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Welcome to the follow-up roundtable discussion on the HaskinCast podcast with my friends Juli Gort Finn and John Mottola and my new friend Derek Archambault. We dig into something I don’t know much about – the Alternative / Grunge music scene of the 1990’s. We talked about how it began and even curated a playlist for John and I. How did we react to the selections? How did Grunge end? Find out on this milestone episode!
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Paul – NEW PATRON ALERT!!
No message as such – just a DP related recollection which may amuse you. I was at one of the 1993 Brixton Academy gigs (sadly not the one with the video on YouTube) where Richie leapt over a monitor to play his Highway Star solo and fell over. Of course, Gillan laughed. I still wonder whether that was why Richie was so pissed off when they got to the next venue – the infamous Birmingham NEC gig recorded for Come Hell or High Water. Which, of course, pretty much then led to his departure.
Really enjoying your podcast – came across it because I was trying to find out more about MkIV – and ended up listening to your excellent episode about Come Taste The Band. I’m playing catch up now – listened to the Burn episode this morning… (oh, and I cheated and skipped the Mk1 episodes). Still got a long way to go.
Roger Glover writes: “”IG started strumming a Bo Diddley sort of rhythm and I joined in, then Paice weighed in with a very odd, unconventional drum pattern, and finally Steve and Jon started playing, turning the jam into a throbbing, bubbling rhythm. What appeared was a stunning idea which we immediately put down on the 24 track. The sound as we listened to the take in the control room, was truly uplifting, rough as it was. Darren (Schneider) did a great job today.”
Ian Paice: “I was trying to amalgamate two different styles of drumming; to get a funky, rock ‘n roll back beat thing and incorporate a 1940s swing thing – trying to find a way of getting the two feels to sit together. The only time we did it I’d just about got it, it was a jam and we kept it, we couldn’t get it any better. The whole concept of doing those two things was so new to me it was very difficult to play, now it’s a doddle. The hard thing is coming up with it and then, once you’ve come up with it, to teach your body what your brain is telling you to do.”
A Castle Full of Rascals
Written on day 3 in the studio (January 18th).
Recorded on June 15th.
It was originally called “Spooky” while being written.
Steve Morse: “Actually, in a way, this was the first thing we wrote together; the very first time I ever played with the band, right after we came off stage in Mexico City in 1994 – we had just played Speed King and I liked the rock *n’ roll way it worked with the vocal line defining the time – I started playing this idea, lan Gillan started singing along and it sounded promising. That’s when I got my first glimpse of the possibilities of writing with this band. Later in the studio it grew some more. Roger game up with the middle riff and Ian sang a part over it that I wouldn’t have expected, and so it evolved.”
Jon Lord’s journal: “A number which lan (G) is calling “Spooky Wooky” has appeared today. Everyone for a beer at The Thirsty Whale after rehearsals.”
Steve Morse: “I don’t know what it’s about, it seems political and yet it doesn’t come down on any side, it’s just a description of human nature. It’s a great title. I’m the only guy in the band that heard it two beats different to the way it’s turned out, I guess I’ve seen life from both sides now, ha ha.”
A Touch Away
Song began same day as “Soon Forgotten” on February 14th.
Originally it was titled “Albert” until being changed to “A Touch Away.”
Song title wasn’t officially changed until August 16th.
Hey Cisco
Written on day 2 (January 17th) in the studio.
Ian Paice: “I was thinking that Fireball had such a nice feel, I wanted to try and do something very similar to it but instead of having it broken up by regular little rock and roll patterns I would just do the double bass drum thing all the way through it and try and make that the centrepoint of the rhythmic pulse. Keeping it up and not stopping was the tricky bit. I was just practicing getting the bass drums going and trying to play something within that when Steve joined in, then everyone else jumped onto the band wagon, and there went my practice session!”
Jon Lord’s Journal: “Today we worked on something which is at the moment going by the unquestionably accurate name of ‘Very Fast?. lan (G) thinks it could end up being a story about The Cisco Kid.”
Somebody Stole My Guitar
Recorded on June 29th under the working title “Pulse.”
Name officially changed on August 23rd.
The Purpendicular Waltz
On February 9th the band began working on a jam in ¾ which was recorded.
On February 10th the ¾ idea became “The Purpendicular Waltz.”
Finally recorded on June 7th.
As previously covered Ian Paice had been a fan of using this title for some time.
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Bustin’ Out The Spreadsheet
Reception and Charts:
They are said to have come out of the studio with over 20 songs.
In an update posted online Roger Glover says that they rarely come up with more material than needed for an album.
