Episode #255 – Glenn Hughes – From Now On… (Part 2)

This week’s episode (this half of the album) is BANNED on YouTube this week.

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Album Tracks:

  1. You Were Always There
  2. If You Don’t Want Me To (Allyson’s Song)
  3. Devil in You
  4. Homeland
    • Written-By – Glenn Hughes, Mel Galley
    • https://ramzine.co.uk/news/trapeze-the-story-so-far/
    • When this version of the band underwent one of their intermittent reformations in the 90s, they also began to lay down tracks. Strident hard rocker ‘Breakdown‘ on Lost Tapes Vol 1 comes from that latter period, the song sounding immensely fresh and contemporary even today. “This is from what we might call the second coming period, around ’93. The three-piece recorded it at Garage Studios, with Glenn singing, where they also recorded the original version of Homeland.” The latter a rare Hughes-Galley co-write surfacing on Welcome To The Real World: Live At The Borderline a live album released in ’93 documenting the previous year’s tour, then Hughes’ own solo album  From Now On… the following year.
  5. From Now On…
  6. Burn
  7. You Keep On Moving

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Bustin’ Out The Spreadsheet

Reception and Charts:

  • Originally released in Sweden on January 29th, 1994 by Empire Records (ERCD-1001).
  • Later the same year Zero Corporation released it in Japan (XRCN-1080) on April 23, 1994.
  • In 1996 there was also a USA release on Explorer Records (EXC2 44810).
  • Wikipedia lists 29 January 1994 (Sweden)[1] March 1994 (International)[2]
  • Recorded: July-September 1993[3] November 1993 (bonus tracks)[4]


