-performed albeit unremarkable – rockers hovering about in the middle.
  • They embarked on a tour after recording but it had to be canceled due to Ian Paice coming down with mumps.
  • Coverdale: “Well, there are some good songs. I mean there are always good songs on my stuff. I’m a song guy. But it was definitely a jigsaw puzzle of a record.”
  • Coverdale said he was really torn and didn’t know what to do to get out of his management deal.  He said when his daughter was 4 or 5 that she had a really tough time with some illnesses and when he was really worried about her and praying for her recovery he said it gave him “the balls to turn around and say, ‘This means nothing to me; I want out.’  That was how he reformed the band and got out of his bad record deal.
  • Lord admitted that he didn’t think Ian Paice was very happy in the band.

Reviews:

  • Simon Robinson: “Today the album remains one of their weakest, although it does hint at the transition from the traditional Whitesnake style toward the harder musical approach which was slowly emerging, especially on tracks like ‘Victim Of Love.’ Overall the sound is poor and not particularly well mixed, with the keyboards lost and the bass relegated to some far distant place.
  • Jon Lord: “It’s not my job to sit here and make excuses, but . . .. the backing tracks were made under quite difficult circumstances in terms of the band itself and the producer . . . we went through about 19 different studios. It had to be released though, otherwise we would have been sued from here to Christmas.”
Kerrang Short Review – November 4, 1982 w from Kerrang
Sounds Full Reivew – November 13, 1982
Single Review from Sounds – November 13, 2982
Record Mirror – November 20, 1982
Ad from Record Mirror – November 20, 1982
Full Album Review from Kerrang – December 2, 1982
Smash Hits – December 9, 1982
Music World – December 15, 1982
The Sydney Morning Herald – March 28, 1982
The Age – May 5, 1983

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Episode #172 – Deep Purple Celebrating Jon Lord

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Lead up to the Album:

  • Where Paul Mann organized the orchestral work and list of performers with the Paice and Lord families, it was Wix Wickens, musical director for Paul McCartney, who handled everything on the band portion of the evening.

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Album Tracks:

  1. Uncommon Man
    • From Now What?!
    • Paul Mann asked the band if he could orchestrate the first two songs from their most recent album for the show.
  2. Above and Beyond
    • From Now What?!
    • Ian Gillan did the eulogy at Jon Lord’s funeral and closed with “Souls, having touched, are forever entwined.”  They ended up becoming lyrics in this song.
    • Paul Mann orchestrated the closing guitar harmonics that Steve Morse played as violin with celesta, harp, and celestial percussion.
    • He also used this effect on the line “Am I getting through?”
  3. Lazy
    • Don Airey plays tribute to Jon Lord and trades off with the conductor and violinist Stephen BEntley-Klein
  4. When a Blind Man Cries
    • In the liner notes Paul Mann mentions that Lord started adding the opening bars of “Adagio for Strings” by Samuel Barber into “When A Blind Man Cries”
    • In the Concerto Tour in 2000-2001 the orchestra accompanied Steve with these cuqatations and the same is done here.
  5. Perfect Strangers
    • Features orchestrations by Jon Lord.
    • They were written in 2008 for Jon’s use in his solo concerts.
    • Previously it had only been done in a shorter form because it was long and challenging.
    • Jon’s orchestration is heard here for the first time and is made to resemble Hungarian folk music.
    • Paul Mann describes it as “the kind of Hungarian Rhapsody Liszt would have written if he’d been a Deep Purple fan.”
  6. Black Night
  7. Hush
    • With Wix Wickens, Nigel Hopkins, Rick Wakeman, Andy Wallace,m Murray Gould, Jerry Brown, Micky Moody, and Mario Argandona
    • Steve and Don duel with Rick Wakeman in the instrumental portion of the song
    • Wakeman quotes from “Roundabout” by Yes.

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Episode #171 – Celebrating Jon Lord – The Rock Legend

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Deep Dive Podcast Network:

Lead up to the Album:

  • Where Paul Mann organized the orchestral work and list of performers with the Paice and Lord families, it was Wix Wickens, musical director for Paul McCartney, who handled everything on the band portion of the evening.

Core Band:

Thanks to Our Core Level Patrons:

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    • Zwopper The Electric Alchemist
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Album Tracks:

  1. Things Get Better
    • Originally by The Artwoods
    • Featuring Paul Weller
  2. It Take What I Want
    • Originally by The Artwoods
    • Featuring Paul Weller and Micky Moody
  3. Silas and Jerome
    • Originally by Paice Ashton Lord
    • Featuring Phil Campbell (The Temperance Movement), Ian Paice, and Bernie Marsden
  4. I’m Gonna Stop Drinking
  5. Soldier of Fortune
    • Featuring Steve Balsamo, Sandi Thom, and Micky Moody
    • https://en.wikipedia.org/wiki/Sandi_Thom
    • The liner notes describes this as “one of the Deep Purple songs Jon loved most.”
    • The orchestral arrangement is by Jon and is something he used in solo performances.
    • The song was played at Jon’s funeral along with “Pictured Within” and a short Beethoven piano piece.
  6. You Keep On Moving
    • Featuring Glenn Hughes, Bruce Dickinson, Ian Paice, Don Airey, and Micky Moody
    • Orchestral arrangement for this track and “Burn” by Richard Whilds.
  7. Burn
    • Featuring Glenn Hughes, Bruce Dickinson, Ian Paice, Don Airey, and Rick Wakeman
  8. This Time Around
    • Featuring Glenn Hughes
    • Paul Mann writes in his liner notes that they were going to close with Burn but Glenn decided on the morning of the concert that he wanted to end with this song.
    • Orchestral arrangement again by Richard Whilds.