Release on February 5, 1996 in the UK.
The mixing of the album was completed on October 15th, 1995. In his final update Roger Glover writes: “I’ve rarely been this satisfied with an album (and I’m not easily pleased).”
During the mastering phase (attended by Roger Glover and Bruce Payne) two songs had to be dropped due to time constraints.
It was released later in the month in various countries and didn’t reach the US until April.
The album did not chart in the US but peaked at #58 in the UK. Highest chart position was #3 in Sweden.
US and Japanese version had bonus track “Don’t Hold Your Breath.”
In a couple of interviews following the release of Purpendicular Steve Morse admitted to have influenced Jon on his current organ sound:
I pushed Jon Lord to play the organ with more distortion the way he used to. We recorded it that way. I brought one of my guitar effects units and put it into his organ rig. That’s what he still uses now. I programmed some effects for him. ‘Cascades’, for example, has a heavy organ and guitar lines like in the old days when Ritchie and Jon played a lot of triplet lines together.
Ian Gillan: “ ‘The Stallion’ is written. IG: “Some songs have working titles until final lyrics are written but ‘The Stallion’ was always ‘The Stallion’, I don’t know why, it just felt right. Steve and Jon were playing the chord sequence that ended up being the intro and I started singing words that just floated into my head..I’m a little odd like that”
This song is one of a handful of “white whales” that has never seemed to have surfaced but it is said it was recorded during the Purpendicular sessions.
Assumption is that “Don’t Hold Your Breath” and “The Stallion” would have been the two songs dropped during the mastering phase.
Darker Than Blue Issue 48 January / February 1996
Reviews:
Darker Than Blue Issue 48 January / February 1996
I should’ve known better, I should’ve trusted them – but it’s not always easy. But whatever mistakes they may have made in the recent past, this new album isn’t one of them. Deep Purple have delivered a very grown-up album and in many ways – for me at any rate – pushed rock as practiced by older bands in a new direction. Not that anyone else could follow this, it’s a direction very much created by the personalities involved and so hard to actually pin down that I’m not sure others could take it on if they wanted to. For this reason it’s also a very hard album to actually review – so much is in the feel of it all. But what the hell, nothing ventured…
So we begin in some roadside neon cactus lit cafe listening to “Ted The Mechanic’s” tale of life, retold over a Glover / Paice lick, anchoring it all firmly to the floor. “Ready An’ Willing” I cried when I first heard it, but the similarities seemed to diminish with each subsequent play and what the hell, it just sounds so good. Morse chucks in a spaceward solo (he’s already opened the proceedings by splattering his hands across the frets) and then climbs down for a quieter organ rhythm passage topped by laid-back vocal harmonies. Vavavoom indeed. “Soon Forgotten” also had a brief live outing early in ’95. Chunks of heavy guitar, discordant Hammond, with Ian Gillan rising and falling with a sound that reminds me of his work on “Superstar”. Jon adds to the strange ambience with one of his weirdest solos ever and closes the proceedings by steaming the organ to a close like some ancient locomotive drawing up at platform twelve. Then cut.
I feared “Sometimes I Feel Like Screaming” might lose its way as it starts just like a Morse solo track might. Fear not, with a band to fire off, he’s soon getting into forward gear and the band are quickly at full pelt – organs thrashing, bass pounding – on a track that gives proper meaning to the word dynamics. The contrast between the soaring guitar breaks and the heavy section adds to the interest and as it all crashes forward Ian gets to add some truly sonic screams before a lengthy closing passage with Morse again left to doodle away. “Rosa’s Cantina” – The man tickling the ivories OWNS this track and instead of giving way to others, proceeds to lavish “Hush” style phrases throughout. A thundering bass joins him, Paicey kicks in and I’m in heaven. Morse contributes enough clipped guitar riffs to make for a cauldron of sound and Ian Gillan sways over the lot. Paicey swings into a slightly military beat for “Hey Cisco” before leading off a head melting jazz-rock riff that Billy Cobham would’ve been proud of. But whereas for many jazz rockers that would’ve been it, here things are properly Purpleyfied and the amalgam of styles is fascinating.
