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I’m writing from beautiful West Warwick RI, haha! I grew up in Smithfield and Burrillville, still have some family in Smithfield (Dube cousins, an uncle), though I am long out of touch with them.
I found your podcast (specifically episode #055 from 2020) after seeing the Dio documentary and I was looking for more Dio love and appreciation! That definitely came through with you guys, and when I realized you are/were from RI I got even more excited, haha!
I’ve liked Purple, Sabbath, Rainbow, Dio, etc for as long as I can remember, but I never had much initiative in purchasing and collecting records, and I never dug too deeply into band histories, members and lineup changes, etc. I don’t really know why! Then I went through a kind of personal “Dark Ages” in the late 80s right thru to the 2000s where I wasn’t really listening to much music at all … and I missed out on so much from that time period. Seeing the Dio doc really lit the fire under my butt to seek out what I never did in the past, so now I have a lot to catch up on! I’m really grateful to have stumbled across your podcast, and I’m looking forward to learning more about Purple and all the other great stuff around them. I’m psyched!
I’ve been recommending you guys to some friends and I gave a little shout-out on Reddit as well, so I’m trying to get the word out. (Hah, I’m even super late to the podcast thing, but that is just typical of me I guess!)
Anyway, thank you for doing what you do! I’ll be around.
Second half of show covered on this episode (Episode 198):
Anya
The Battle Rages On
When A Blind Man Cries
Lazy
Satch Boogie
Space Truckin’
Woman From Tokyo
Paint It Black
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Cynthia Dube – NEW PATRON ALERT!!
Encore:
Hush
Speed King
Smoke On The Water
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Simon Ford
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Peter Gardow
Ian Desrosiers
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Flight of the Rat Bat Blue Light
Øyvind Fjeldbu –
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Ruinous Inadequacies
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The “Liquid Oozes On” Leaky Mausoleum
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Hank the Tank
Private Eyes
Ashen Lionel
Blackmore’s Tights
John Miceli
Listener Mail/Comments
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Written by: Shelley Zellman, Don Nicholl and Michael Ross
Directed by Dave Powers
Stars John Ritter, Joyce Dewitt and Priscilla Barnes
John from the Deep Purple Podcast and Chris from the show Pod of Thunder join me as we discuss the shenanigans of Jack, Janet and Terri in this crazy episode where there is a misunderstanding about something.
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Old friends chatting about the greatest band in the world
Found this podcast while wondering if there was a Deep Purple Podcast. Turns out there is and it’s called The Deep Purple Podcast, how did it take so long to find this! It’s taken me nearly a year and a half to almost get up to date (only 20 behind now). It’s so addictive. I feel like I’m eaves dropping on 2 old friends who just so happen to like all the same music I do. The only thing is, they can’t see me and they can’t hear me Tutting loudly at some the opinions they have (Saints and Sinners is Whitesnakes worst ranked album??? Tut, Tut and Tut!) They claim not to be but listening through all the shows they are slowly becoming experts. Look forward to listening to many more episodes to come and learning new things about the band I thought I knew everything about. Grab the flexatone and enjoy the well deserved 5 stars! Blackmores Tights x
When asked in Young Guitar magazine which solo on the album he liked the best, Ritchie answered, “Too Late For Tears sounds very interesting. All the studio versions are played slowly, although I have a habit of playing everything as fast as possible, but in the studio you usually have to take care of the clarity of the sound to the detriment of the live sound, but in Too Late For Tears I played very naturally. “Ariel” also came out naturally. The first take sounded like I was drunk, so I had to re-do it, but the second I was able to play better.”
On this song having a similar riff to “Can’t Happen Here” Finnish Radiostation Metalliliitto – September 27, 1995: ”Right. Music goes round and round. Sometimes I play something and I don’t even understand that I have already recorded it. Or sometimes I understand, but I like it so much that I decide to use this idea again, to approach it from a different angle. As for this song, I understood that it was similar to “Can’t Happen Here”, but I like this tune so much that I thought it was a good idea. If I thought this song was just a copy of “Can’t Happen Here”, I wouldn’t record it. But I thought it was worth it. This is just a small part of the song. When we were composing it, I said, “A bit like Can’t Happen Here.” Someone from the group asked: “So what are you going to do? Will you sue yourself? ” I said, “Well, yes, that’s right.””