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Episode #170 – Celebrating Jon Lord – The Composer

This week’s video episode is blocked on YouTube.

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Apple Podcasts Reviews:

  • Memovegao
  • From Mexico
  • 5 Stars!
  • An awesome DeepDive
  • I love this podcast! Finally, a continuous conversation about Deep Purple and all ramifications. ¡Saludos desde Guadalajara!

Whitesnake Live in Illinois September 1, 2022!

Deep Dive Podcast Network:

Lead up to the Album:

  • In the liner notes Paul Mann describes Jon Lord having his earliest musical experiences at De Montfort Hall in his hometown of Leicester listening to concerts by the Halle Orchestra and Sir John Barbirolli.
  • In his later years he saw Buddy Holly at the same location and the melding of both genres was already in his mind.
  • JAcky Paice and the Sunflower Jam team set out to assemble as many of the musicians Jon Lord had played with and come up with a programme that could honor him in the best way possible.
  • The Royal Albert Hall was picked as the obvious location where Jon Lord had debuted his Concerto For Group and Orchestra 45 years earlier
  • He had also had one of his last performances at the same venue about a year before passing away.
  • Mann tells the story of meeting Jon Lord there and walking around to find the entrance.  A woman stopped Jon and based on his appearance asked if he was playing there that evening (Eric Clapton was scheduled to play).  He said no and she said “Ah well, never mind – stick at it and you might get to play here one day.”
  • For the concert they assembled the 83-piece Orion Orchestra.
  • Deep Purple was obviously billed to play and they were able to get all the performers to play for free so they could donate the proceeds to The Jon Lord Fellowship.

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    • Zwopper The Electric Alchemist
    • Tim “Southern Cross” Johnson
    • Percival Frequency

Bonus Tracks:

  1. Fantasia
  2. Durham Awakes
    • From The Durham Concerto which was written for the 175th anniversary of the University of Durham.
    • This is the second of six movements from the concerto.
    • The piece combines the Northumbrrian pipes with Lord’s Hammond organ.
    • The ending of the movement is inspired by Sir Malcolm Arnold, the conductor of Concerto for Group and Orchestra and also one of Lord’s favorite composers.
    • Cello – Matthew Barley
    • Northumbrian Pipes – Kathryn Tickell
    • Orchestra – The Orion Orchestra
    • Organ [Hammond] – Nigel Hopkins
    • Violin – Jacqueline Martens
  3. All Those Years Ago
    • Steve Balsamo
      1. A close friend of John’s who he’d worked with.
      2. Balsamo: “Jon called me one day and said, ‘I have and idea for a song and I want to call it All Those Years Ago. Come over to the house for a few days, dear boy, and we’ll have a bash.”
      3. Balsamo says the song is about the passive of time, the fearlessness of youth and looking back.
    • Micky Moody
    • Guitar, Soloist – Micky Moody
    • Orchestra – The Orion Orchestra
    • Piano – Nigel Hopkins
    • Violin – Anna Phoebe
    • Vocals, Soloist – Steve Balsamo
  4. Pictured Within
    • Miller Anderson
    • This was the title track of Jon’s album by the same name.
    • The quotes are variations from Elgar’s “Nimrod” to open each verse.
    • The piece was written in the late 90s after both of Jon’s parents passed away.
    • It was used during the Concerto Tour of 2000-1.
    • The song was also played at Jon’s funeral.
    • On those occasions it was sung by the man who it was written for: Miller Anderson.
    • Cello, Soloist – Matthew Barley
    • Orchestra – The Orion Orchestra
    • Percussion – Mario Argandoña
    • Piano – Nigel Hopkins
    • Vocals, Soloist – Miller Anderson
  5. Sarabande
  6. One From The Meadow
  7. Bouree
  8. Afterwards
    • Jeremy Irons
    • Paul Mann
    • Jon Lord often accompanied his friend Sir John Mortimer when they would have actors and musicians pair up to read poetry with music playing behind it.
    • One poem featured was “Afterwards” by Thomas Hardy.  Jon improved piano b=behind it.  Parts of this eventually found their place into Jon’s “To Notice Such Things.”
    • Orchestra – The Orion Orchestra
    • Piano – Paul Mann (5)
    • Vocals [Speaker] – Jeremy Irons

After this segment of the show was complete Bob Harris, the MC, took the stage and said, “After the Intermission we’re gonna rock.”