The real point of the album is that I’m never stood waiting for the solos. Nobody is dominating anything – it’s just a sheer group effort. When they do throw in a break, it never seems to dominate – just kind of feels as if it belongs there. Morse’s influences are fairly fundamental musically but again it feels natural. How much his arrival has inspired the others and therefore contributed to this new freedom is of course something only the band can say but they don’t half sound good on it. The nearest feeling I can get to describe it is “Fireball”. It’s not another “Fireball” – but what it does share with that record is a new way of looking at rock. Nobody had ever thought of doing what Purple did on that album and the band themselves didn’t realise what they’d achieved on it until it was too late. To me what “Purpendicular” at its best shares with it is that sense of innovation. Of taking the tried and trusted, mixing it with all sorts of musical ideas and influences and coming up with something different. Yes they’ve mellowed and it doesn’t often bite quite as hard and the guitar players long gone and “Fireball” is my desert island disc choice but, even for it to come to mind as I think about this new album is something of a surprise – albeit a very pleasant one.
Scream Magazine, issue 28, February/March 1996
Submitted by Øyvind Fjeldbu.
I saw your request on Facebook where you asked for contemporary reviews of Purpendicular, and I actually found one from the Norwegian hard rock/metal magazine Scream Magazine, issue 28, February/March 1996. The reviews are attached here. Because they are in Norwegian, I have translated them for you below. I just want to say that the staff in Scream Magazine used to choose certain albums that everyone reviewed. Purpendicular was one of these albums, and that’s why there are 8 short reviews for this album, the first one being the main review. 6 (VI) was the highest possible score for an album, 1 (I) the lowest. Here’s the translation (sorry if my English isn’t completely correct all the time):
V: I was incredibly excited about what Deep Purple could do without Ritchie Blackmore, but I was positively surprised. Many people will probably hate this album because they are prejudiced, but my words are these: Give this album a chance. Steve Morse does a fine job as Ritchie’s replacement. The man is probably a more typical hard rock guitar player than Ritchie, but that does not matter. Just listen to the beautiful “Sometimes I Feel Like Screaming”. The album is characterized by Steve’s more hard rock/heavy metal-oriented guitar playing, but accompanied by Ian Gillan’s voice and Jon Lord’s always incredible organ playing, this still sounds like Deep Purple. This is an album that should satisfy Purple fans unless they are completely addicted to Ritchie. I believe that very few who still appreciate good old hard rock will question Deep Purple’s future without Blackmore. (Jan Dahle – reviewer)
1: The dinosaurs died millions of years ago. Deep Purple vanished with them. I don’t understand the point of hyping an album like this in 1996. (Anders Oddsberg – reviewer)
5: It did not matter at all that Ritchie Blackmore went to his Rainbow. With Steve Morse on guitar Deep Purple deliver their most convincing album in many years. This is really a great CD! (Bjørn Nørsterud – reviewer)
2: I have never been enthusiastic for any release from Deep Purple. I do not lose my control over this album either. Deep Purple will probably never be my thing. (Kenneth Hjorth – reviewer)
2: If you want to buy a Deep Purple record, then watch out so it does not say “Purpendicular” on the cover. Walk to the nice price shelf where the good old classic albums are. (Sem Hadland – reviewer)
3: I have not really decided if I like this album or not. Sometimes it sounds good, but overall it sounds a bit weak. It does not rock as much as my Purple favourites. (Frode Øien – reviewer)
3: Purple now without Blackmore. It is a scandal that they are still active. With every album they release they lose more and more of their glory. There are, however, some playful moments on “Purpendicular”, and it sounds like the boys are having fun. (Håkon Moslet – reviewer)
5: Now I am going to “curse in church” and say that Deep Purple really needed a new guitar player. A lot of goodies/great stuff for guitar freaks here. And Gillan is more spirited/lively. I have to admit that I don’t know the old classics that well, but this one sounds good. (Asgeir Mickelson – reviewer).
A language thing: “curse in church” is a Norwegian expression and I do not know if you have the same one in the States. I guess it is self-explanatory, but it is synonymous to “blasphemous”.
Merch, Etc.
Jeff Breis sends over articles, reviews, and the Dick Pimple Turtle Island EP!
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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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After a run of three secret gigs in Mexico and Texas Morse was officially given the job as Deep Purple’s new guitarist in late 1994.
The band decided to set up in Greg Rike Studios in Florida. The band was very comfortable there. They’d recorded Slaves and MAsters there and it was close to Steve Morse’s home.
At the end of day 1 (January 16th, 1995) they had their first song started. It was tentatively titled “Vavoom” but was not the song that became “Vavoom: Ted The Mechanic.”
According to Jon Lord’s diary at the time: “We worked on a number which appears for the moment to be called ‘Vavoom”, then we all had dinner together in a fairly awful Mexican restaurant which had fairly good Margueritas. Dinner TOGETHER! The WHOLE BAND! Yes indeed.