Black Masquerade (Blackmore, Paul Morris, White, Night)
On the new album you picked up a classic piece by Grieg with ‘Hall Of The Mountain King’, which you played together with the “Lancasters” at the beginning of the 60s, at the time when you were still was working as a session guitarist. Back then, the piece was called ‘Satan’s Holiday’…
How did you find that out? It’s almost not true anymore! I think that was in 1964, long before Deep Purple. Yes, I played a few sessions at that time – with the Outlaws, produced by Joe Meek, then with “Heinz” (Heinz Burt, another signing of the then indie pope Joe Meek – Ed.), with Burr Bailey (& The Six-Shooters, a title called ‘Like A Bird Without Feathers’ – Ed.) and also pure sessions, just for fun, with Nicky Hopkins, Chas Hodges and Mikki Dallon. I think I really got nice around.
From Young Guitar interview: “Edvard Grieg is a Norwegian composer, I am attracted by his personality, he was a weirdo. I read books about him, he was a hermit. His music is filled with depression. It seems to convey what is happening in my head. This is a wonderful melody. I am fascinated by such majestic and melancholic melodies. I first saw the fourth act of “Peer Gynt” on TV at the age of nine, I heard “In The Hall Of The Mountain King”, and this music just mesmerized me. I immediately had clear images of caves, witches with long nails. Mom couldn’t understand why it interested me so much (laughs). By the way, I already wrote it down once, in one session in 64. Then it was an instrumental.”
Ritchie from Finnish Radiostation Metalliliitto – September 27, 1995 :”This is probably my favorite song on the album. It is great. It’s easy to play, but the music doesn’t always have to be difficult to be interesting.”
The song originally appeared on “Having a Rave Up with the Yardbirds” in 1965.
When asked by “Young Guitar” about why he included this song and closed an album with it again: “We played it at rehearsals, the musicians said it sounded great. I already played it at concerts with vocals, it was not very interesting to me, but the guys asked it very much. When people from the record company found out about this, they insisted that we should record it. I was tired of it, so I just couldn’t bring myself to properly start recording. Of course, it would take only an hour to record, but after five minutes I got tired and said: “That’s it, I won’t play any more.” The fact that it is last does not mean anything. At first it was supposed to be a bonus track. Anyway, “Still I’m Sad” makes me sad all the time… (laughs).”
Bonus Track (Japanese Edition)
Emotional Crime (Blackmore, White, Regan)
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Reception and Charts:
Rtichie on slide playing on “Stranger In Us All” from Robert Haagsma, Aardschok Magazine – October 1995: “”That’s right. I really like slide guitar, but I have never found myself in the way it is usually played: under the neck with the bottleneck around the little finger. The glissando is much smoother when I hold it in my whole hand and move overhead, like a steel guitar player, because the movement comes from your wrist and not from your little finger. It took me some time to master that technique. It produces a traditional feeling in a number of songs that appeals to me. I notice that as the years go by I am more fond of good melodies, also in my solos. When I was seventeen I preferred to stuff as many notes as possible into one solo. That was the challenge at the time. In recent years, emotion and melody has become more important.”
When asked if he was satisfied with this lineup of the group by Finnish Radiostation Metalliliitto – September 27, 1995 Ritchie responded: “This week, yes.”
Reviews:
Darker Than Blue Issue 48 January / February 1996
Rainbow’s comeback CD follows very much the pattern, direction and sound heard on Straight Between The Eyes and Bent Out Of Shape. Indeed you’d hardly guess that twelve years separated the latter from this new offering. Sadly, for those of us hoping the blistering guitar work he exhibited on that last ill-fated Purple tour in 1993 was the prelude to an equally devastating move forward in the studio, this CD fails to deliver anything like the goods necessary to enable Blackmore to recover some of the standing lost during the final Purple debacle in 1993.