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Episode #169 – Zephyr – Going Back to Colorado

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Whitesnake Live in Illinois September 1, 2022!

Postcards From The Edge . . . OF CONNECTICUT!

  • This week . . FROM MAINE!

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Lead up to the Album:

  • David Givens met Jimmy Page in Boston when they were opening for Led Zeppelin.  Page recommended seeking out Eddie Kramer. Givens called Kramer when they were in New York and dropped Jimmy Page’s name so Kramer told him to come to the studio.
  • They were in the middle of building Electric Ladyland when they arrived and Givens described Kramer crawling around among wires when they walked in.
  • Kramer went to see the band when they were back in Boulder and liked what they did so agreed to produce the album.
  • They were on ABC’s label at the time and the president wanted them to go with Bill Szymczyk to produce. He said that Kramer was hyped up and got too much credit for Hendrix’s success.
  • Givens didn’t agree and they were dropped by their label as a result.

Core Band:

  • Bass – David Givens
  • Drums – Bobby Berge
    • Johnnie Bolin: “Robbie Chamberlin–Tommy never did like him. He got rid of him, and that’s when he got Bobby Berge.”
    • David Givens: “Tommy said, ‘I know this guy from South Dakota, Bobby Berge.’ So we brought Bobby out. Bobby was this really weird, un-hip, backward guy. He had a really domineering wife. HE was a really sweet guy, but we picked on him.”
    • David describes the band as “sort of snotty hippies” and says that Bobby really didn’t fit in. He said Robbie was very hard to get along with.  Robbie’s feelings toward Tommy were mutual.  Robbie thought tommy was arrogant, and Tommy thought Robbie was stuck up and a stickin the mud.  David says, “They were both right.”
    • Bobby said Tommy’s playing on the first Zephyr album blew him away so he was excited to join the band.
  • Organ, Piano, Soprano Saxophone, Flute – John Faris
  • Piano [Occasional], Clavinet, Percussion – Eddie Kramer
  • Piano, Vocals, Harmonica – Candy Givens
  • Steel Guitar, Acoustic Guitar, Electric Guitar, Twelve-String Guitar, Vibraphone [Vibes] – Tommy Bolin

Additional Personnel:

Technical:

Album Art & Booklet Review

  • Cover – Ed Thrasher
    • https://en.wikipedia.org/wiki/Ed_Thrasher
    • Stared his career as an art director with Capitol Records.
    • Then moved to Warner Bros. where he worked from 1964 thgrough 1979.
    • HE worked on hundreds of projects including Jimi Hendrix’s “Are You Experienced?” and Doobie Brothers “Toulouse Street.”
    • He continued to work through the 80’s and did the poster and artwork for Prince’s “Purple Rain.”
    • Also worked on art for Frank Sinatra, Sammy Davis, Jr., Dean Martin, and many more.
    • Sadly he passed away in 2006.

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Album Tracks:

Side One:

  1. Going Back To Colorado (C. Givens, Tesar, Bolin)
  2. Miss Libertine (C. Givens, D. Givens)
    • Backing vocals by David Givens
  3. Night Fades Softly (D. Givens)
  4. The Radio Song (D. Givens)
  5. See My People Come Together (Bolin)
    • Tommy played his guitar through a Leslie for this song and “Showbizzy.”
    • Givens says this is one of the few songs they’d worked out and played live before recording.
    • Tommy created the outline of the song, David worked on the arrangement, and Candy reworked the words.
    • Givens says Tommy’s solo was the first or second take.

Side Two:

  1. Showbizzy (Bolin)
    • Was recorded in Studio B with the guys from Lothar and the Hand People helping them.  Givens describes it as “sort of self-produced.”
  2. Keep Me (Tesar, Bolin)
  3. Take My Love (Faris)
  4. I’ll Be Right Here (Tesar, Bolin)
  5. At This Very Moment (C. Givens)

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Bustin’ Out The Spreadsheet

Reception and Charts:

  • Despite working with Eddie Kramer and the trajectory it looked like the band was taking, the album was not a success commercially.
  • Eddie Kramer: “I only knew [Tommy] for a very short period of time, which was the Zephyr album – one of the first albums he ever did. I remember they said, “You’ve got to hear our guitar player, he really loves Jimi,” as a lot of guitar players do. I thought he was a really good guitar player.
  • Eddie goes on to say the album went fairly well but he remembers there was some difficulty with some of the songs not being as well formed as they could have been.
  • Eddie says Zephyr opened up for Jethro Tull and he got up on the stage with the band, the first time he ever did and was terrified.  He played keyboard but said he’d never do it again and he felt more comfortable on the “other side of the glass.”
  • David Givens said that the day Hedrix died [September 28, 1970] Eddie called to say, “We won’t be recording today – Jimi’s dead.”
  • Givens was the one who told Tommy Jimi had died and he was in shock.  They were about to meet him.
  • Not sure how this ties into the story of Tommy having Jimi’s ring.
  • Also, the famous story of Tommy telling someone that Jimi Hendrix did drugs as an excuse for his drug use.
  • David says they went into the studio wanting to play some of Jimi’s tunes as a sort of tribute.  When they went in Jimi’s black strat was there and Tommy picked it up and they played “Hey Joe” and “Foxy Lady.”  They were kicked out by one of the engineers.
  • Kramer says the loss of Jimi and knowing his career was in turmoil was a lot to try to keep things going so he doesn’t have much of a memory of doing the Zephyr album.  Things would turn out soon after that when he began producing for Carly Simon.
  • David Givens said that the record was “a mess” because Kramer was very distracted after Jimi’s death.  He became preoccupied with working on “Cry of Love” an album of songs Jimi was working on at the time of his death.  Hendrix had been very involved in the mixing and Givens said they were even asking them for help.  He remembers one of the songs was “Belly Button Window.”
  • Givens says Bolin and Berge were playing more abstractly at this point and he said that he wanted their music to be more accessible.
  • Karen Ulibarri said that at this point Candy was just wailing and Tommy was trying to get in as many licks as possible to get people to hear them.   Karen described the band’s style as “very unsophisticated–as far as performing and as far as recording was.”
  • Berge says that David and Candy wanted Robbie back in the band and Tommy didn’t want to play with Robbie and that’s the main reason for the breakup.
  • The album came out in early 1971 and by summer time they had broken up.  They only played a few shows in support of the album but David Givens said “The fun was gone.”
  • Givens said they had high hopes for the album but that it never got finished as far as vocals and guitars and it was “half-assed from top to bottom.”  They even had a friend take the pics that ended up in the album.
  • Billboard review in February 1971:
    • Going Back to Colorado gets this new rock group off to a breezy start. The quintet (David and Candy Givens, Bobby Berge, Tommy Bolin, and John Faris) has a lot on the ball and they show it off well in songs like “See My People Come Together”, “Miss Libertine”, “Take My Love” and “The Radio Song.”
  • Cash Box review in February 1971:
    • It shows they’ve come a long way since first appearing on the recording scene . . . (Candy Givens) has, at last, learned how to harness the intense power of her voice. The group’s writing has improve considerably also . . . Tommy Bolin is now writing excellent songs.
  • David Givens on Candy Givens:
    • “I understand why people don’t like her at all if all they ever heard was that first record, or even “Going Back to Colorado.” Early on-and particularly the first record, because they’re all ‘take 500’–she sounds really stupid and over-amped. She was in some ways ‘the female equivalent of Robert Plant’ in the beginning. If you listen to ‘Sunset Ride’–the Zephyr album we made after Tommy–you can hear that she can actually sing beautifully.
  • Tommy left Zephyr shortly thereafter where he formed the band Energy with Bobby Berge, Jeff Cook, Stanley Sheldon, and Tom Stephenson.

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Episode #168 – Accidentally on Purpose (Bonus Material)

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CASH APP DONATION!

  • One time $12.12 from none other than Alan “Ain’t Too Proud To” Begg!
    • Ain’t Too Proud To Cash App!
    • Hey Nate, 
    • No I’m not switching to cash app, I’m still on Patreon. 
    • It was just a wee “Brucie Bonus”.
    • Hmm I don’t think that’ll translate ! 
    • Honestly it was just to prove that the Cash App thingy works and that we’re both “down with the kids”
    • All the best 
    • Cheers………Ab  

Whitesnake Live in Illinois September 1, 2022!

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  • Cayman Island – 3:56
  • The Purple People Eater (Sheb Wooley) – 2:36
    •  reached No. 1 in the Billboard pop charts in 1958 from June 9 to July 14, No. 1 in Canada,[3] reached No. 12 overall in the UK Singles Chart, and topped the Australian chart.
    • “The Purple People Eater” tells how a strange creature (described as a “one-eyed, one-horned, flying, purple people eater”) descends to Earth because it wants to be in a rock ‘n’ roll band. The premise of the song came from a joke told by the child of a friend of Wooley’s; Wooley finished composing it within an hour.[4]
    • The song establishes that the creature eats purple people, but not whether or not it is itself purple:
  • Chet – 4:17
  • John, Paul, and Nate’s 80s Movie Featuring “Chet”

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Episode #167 – Gillan – Future Shock

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Technical:

1981 Future Shock – Gillan (L.P Alemania Virgin Records 203 596)

Album Art & Booklet Review

  • Illustration – Alan Daniels (2)
    • Also did album covers for Girlschool
  • Illustration – Angus McKie
    • Did album covers for Vangelis and others
  • Painting [Cover] – Alan Daniels (2)
  • Photography By [Main Photos] – Gavin Cochrane
    • Photography for Sparks, Pretenders, Stray Cats, The Who, Men Without Hats, and more.
  • Gillan: “I realise that a lot of people think the album cover is rubbish. It was certainly a bit strange. But some of the photos inside were amazing. Future Shock came in a gatefold sleeve, and it was a great visual production effort by all concerned.”
  • Title based on book by same name by Alvin Toffler:
    • “Future Shock” is the term Toffler gave to the trauma that happens as a result of going through great changes in a short time.In his book he explores how people can adapt to the changes they face, and while doing that he establishes a new social norm: embracing change.
  • Gillan, later in a 2017 YouTube video: “Now this is an amazing cover. Portraits of the band, candid shots mixed with a lot of photographs from Young Artists agency that we decided were compatible with the title, ‘Future Shock.’” Well that’s the interesting part I think there . . .bit of a rebellion wnet on when everyone saw the picture because it sort of supposed to be I don’t know what . .. it makes it a little bit weird anyway . . . titled nicked from a book by Alvin Toffler at the time which was full of how exciting the future might be.”
  • Liner Notes:
    • Record Business – 11.8.80
      • It’s almost a relief to hear bands like Gillan.
    • Huddersfield Daily Examiner – 20.9.80
      • John changed from playing trumpet to guitar while at school. . . . He moved to London to continue successfully working in rock music, playing afro-jazz at Ronnie Scotts, touring world wided with Julie Felix and playing cello on a Beach Boys album.
    • Hull Daily Mail – Oct ‘80
      • As for Bernie Torme’s guitar solo we all know that HEndrix did it with feedback, but, as the report says, it was “long ago” – too long ago for some of us to remember
    • Sounds – 9.8.80
      • . . . and on certain occasions Towns creams his colleagues into the ground.
    • Sounds – 4.2.78
      • Colin Towns (Keyboards/Vocals)
      • Coming from a diverse busical background which included jazz, R&R (including a stint with Chuck Berry), Country & Western Mr. Towns almost replaced Dave LAwson in a reformed version of Greenslade. LAwson was in fact originally offered the gig with IGB, but declined and gave them Colin’s number . . . 
      • The quietest member of the band, he has been known to more than occasionally go for walks sending the rest of the group into a state of freznsy, only to re-appear just in time for a gig.
    • Virgin Release Sheet
      • Ian was presented with the aforementioned cake onstage at the end of the Friars gig, with the immortal words, “There’s only one place for this,” Gillan promptly heaved the lovingly prepared oj=bject straight onto the bald pate of one John MCCoy, the Gillan band’s odd looking bass player, Aaah, the carefree joys of yough, the fun those rock stars have etc . . ..
      • REmember Gillan is a Group.
    • Record Mirror – 16.8.80
      • BEsides it’s worth having just for the photo of John McCoy.
    • ‘Glory Road’ is ten songs where five men struggle to get worked up about piss-all . . . but there it is in the LP charts.
    • South Wales Argus – 18.10.80
      • If you’re looking for “Trouble” Cardiff Top Rank will be the right place this weekend.
    • The Oxford Times – 05.9.80
      • Before you could about “wally” he was back with his own band
    • Derby Evening Telegraph – 17.10.80
      • But when in five years time Gillan are international superstars, don’t let anybody say ‘I told you so.’ A child of three with his eyes shut couldn’t help but notice the talent they displayed at Derby Assembly Rooms on Saturday Night.
    • The Northern Echo – 25.9.80
      • Ian Gillan is 35, paunchy, dresses badly and sings worse. He ought to be a washed up has-been if ever there was one.
    • Bristol Evening Post = 7.10.80
      • Last night they showed they weren’t afraid of stretching the form beyond the head-banging format. They used colour, tone, skill and turned in some attractive, cheering music.
    • Colin Towns: “‘Breakdown’ (MCA) Young (or should that be old?) Colin has made seven albums with Gillan and out of his own with this shows he’s got a reasonable sense of dynamis to go with those semi restrained crazed vocal streams. HM’sanswer to Pop Group? Sure, Boris.
    • Bernie Torme looks like a reject Rolling Stone but is without doubt a guitarist of unique style and sound.
    • Towns, to his chagrins, isn’t about to become quite as rich as the perpetrators of “The STud” and “Saturday Night Fever.”
      • “I keep having thie word ‘prestige’ rammed own me throat,” he laments “I got very little money in the end. But I was pretty hard up before I did it anyway.”
    • New Music News – 16.6.80
      • Ian Gillan breaks new poetic ground by rhyming “ultrasonic” with “gin and tonic.”
    • Mail – 13.9.80
      • Guitarist Bernie Torme, who previously stly fronted his own band.
    • Melody Maker – 9.8.80
      • The rhythm squad of Mick Underwood and John McCoy neither of them spring chickens, set about shaking the glass from windows with a sturdy resilience.
    • Melody Maker – 30.8.80
      • There were more than 30,000 people out there, going crazy with Gillan’s parting gift.
    • Burnley Evening STar
      • Preston Guild Hall rocked to the rafters with an amazing show of affection for the governor.
    • Sheffield Star – 7.10.80
      • Mick Underwood was impressively solid behind the drums.
    • Evening Sentinel – 9.10.80
      • Torme laid his own stamp on the aged “Smoke on the Water,” using feedback brilliantly and introducing that foamous riff Hendrix fashion – with his teeth.
    • Melody Maker – 30.8.80
      • When they did eventually crash into the body of the song, the corwd made the turf tremble.
    • Evening Sentinel – 9..10.80
      • And that supreme example of The Great Poser, John McCoy on bass. He really is one of Life’s Great Uglies.
      • This quote is oddly paired up with a picture of Roger Glover from “Cornflakes and Crazy Foam.”
    • Glasgow Daily Record – 31.10.80
      • Someone aske dme the other day what I’d do with my next million and I told them I’d probably buy myself a new tent.”
    • Hull Daily Mail – 28.10.80
      • It is a pity the music did not quite match th occasion. It was too patchy, smothered in part by histrionics and self indulgence. Guitarist Bernie Torme launched into a too-long solo which was so hackneyed it quickly became boring. There is only so much that can be done with feedback, and anyway, Hendrix did it a long time ago.
    • LAncashire Evening Post – 6/10.80
      • They seemed to love it best when he dragged his guitar across the speaker sending the decibel needle soaring off the scale.
    • Ipswich Evening Star – 22.10.80
      • And guitar player Bernie Torme was really a treat to watch. He plays his Strat like a formula one racer drives is car-one hand on the gearstick; 