Ian Gillan: “The word Purpendicular had been around for a few years, and was actually an album title I suggested at the time of The Battle Rages On, but it didn’t seem to fit the occasion then. We knew we wanted to call the song a something-or-other Waltz and Roger and I were sitting in the studio throwing suggestions at each other, mostly idiotic ones, when the word Purpendicular was uttered and we both leapt up and just knew it was right. It felt good.”
On July 21st Bruce Payne and a PR consultant, Peter Bird Meet. Peter insists that the name for the project has to be decided immediately. Ian Gillan suggests Purpendicular and it’s decided upon being the only suggestion.
On August 26th Bruce Payne and Peter Bird reconvene in Orlando to discuss the album’s artwork. Peter shows his idea for the broken match and everyone approves it.
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Album Tracks:
All songs written and performed by Deep Purple.
Vavoom: Ted the Mechanic
This song had gotten out early as they played it live. Bootlegs of the recording from Korea and Florida were often mistitled “Ken the Mechanic.”
This song was written early on on January 26th . It was initially called “Ted The Mechanic” but later had “Vavoom” added to the title. More on that later.
Steve Morse: “One of the best things about writing with this band is how everyone nurtures an idea, instead of just rejecting it. I felt this right from the start, it was great. You know, when you first play an idea you don’t know how people will react, but when everyone starts jamming along and Roger turns on his DAT recorder and especially when lan Gillan starts dancing and singing to himself, you know it could definitely be a song.”
Loosen My Strings
Written on the fourth day in the studio (January 19th).
Recorded on June 16th.
From Roger Glover’s Journal: “So to work and yet another magic day happened. I was tuning up and started doodling on the bass, Steve joined in and made it sound really good. Everyone joined in and it wasn’t long before the semblance of a structure emerged. Within an hour it had turned into a very promising song. I was amazed by the ability of Steve to enhance what he heard. The atmosphere around the writing sessions is perfect; relaxed, calm, exciting, happy. The music is flowing from all of us like it hasn’t done since Machine head, though to me is more reminiscent of Hanwell in ’69. Steve is always deferential and modest, but it really feels like he is totally assimilated into the band. We ended the day feeling exhilarated.”
One of two ideas that began on February 14th. The other being “A Touch Away.”
Steve Morse: “| really got into that demonic, heavy feel, that huge juggernaut effect. lan Gillan started playing this idea on an acoustic and no one understood it at first but eventually it worked. It was the kind of thing that invited dramatic chord changes, to break up the E to F pattern, and it was fun finding out how many unrelated majors could be introduced.”
Ian Paice: “Couldn’t understand it at all total confusion for me – not a great deal of love either at first but lan persisted and I eventually gave in and gave it a shot, and I’m very pleased I did.
Jon Lord. “It took me a while to understand the idea but once ‘d settled into an organ riff over the F diminished 5th thing, it clicked. When Steve started what can only be described as a churning guitar figure, a smiling Roger started exploring the bass possibilities, Paicie found one of his indefinable feels’, and IG started dancing and singing, it all fell into place.
On February 17th the lyrics were written.
Ian Gillan: “It’s great working with Rog but there are some songs on this album that I really felt needed to be expressed in a very personal way. Sometimes you just have to do that, it can only be done without compromise. This was one of those.”
Soon Forgotten was the first song mixed for the album on September 17th.
Sometimes I Feel Like Screaming
On June 1st a jam occurs where they start to map out a new song. By the end of the day they put down the first recording mostly so they can remember the arrangement The working title of the song is “Chicken.” The story goes that two people had asked two questions at the same time: 1.) What is the working title of the song? And 2.) someone asking about dinner options.
The title was changed to “’Missing You” just so the title wouldn’t be quite as ridiculous. Later it would be changed to the final title of “Sometimes I Feel Like Screaming.
Title wouldn’t be officially changed to the album title until August 18th.
Steve Morse: “Some ideas come more easily than others, this one came easy. I was trying to play something where every note was an artificial harmonic, I had a lot of distortion on the amplifier so by necessity I was picking out a melody that was sparse – when Jon started playing it all made sense.”
The next day the demo jam they recorded is kept as the master recording after Steve says, “Wouldn’t it be neat if the first song we record for the album is a first take?”
Ian Gillan: “It was one of those sentimental greeting cards, there was one sitting right in front of me, and all it said was missing you’ but the words seemed to sum up the mood of the song, at least the first part of it. I couldn’t get it out of my head. Roger and I had a memorable conversation a while back and we were talking about writing lyrics; we agreed that the only way to deliver what might possibly be seen a corny line is to really mean it – why should certain things be not acceptable just because they sound corny?”