WOLF TO THE MOON sets the scene, a standard medium paced Rainbow rocker. On first hearing Dougie White sounds almost identical in style and approach to Joe Lynn Turner. A little bit coarser round the edges perhaps, but it’s clear Blackmore wants this formularised rock voice whoever supplies it. The track itself is a very one dimensional and inauspicious beginning to the CD.
HUNTING HUMANS is a real plodding effort, almost as if they’d slowed the whole track down, leaving it struggling against a loose puddingy bass sound which sucks everything in. There’s an instrumental classic here for the taking had Blackmore wanted. The singer manages to rhyme “mirrorball” with “inexcusable” – amazing.
ARIEL (after a Zeppelin style drum walloping opener) is GATES OF BABYLON 2. The band are trying to at feast sound a little more grown-up here. The vocals ride in and kill it dead, with lyrics so banal they defy description. To make matters worse, we get a spine-tingling pay-off. A gorgeous closing section where a female voice breathes the song title and Blackmore strolls over the top to knock you dead. There’s enough here to inspire a rock symphony. Within 60 seconds it’s gone.
BLACK MASQUERADE rolls out and this is getting beyond a joke. Been there, heard that, nicked it. Frighteningly ordinary, with an incongruous few bars of flamenco work thrown in plus speeded up harpsichord a la Rat Bat Blue. Ritchie tries to regain the balance with some smooth runs but by then the whole number has outstayed its welcome. He comes over with the goods on the final few seconds but this gets faded out..
SILENCE. If only. The high pitched wash of reedy synth and histrionic vocals bring the horrors of latter-day Rainbow back to life. Or maybe not, it’s not even that honest. The guitar again gets lively at the end but by then the cumulative effect of the track’s mundane meanderings render it HALL OF THE MOUNTAIN KING is reasonable fun for the most part, some nifty guitar breaks, bit of orchestra. Except that Dougie then starts singing about “Tales of mystic days of old” in a frankly risible manner, making his previous lyrical offerings seem almost REM-like in comparison, and rolling his r’s like some ham actor. That aside there is at least a bit of fun and excitement here musically, which contrasts sharply with all that has gone before. The drummer has got to grips with matters, and the production has improved, but then we come to the speeded up ending which is pure music hall.
What is he trying to say? There’s no shame in looking to other people to bring in a bit of creativity once in a while, and there can’t be any shortage of people who could provide Blackmore with 1001 stonking ideas. I’ve followed this guy’s work now for 25 years. It’s the worst thing he’s ever done. From the unbelievable heights he scaled with his playing in ’93 to this in just two years. Frightening. There will never be a moment in my life when a voice says – dig out Stranger In Us All and have a listen to that one good track. It’s an utterly depressing feeling.
The tape had an extra track, EMOTIONAL CRIME, “Can’t get thru in the midnite hour” – more mould breaking lyrics and a tune to match. Blackmore threatens to get tough in the solo but it doesn’t last long. It’ll probably end up as a bonus for buyers of the Jap import . The LP was produced incidentally by Pat Regan who did the last couple of Purple albums. BMG supplied an “electronic press kit” for the CD, basically the usual biog with an 8 minute video taped interview with Blackmore. A single of Ariel is supposed to be out in Germany (incidentally Ritchie’s lady Candice Night was wheeled on to do backing vocals for this on the tour) backed with a live Temple Of The King from the tour.
Merch, Etc.
Some additional merch from the archives of Jeff Breis!
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John Mottola, from the Deep Purple podcast, asked me to give this album a listen. I did, for the first time. Let’s see what I think and what John taught me about the band and their second studio album. This is the first of a 4 part series because that’s just what happens when John comes to visit.
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RB: We walked around the city at night, looking for musicians. We went to different bars and asked: “Can you play bass or drums? We have a place in the group “(laughs).