Other Releases:

  • 1989 CD release with bonus tracks
  • 2007 Re-release with bonus tracks with Ian Gillan retrospective liner notes
  • 2012 Re-release on vinyl with 12-page hard covered book.  Only 1,000 copies made.

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Album Tracks:

Side One:

  1. Future Shock (Gillan, McCoy, Tormé)
  2. Night Ride Out of Phoenix (Gillan, Towns)
  3. (The Ballad Of) The Lucitania Express (Gillan, McCoy, Tormé)
    • “Some of the tracks here, like Night Ride Out Of Phoenix and (The Ballad Of) The Lucitania Express, were based on actual incidents which happened to us on the road. I always like doing that sort of thing.
  4. No Laughing in HEaven (Gillan, McCoy, Tormé, Towns, Underwood)
    • “This is the one with No Laughing In Heaven, which is definitely my favourite Gillan track. It was really the start of me being publicly irreverent. It harked back to when I was 13 years old, asking questions at Sunday school like, ‘Father, what was the immaculate conception?’, and getting answers like, ‘You have to have faith in God, my son. Faith will guide you’. And I began to realise that I didn’t believe in religion, and that God didn’t create Man, it was the other way round. The idea of going to heaven was anathema to me. The last thing I want to do is be stuck in heaven with the sort of people I’d like to avoid! That’s where this song comes from.”
  5. Sacre Bleu (Gillan, McCoy, Tormé)
  6. New Orleans (Frank Guida, Joseph Royster) – Gary U.S. Bonds Cover
    • Simon Robinson in Stargazer #24:
      • This oldie (originally by Gary US Bonds) was sufficiently catchy to get the radio airplay, and became their most successful single to date. It’s ok I guess, though I’d have been happier to see MAD make it. The b-side (‘Take A Hold Of Yourself’) is nothing outstanding either, though it has yet more vocal experiments midway.
      • Gillan’s version or the song reached #17 on the UK Singles Chart.

Side Two:

  1. Bite the Bullet (Gillan, Towns)
  2. If I Sing Softly (Gillan, McCoy, Tormé)
  3. Don’t Want the Truth (Gillan, McCoy, Tormé)
  4. For Your Dreams (Gillan, Towns)

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    • JJ Stannard
  • $1 Made Up Name Tier
    • The “Night Ride Into The Coffin” Leaky Mausoleum
    • Stephen Sommerville The Concerto 1999 Fanatic
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    • Hank the Tank
    • Private Eyes
    • Ashen Lionel
    • Spike’s Mom
    • Blackmore’s Tights
    • John Miceli

Bustin’ Out The Spreadsheet

Reception and Charts:

  • This album is viewed by many to be the band’s peak.  It was certainly trues as far as chart position. It reached #2 on the UK chart and was their highest charting album.
  • Stargazer – Issue #24 – June, 1981
    • The outer sleeve is chronic, there are very few artists in the sci-fi field doing anything decent, and Gillan used the best, Chris Foss, for ‘Clear Air Turbulence’. The album itself didn’t live up to expectations. There seems to be a lack of musical ideas, reusing from previous albums, which are wearing a bit thin. ‘Ballad Of The Lucitania Express’ is the worst example. Much of the album sounds too rushed, which is a pity because the enthusiasm is there – one snatch of ‘No Laughing In Heaven’ shows that. Some of the tracks sound like Ian was suffering when he recorded them; such as on ‘If I Sing Softly’ and ‘Don’t Want The Truth’, both of which have a lot going for them. For my money the best cut of all is the last; ‘For Your Dreams’. It has a much more thought out feel to it, and begins to bring together Colin’s ideas and Ian’s vocal range successfully. Overall I feel Ian has let the album run away with itself, and ‘Glory Road’ seems (especially the American version with rearranged track order) much stronger.
  • Bernie would leave the band while on the road supporting the album and was replaced by Jannick Gers who finished the tour.