Roger’s journal: “Struggled with the theme for a while, then suddenly it came to us at exactly the same instant- one of those indefinable moments when we seem to be thinking with one mind. Sometimes I Feel Like Screaming. We were both uplifted by that.”
In the Purpendicular Yearbook it’s written on October 3rd: “3rd The final mix of ‘Sometimes I Feel Like Screaming’. The OJ Simpson verdict is reached. No coincidence.”
Cascades: I’m Not Your Lover
Written on February 6th.
Recorded on June 19th.
In a review on The Highway Star Trond J. Strøm writes:
“Cascades: I’m Not My Lover” is the first typical Deep Purple fast paced rocker on this album. Even containing a organ/guitar twin solo a la “Gypsy’s Kiss/Dead or Alive”, the lyrics make me wonder if it’s the sequel to “Smooth Dancer”. * If it is, it’s surely not hateful, just resigned. Powerful stuff musically.
Roger Glover responds: “Nothing is about RB, not that it didn’t cross our minds that that it precisely what people would think!”
Jon Lord Writes: “..something we’re calling ‘Cascades’, which has a nice bit of arpeggiated tomfoolery between Steve and me. Sort of ‘Highway Star’ tempo.”
Steve Morse: “Years ago I had a reel to reel tape player and I don’t know which Deep Purple album I was listening to but they were the first band I ever heard do tunes that had organ and guitar playing triplets together, and playing them faster than any other rock band at that time. To me it’s a characteristic of the band and I wanted to continue that tradition without copying the past. It’s a little hard to play but a neat way to push the song along.”
SM: “| love some of the lyrics, especially the line, ‘You really must be going now, my god is that the time?’
The Aviator
An early title from bootleg recordings refer to this one as “The Highland” which was the working title for this song.
It was written on January 30th.
Recorded on June 26th where it is still being called by its working title.
Steve Morse: “I didn’t exactly make it up on the spur of the moment, it was a tune I’d had hanging around for a few years. You know those movies where each character has its own theme tune, like Peter and the Wolf? Well this was the tune that I used to play when my son Kevin was crawling around on the floor.
He’d laugh and respond to it so it became his theme. just played it one day in the studio and everyone liked it. I had no idea what the band wanted of me when it came to writing and I told them to let me know if they didn’t like any of my ideas, or if they weren’t right for the band, but I was amazed to see that they really wanted to be different and they just kept on encouraging me.”
Ian Paice:IP: “I love that. I loved it from the first time that I heard it even though at first I didn’t think it was anything we could use. It didn’t sound like Deep Purple to me. Now we’ve done it however, I’m really happy with it. It’s just got a mind and a groove of its own and regardless of whether anybody likes it or not it’s a great four of five minutes of music with a wonderful build at the end.”
On July 11th Steve Morse transferred some acoustic guitar parts he recorded at his home studio onto the master tape.
It’s mentioned that Roger Glover and Ian Paice had a drum loop idea they worked on to put over the top of the track in mid July.
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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 second of a 4 part series because that’s just what happens when John comes to visit.
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In 1983 The Dixie Dregs (who had renamed themselves The Dregs) dissolved and Morse formed a new band called Morse Code. They later changed their name to The Steve Morse Band.
Shortly after forming Morse also went on a word tour as a solo acoustic act opening for Al DiMeola, John McLaughlin, and Paco DeLucia.
He also had a project called Biff Baby’s All-Stars which was put together specifically to promote Music Man guitars. They would perform shows from 1983 through at least 1991. It was a loose group of top guitar players including Steve Morse, Eddie Van Halen, Steve Lukather, and Albert Lee.
All of these combined projects are what really started to earn Steve some serious name recognition among guitar players and he soon started coming in as a top pick on many reader polls in various magazines.
Steve Morse would win the Best Guitarist in Guitar Player’s reader poll for five consecutive years.
It was after this time that it’s said Steve Morse became disillusioned with the music business and became a commercial airline pilot. This gig lasted from late 1987 through early 1988.
Despite being out of the business he still had time for sessions and some live performances with other acts.
In 1988 The Dixie Dregs reformed with their original lineup.
In 1989 Morse formed a new lineup of the Steve Morse Band this time featuring Dave La Rue on bass who would go on to join Dixie Dreg from 1989 through 2017 before original bassist Andy West would rejoin.
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This week John Mottola from the legendary Deep Purple Podcat joins us and rolls a Joe Perry cut from 1977’s Draw The Line, this is “Bright Light Fright”!