Ritchie on why he assembled Rainbow again in interview on Finnish Radiostation Metalliliitto – September 27, 1995: “I wanted to go back to the music I played when I first created Rainbow. For this, I have selected guys who can do a good job. And I was very unhappy with what I was doing at Deep Purple. This is why I wanted to build Rainbow again.”
On why he recruited unknown musicians in interview on Finnish Radiostation Metalliliitto – September 27, 1995: “Yes … I thought about the old guys, but not longer than a couple of seconds, because I think that I did everything I could with all of them in this style. Ronnie Dio is a great vocalist, but he is very limited in the styles that I want to hear. Therefore, I did not contact him. Some suggested Joe Lynn Turner to me. Joe is a good singer, but now he has problems with his voice. So I didn’t call him, I wanted a vocalist who could sing like Ronnie Dio and like Joe Lynn Turner and had a bluesy voice like Paul Rogers.
And I like working with unknown musicians, it’s kind of a protest against the system. Many people prefer to confidently recruit bands of musicians who are known to be good performers and reliable people, but I like to take risks and work with new musicians. And I like it when there is fresh blood and enthusiasm in the group. It’s nice to tour with musicians for whom this is all a novelty, who are not tired of it yet. And working with professionals who have been doing this for many years is a bit boring.”
Young Guitar, Japan – November 1995: ”Greg Smith I saw in one bar, he was just a strong enough hard rock bass player that I was looking for. I immediately decided to take him to the group because I liked him as a person.”
“No (laughs)! However, when Greg brought his beer to rehearsals, I was impressed, it was an interesting, very strong beer that he brewed himself. That inspired me (laughs).”
Played with Joe Lynn Turner, Blackmore’s Night, Trans Siberian Orchestra.
Young Guitar, Japan – November 1995: ”The drummer… actually, we changed him two weeks ago. The album featured John O’Reilly, a great drummer, but he has a slightly inappropriate playing style. He didn’t know how to swing, swing the way I would like… Instead of him we have now Chuck Burgie, who already played in Rainbow. As soon as Chuck joined the band, rhythms that we could not work with before became available to us, it’s amazing. He does a great job with the syncopation that I play a lot.”
Young Guitar, Japan – November 1995: “I met him about ten years ago. He got my attention back in 1981 when I auditioned keyboardists for Rainbow. But then I decided to take David Rosenthal, even though Paul showed a good result. He reminds me of Beethoven. There is a lot of fire, aggression in his playing, he is a very passionate and quick-tempered musician. This helps him a lot in self-expression, music conveys the life and emotions of a person. Sometimes he pisses me off, but he is a real musician. In Deep Purple, everyone completely lost their aggression, they had no feelings for music, and I believe that musicians should have a temperament, for a musician it is necessary. Nobody knows when he will explode, but he can play! It suits me. I also explode sometimes (laughs).”
Had played with Alex Parche and Midnight blue. Went on to Yngwie, M3, and Michael Schenker.
Ritchie on Doogie from Stefan Wach, Gitarre & Bass, Germany – 12/1995:”Yes, no question, these guys are great musicians and have a lot of creative potential. Our keyboardist has hundreds of ideas and Dougie, our singer, is incredible. And imagine – I can have fun with a singer! (laughs) The guy can sing anything from Scottish folk songs to spontaneous blues. You can also laugh heartily at him. I’ve never had such a relationship with a singer. Ronnie (James Dio – Ed.) was also a great singer, but outside of the band he always wanted to be left alone. With him you couldn’t go to a bar and have fun. Dougie, on the other hand, is very extrovert and is always out for nonsense.”
Ritchie in Young Guitar, Japan – November 1995: “I heard Doogie’s voice on some recording when I was sorting through the pile of accumulated tapes. I liked his voice, and I asked my girlfriend: “What kind of tape is this?” His London phone number was written on the cassette, and we told him that we would very much like to see him in our project. Like that.”