For Further Information:

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 Twitter, Facebook, or Instagram.
Posted on

Episode #166 – BBC Sessions (June, 1969)

Link to video episode on YouTube: https://www.youtube.com/watch?v=W9P-maQn6dk

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.

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Brendan Ashbrook – Logo Designer

Thanks to Our Executive Level Patrons:

  • The $25 “Uncommon Man” Tier
    • Ovais Naqvi
  • The £10 Tier
    • Dr. Jill Breis
  • The Turn it up to $11 Tier
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  • $10 “Some One Came” Tier
    • Ryan M
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    • “Better Call” Saul Evans
    • Kev Roberts &  his wonderful children: Matthew, Gareth, and Sarah

Patron Updates:

  • Percival Frequency writes in:
    • I’s all gonna be ok
    • Just plug my band called ‘Das Funk Haus’ too.     My first memory of Deep Purple is ‘Smoke on the Water’ on an 8 track player in a 71 chevy nova.  3 years old and standing on the bench seat  between aunt and uncle,.  Same uncle took me and little bro to our first concert….DP perfect strangers  at meriwether post in columbia md….I think black foot opened for them.
    • we were at the show with joyous wolf….those guys …just let them try to be early rod stewart….faces. 
    • By all means….mention my band anytime you think its gonna make look good…haha

Hall of Fame Presentation:

  • Rich Shailor becomes our first inductee!

Deep Dive Podcast Network:

Album Tracks:

Mark 1 performed on the Sounds Like Tony Brandon Show session which recorded at BBC’s studio 4 Maida Vale.

  1. “The Painter” (BBC Sounds Like Tony Brandon Show Session – 24 June 1969)
    • Version 1
    • At this point “The Painter” is showing up as reworking of what we heard in the last episode titled “Hey Bop A Re Bop” with rewritten lyrics.
  2. “Laléna” (BBC Sounds Like Tony Brandon Show Session – 24 June 1969)
    • They also played “I’m So Glad” during the episode but that recording is missing.

At this point the band had already signed Gillan and Glover but Simper and Evans had not been given notice yet when they appeared on BBC’s Chris Grant’s Tasty Pop Sundae show at Aeolian Hall, Studio 2.

Thanks to Our Core Level Patrons:

  • The $7.77 KeepItWarmRat Tier
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    • Will Porter
    • Zwopper The Electric Alchemist
    • Tim “Southern Cross” Johnson
    • Percival Frequency
  1. “The Painter” (BBC Chris Grant’s Tasty Pop Sundae Session – 30 June 1969)
    • Version 2
  2. “I’m So Glad” (BBC Chris Grant’s Tasty Pop Sundae Session – 30 June 1969)
  3. “Hush” (BBC Chris Grant’s Tasty Pop Sundae Session – 30 June 1969)
    • Version Four

Four days after this June 30th session Mark 1 played their final live show and Simper and Evans were officially fired from the band.

Thanks To Our Foundation Level Patrons:

  • The $3.33 Half Way to Evil Tier
    • Raff Kaff
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  • $1 Made Up Name Tier
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    • Hank the Tank
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    • Ashen Lionel
    • Spike’s Mom
    • Blackmore’s Tights

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 Twitter, Facebook, or Instagram.
Posted on

Episode #165 – The Father’s Day Special

Link to video episode on YouTube:https://www.youtube.com/watch?v=Xu7ghpXYWR8

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

How To Support Our Show:

Brendan Ashbrook – Logo Designer

Thanks to Our Executive Level Patrons:

  • The $25 “Uncommon Man” Tier
    • Ovais Naqvi
  • The £10 Tier
    • Dr. Jill Breis
  • The Turn it up to $11 Tier
    • Clay Wombacher
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    • Alan “Ain’t Too Proud To” Begg
    • Mikkel Steen
  • $10 “Some One Came” Tier
    • Ryan M
    • Jeff Breis
    • Victor Campos
    • “Better Call” Saul Evans
    • Kev Roberts &  his wonderful children: Matthew, Gareth, and Sarah

Whitesnake Live in Illinois September 1, 2022!

  • Live at Allstate Arena in Rosemont, IL.
  • John and Nate will be there.
  • Potential meet up beforehand!

Postcards From The Edge . . . OF CONNECTICUT!

  • This week we get a postcard from “The Roback!”

Deep Dive Podcast Network:

Young Nate and dad.
Nate’s dad’s ticket stubs. He texts: “Woodstock tickets. The bottom ticket was purchased to buy food. No food to buy so I was screwed out of 30 cents. No hamburger for me.”
Nate’s Dad (and friends) drinking responsibly at Woodstock.

Nate’s Dad:

  • Lazy from Live in Denmark 1972
    • From the video around the 44:30 mark.
Baby John and Pops.

John’s Dad:

  • Highway Star from Made in Japan.