On Ritchie’s criteria for choosing a singer and voice from Young Guitar: “ First of all, the singer must be a good person and sing from the heart. Let’s just say I would like the vocalist to become my voice. But it seems to me that now there are not enough good singers. Many are recruiting groups of friends! Because of this, it is impossible to listen to many vocalists, because they are only required to be good friends. It was the same with The Beatles, but they were lucky in this (laughs)! When a person does not know how to sing, and friends tell him that he has a cool voice, this will not add charm and skill to his voice. Jeff Beck, one of my idols, once said: “All singers are masturbators!” Of course, he has the right to say so – he worked with Rod Stewart! After that, I would stop working with vocalists altogether. I agree with him. It is rare to find singers who really know how to sing. So I was lucky to find Doogie.”
On Doogie’s melody-writing process: “He made a big contribution to the creation of the album. This surprised me. Once I played one riff to him and asked: “Can you sing along to this?” Two days later, he brought a cassette tape containing eight different vocal melodies for this song. It amazed me. “How about this? So wait, I still have another option. ” Each option was interesting in its own way. It’s not often that you meet a person who has so many good ideas. Then I realized that he could be useful to us.”
. . . His original jazz and blues compositions blended with the Latin rhythm section of the “New Earth Rhythm Band”. They were regulars on the home-grown music scene at the Quiet Knight, appearing with the likes of Levon Helm and Jan Hammer. Mitch’s original composition was featured on “The Best of Chicago” LP in 1977.
Ritchie on the album title from Young Guitar, Japan – November 1995: “This is a phrase from the song “Black Masquerade”, these words mean that there is an inner stranger hidden in each of us. I believe that anyone who thinks they know themselves is not really aware of themselves. I know this from myself – sometimes I myself do not understand why I did some actions, it was as if there was another person inside me in those moments. Was it me, or was it some other person? It seems to me that it has something to do with the soul. Yin-Yang, good and evil, white and black… two elements, completely opposite to each other. People often ask themselves, “Why did I do this?” This all is “the stranger in each of us” who constantly accompanies us. It is a mysterious distorted world that we cannot control.”
When the interviewer said he would like to meet this stranger, Ritchie responds: “I meet with him all the time. But in my case it seems to me that this is a woman. I’m looking for my man (laughs).”
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Album Tracks:
Side One:
Wolf to the Moon (Blackmore, White, Night)
Cold Hearted Woman (Blackmore, White)
Hunting Humans (Insatiable) (Blackmore, White)
Stand and Fight (Blackmore, White)
Ariel (Blackmore, Night)
From Young Guitar Magazine: “I wrote this song at home, in my bar. I came up with the instrumental part, and my fiancee wrote the lyrics, she sang the chorus at the end. She has great musical ability and helped us a lot with the album. She wrote the lyrics for this song in five minutes! This is surrealism, a mermaid comes out of the sea and awakens the depths of the sea, stuff like that. As you know, I am not very good at poetry (laughs), I only listen to the texts of Bob Dylan, and the poetry of other poets does not interest me. Therefore, I respect people who can write good lyrics. At first we planned to use this song in our future medieval project. However, it sounds so good in hard rock processing, I thought it was perfect for this band and decided to include it on the album.”
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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.
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In Gillan’s book “Child in Time” Gillan describes Colin: “We were a goodish band with sufficient image and appeal that people (men and women) were even turning up at gigs looking like John, with hair shaved and stick-on beards. We had climbed from the bottom to the top and stayed with our label for over ten releases, most of which were successful.Colin was transformed from teh teraful day at Kingsway when we said goodbye to fusion rock and, on stage, the flashing bow-tie was a great sight to his sound,. Janick became and instant favourite with the fans, although the going of Bernie cropped up from time to time and seemed to still rankle a bit. Mick and I had known each other for so long. IT was mic that we should be having such a good time, most of the time.
Gillan goes on to talk about troubles brewing when rumors came out that Ian was in talks to reform Deep Purple. The botched 1982 attempt to reform did not end up happening.
Colin Towns came in number two that year just below Jon Lord as best keyboard player and they came in one above Rainbow at #6 as top band in Sounds magazine.
Over 700 credits on Discogs including Frank Zappa (Joe’s Garage), VAn Morrison, and many more.