Thanks to Our Core Level Patrons:

  • The $7.77 KeepItWarmRat Tier
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    • Steve Coldwell
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  • The $6.65 “Almost Evil” Tier
    • Kenny Wymore
  • $5.99 The “Nice Price” Tier
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Thanks To Our Foundation Level Patrons (Read by Pops!):

  • The $3.33 Half Way to Evil Tier
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    • Peter Gardow
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    • Øyvind Fjeldbu –
    • Runar Simonsen –
    • JJ Stannard
  • $1 Made Up Name Tier
    • The “Father of Seeping Tombs” Leaky Mausoleum
    • Stephen Sommerville The Concerto 1999 Fanatic
    • Spike, The Rock Cat
    • Hank the Tank
    • Private Eyes
    • Ashen Lionel
    • Spike’s Mom
    • Blackmore’s Tights

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 Twitter, Facebook, or Instagram.
Posted on

Episode #164 – Elf – Trying To Burn The Sun

Link to video episode on YouTube: https://www.youtube.com/watch?v=0SdBySHcVrI

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

How To Support Our Show:

Brendan Ashbrook – Logo Designer

Thanks to Our Executive Level Patrons:

  • The $25 “Uncommon Man” Tier
    • Ovais Naqvi
  • The £10 Tier
    • Dr. Jill Breis
  • The Turn it up to $11 Tier
    • Clay Wombacher
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    • Alan “Ain’t Too Proud To” Begg
    • Mikkel Steen
  • $10 “Some One Came” Tier
    • Ryan M
    • Jeff Breis
    • Victor Campos
    • “Better Call” Saul Evans
    • Kev Roberts &  his wonderful children: Matthew, Gareth, and Sarah

Apple Podcasts Reviews:

  • Frozen Bruise – USA – 5 Stars!
  • Love this Podcast!
  • Back in 1974 when I was 13 years old I was at a friend’s house shooting pool when he played the album Burn. I was hooked, and they became my favorite band. So I have been a fan for 48 years. My wife has told me she’s going to play Smoke on the Water at my funeral. I really enjoy the fact that Nathan and John are musicians and are able to explain things like how something is being played, how it is recorded, or how difficult it is to play a particular song or part, etc. For so many years I felt like I was the only person who liked Deep Purple. back in the stone age when I was in high school, I had friends who wanted to ride around in my car with me. They knew that there was price to pay if they did—they had to listen to Deep Purple! So glad that this podcast exists. I really enjoy listening to Nathan and John, they sound like two guys that I could really enjoy hanging out with. Great job, great conversation, lots of humor, all while listening to Deep Purple—5 stars!!!

Postcards From The Edge . . . OF CONNECTICUT!

  • Is it a postcard . . . OR A RANSOM NOTE?

Deep Dive Podcast Network:

Personnel:

Additional Personnel:

  • Helen Chappelle, Barry St. John, Liza Strike – backing vocals
  • Mountain Fjord Orchestra – strings

Technical:

Album Art & Booklet Review

Thanks to Our Core Level Patrons:

  • The $7.77 KeepItWarmRat Tier
    • Michael Vader
  • The Episode $6.66 Tier
    • Steve Coldwell
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  • The $6.65 “Almost Evil” Tier
    • Kenny Wymore
  • $5.99 The “Nice Price” Tier
    • Fielding Fowler
    • Robert Smith
    • Peter from Illinois
    • Michael Bagford
    • Karl Hellberg
  • $5 “Money Lender” Tier
    • John Convery
    • German Heindl
    • Adrian Hernandez
    • Jesper Almén
    • Oleksiy The Perfect Stranger Slyepukhov
    • James North
    • Mark Hodgetts
    • Will Porter
    • Zwopper The Electric Alchemist
    • Tim “Southern Cross” Johnson
    • Percival Frequency

Album Tracks:

All songs written by Ronnie James Dio and Mickey Lee Soule

Side One:

  1. Black Swampy Water
  2. Prentice Wood
  3. When She Smiles
  4. Good Time Music

Side Two:

  1. Liberty Road
  2. Shotgun Boogie
  3. Wonderworld
  4. Streetwalker

Thanks To Our Foundation Level Patrons:

  • The $3.33 Half Way to Evil Tier
    • Raff Kaff
  • $3 “Nobody’s Perfect” Tier
    • Peter Gardow
    • Ian Desrosiers
    • Mark Roback
    • Duncan Leask
    • Stuart McCord
    • Flight of the Rat Bat Blue Light
    • Øyvind Fjeldbu –
    • Runar Simonsen –
    • JJ Stannard
  • $1 Made Up Name Tier
    • The “Trying To Never See The Sun” Leaky Mausoleum
    • Stephen Sommerville The Concerto 1999 Fanatic
    • Spike, The Rock Cat
    • Hank the Tank
    • Private Eyes
    • Ashen Lionel
    • Spike’s Mom
    • Blackmore’s Tights

Reception and Charts:

  • Album was released just before the first Rainbow album.  Elf’s album came out in June, Rainbow in August.

For Further Information:

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 Twitter, Facebook, or Instagram.