In Kerrang! Issue 22 in August of 1982 it was stated that Gillan wanted to give up on outside producers after Double Trouble but Virgin Records persuaded him to use Glossop.
Did album covers for Jimmy Cliff, Glen Campbell, Linda Rondstadt, XTC, UB40.
1982 Magic – Gillan (L.P E.U Virgin Records 204 947)
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Album Tracks:
1982 Magic – Gillan (L.P E.U Virgin Records 204 947)
Side One:
What’s the Matter (Gillan, McCoy, Gers)
Bluesy Blue Sea (Gillan, Gers)
Caught in a Trap (Gillan, Towns)
Long Gone (Gillan, Towns)
Driving Me Wild (Gillan, Towns)
1982 Magic – Gillan (L.P E.U Virgin Records 204 947)
Side Two:
Demon Driver (Gillan, Towns)
Living a Lie (Gillan, Towns)
You’re So Right (Gillan, McCoy)
Living for the City (Wonder)
Released as a single before the album in reaching #55 in September, the month the album was released.
Demon Drive (reprise) (Gillan, Towns)
1982 Magic – Gillan (L.P E.U Virgin Records 204 947)
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Ruinous Inadequacies
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The “Caught in a Grave” Leaky Mausoleum
Stephen Sommerville The Concerto 1999 Fanatic
Hank the Tank
Private Eyes
Ashen Lionel
Blackmore’s Tights
John Miceli
1982 Magic – Gillan (L.P E.U Virgin Records 204 947)
Bustin’ Out The Spreadsheet
Reception and Charts:
They were playing a lot of shows through the autumn. One show saw them in Bangkok where Gillan got the inspiration for the song Mitzee Dupree.
Gossip began to run around about the disbanding of Gillan. Ian says that “harsh words were exchanged.” Gillan had been advised by doctors to rest his voice.
From Stargazer issue 26 November 1982
As we go to press Ian has just confirmed that the current UK tour will be his last for some time. He has had a throat problem diagnosed which needs a complete rest otherwise his voice could be permanently affected. In fact he was advised to cancel the UK tour but decided not to. The band will take a break for around a year after which he’ll see how things are.
I had a brief chat with lan after the Gillan show in Sheffield, and he agreed to write out a little note to explain the current situation himself (reproduced here).
Gillan’s Note:
Hello All,
Got a bit of a sore throat – it’ll take around 6-9 months to repair – so see you all late in ‘83. In the meantime I’ll be thinking of y’all. Think positive and send me some good vibes – I need it.
Love – peace + thanks
Ian Gillan
Gillan states that talks to reform Deep Purple broke down because Jon Lord was loyal to David Coverdale. Ian Paice was in between gigs. But Roger and Ritchie were tied up with Rainbow.
Previous stories tell the story of Gillan showing up very drunk to talks and Roger and Ritchie saying they didn’t want to deal with it.
The reunion would, of course, happen, but not before a brief stint with Black Sabbath.
Reviews:
From Stargazer issue 26 November 1982
“I’ve got the new Gillan album and it’s all left me pretty fed up. The first song – ‘What’s The Matter’ works well as a set opener. ‘Bluesy Blue Sea’ has grown on me so that it’s OK rather than rubbish but it’ll be a pain live. ‘Caught In A Trap’ has a great start from lan and Colin. lan’s lyrics are head and shoulders above anyone else’s in this field. Colin’s solo too is exciting and different. ‘Driving Me Wild’ starts like a Foreigner song and seems pretty uninspired for a Gillan/Towns composition, until they reach the “what can you do” bit where things get a bit meatier with another good keyboard solo. The lyrics to ‘Demon Driver’ put me off before I’d even heard it. A good heavy beginning leads into some typical Gillan style music – the ending I can’t stand. ‘Living A Lie’ confuses me, sort of an up tempo ‘When A Blind Man Cries’ but I really miss lan’s soft vocals – which would have suited this. Overall maybe I expected too much with all those credits for Gillan/Towns tracks.” Mike Bumett.
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