  • http://www.deep-purple.net/DPASmags/dtb46.htm#5
  • Glenn and his band have been gigging throughout 1993 in Scandinavia, having decided to set up base there to record his new album. He went into the studios on August 16th with The King Siguurd Band – the guys he’s been working with since January – and 12 songs were already written. They had three weeks of rehearsing before the session, which lasted a month. Vocals were done separately, and they booked a show in Skara (about 80 miles from Gothenburg), where the studio is, for Sept.11th. This was to be taped, with the idea of adding some bonus tracks to the Japanese version of the CD when it comes out. In the end the live recordings didn’t turn out too well, so they went back to the idea of taping new studio versions, and this they did in Stockholm on November 17th. “Burn” and “You Keep On Moving” were the chosen songs. Blackmore declined to appear – he’d expressed some interest in doing the solos when asked about it earlier in the year. Glenn had hoped to get Ian Gillan in to guest on a couple of tracks, but the timing was out. Glenn’s band has a new drummer, Ian HaugIand,another Europe member, making three in all. Ian joined in time to play on the Stockholm session.
  • http://www.deep-purple.net/DPASmags/dtb47.htm#6
From Now On – Album Review
GLENN HUGHES : FROM NOW ON : UK : Roadrunner RR 09007: 1994 CD
The Japanese version (Xero XRCN 1080) includes “Burn” and “You Keep On Moving”; the UK version just has “Burn”, while the original Swedish issue has neither!”I’m a little perplexed and slightly confused as to the mish-mash of styles, suggesting that the tracks were written over a long period of time. I expected more of a strident hard-hitting funk-metal album, something like Living Colour or Chilli Peppers, and I’m surprised he played no bass on the album. As with “Blues” last year, the vocals stand out as the highlight of the album. The really important thing is that Glenn is back and singing well. ‘ Walkin’ On Water” is my favourite. Funk-metal as only GH can do it. A basic groove, with deft touches of rock guitar and great bass variations.” Roy DaviesThe album does cover a wide range of styles, and is much better than the LA Blues set. Here we go from Purple stompers like “Pickin’ Up The Pieces” (the keyboards especially), to the bluesier based Brit-rock as on “Lay My Body Down”. That said, little here really begins to break new ground, but perhaps that wasn’t the intention – it’s more of a reaffirmation of Glenn’s return to the fray. “Walkin’ On The Water” and “The Liar” both hold out some promise. The former is interesting both lyrically and in its musical structure, lots of varying time changes (though these perhaps show up certain weaknesses in the drum dept), while the sampled keyboards on the latter are a bit out of the ordinary, and the ending where Glenn is working with the guitarist might have been worth making rather more of. As someone else said of the new take of “Burn” – “Why fix something that ain’t broken”!
  • https://www.glennhughes.com/ctc/issues/ctc_002.pdf
  • Glenn Hughes has added to his already prodigious output of the last several years with another new disc, “Burning Japan Live.” Proclaiming himself substance and alcohol free since 1991, Glenn has never looked, or more importantly, sounded better. Although he has said in numerous recent interviews that his Deep Purple days were not necessarily the best days of his life, seven of the fifteen tracks here are indeed Deep Purple songs from the MK III and IV era. There are also four tracks from his studio release of earlier this year, “From Now On…,” two from the 1982 Hughes/Thrall album, “Coast To Coast” from his Trapeze period, and the newly written “Still In Love With You.” And despite quotes from Glenn for years that he wants to break away from the hard rock that he’s done for most of his career and move toward a funk and soul direction, this disc rocks as hard as any he has ever done. In true Deep Purple MK III and IV tradition, the opening number of the show is the classic “Burn.” With an appropriate introduction as “The Voice of Rock,” Glenn and band launch into a very spirited and uptempo version of this 20 year-old tune. Because Glenn does all the lead vocals during the show, I feared that the impact of his original entrance into the song would be lost. This was not the case though, as he let the loud enthusiastic crowd sing the chorus intro, “All I heeeeeeeeear!” Fist-pumping stuff! Guitarists Thomas Larsson and Eric Bojfeldt don’t alter the song’s basic riff, but do interpret Blackmore’s solo their own way, resulting in a sound somewhere between Ritchie himself and Yngwie Malmsteen, although it would be unfair and futile to compare these guys to either of those legends. Drummer Ian Haugland, with a driving open hi-hat beat, and keyboard man Mic Michaeli, with his Hammond B-3, both sound close enough to the original to be passable. Hearing Glenn performing all the vocals in this song, his fans no longer have to dream about what Deep Purple would have sounded like had Ian Paice and Jon Lord got their wish of having Hughes as the lead vocalist of Deep Purple [note: Ian and Jon were outvoted by Ritchie, who wanted two vocalists]. Like all his previous live work, and even more so now without the encumbrance of a bass guitar hanging from his neck, Hughes displays his immense vocal talents at every opportunity. In this song alone, I stopped counting at ten upper-register full-throated screams, and this count seemingly increased as the show went on. Hughes fans who live for the screaming-at-the-top-of-his-lungs-at-the-upper-end-of-his-formidable-range will think that this is the finest effort of his storied career. Conversely, those who think a subtler singing style is a preferable philosophy should steer clear of this disc and head straight for the Michael Bolton/Barry Manilow section of the record store. Next up is “The Liar,” a song from his latest album that sounds somewhat like Led Zep’s “Immigrant Song” with its frenetic throbbing riff and the banshee wail background vocals. This version is pretty faithful to the studio recording, although anyone familiar with Glenn’s performances knows that his live versions always include added vocal pyrotechnics. Glenn primes the audience for the next tune by saying, “We’re gonna get funky now,” and the band rips into the muscular riff of “Muscle And Blood” from the Hughes/Thrall album. This song is probably the heaviest track from that album, and the dual guitars here keep it that way with a chunky sound much like that of Gary Moore back in his metal period. Hughes ends the tune with a short a capella break, “I’m a man, I’m a man, I’m a man made of muscle and bloooood!” The next three tracks, “Lay My Body Down,” “From Now On…,” and “Into The Void,” are all from the “From Now On…” album, and the band plays them all very close to the originals. Again, the difference between the live and studio interpretations of these songs is mainly the variety of vocal stylings added by Glenn in the concert setting. It’s really a pleasure to hear Glenn reinterpret these songs live if you are familiar with the studio recordings, because of all the subtle variations he is able to do on the original. He seemingly has an infinite assortment of vocal shades, and often changes the texture of the original. The one new song during the set, “Still In Love With You,” is introduced by Glenn as, “I was fooling around with something today at soundcheck – figured you might want to hear it.” It is also the only song where he plays an instrument – surprisingly keyboards! The tune is performed by Glenn alone, and is a nice ballad-type thing, although it’s not really a song on its own yet, but more of an intro to the next tune, “Coast To Coast.” For those who get into such things, Glenn really loosens up the vocal chords in this intro, and hits his highest notes of the show – I could imagine all the dogs in my neighborhood perking up their ears while I was playing it. 🙂 “Coast To Coast” is perhaps Glenn’s best-ever writing achievement – a truly beautiful song. No one can touch him when he’s singing this one, and he doesn’t disappoint in this show. Nothing short of an Yngwie guitar solo could ruin this song, yet that’s exactly what the guitarist tried to do! The original solo laid down by Trapeze guitarist Mel Galley was a simple, yet elegant solo that actually enhanced the song with its melody. The live solo here is an unnecessary speed display that doesn’t even follow the melody of the song. Fortunately, the solo is short. Following “Coast To Coast” is a block of four Deep Purple MK IV tunes. After a dedication to Tommy Bolin, Glenn delivers a soaring “This Time Around” to an appreciative crowd. Michaeli has Lord’s keyboard work down on this song. Like on the “Come Taste The Band” album, the song segues into the instrumental “Owed To ‘G’.” Again, like in “Coast To Coast,” a hyper-kinetic guitar solo almost ruins things. Some things are meant to be left as is. Aside from the solo, the song is performed crisply, and the band acquits themselves well. “Gettin’ Tighter” is next, and I’m not sure what to make of this version. The rhythm guitar has been funkified to the point that it would work on an Isley Brothers record, yet the opening guitar solo is in the neoclassical vein. Hmmm? The song does settle into a cool wah-wah guitar funk piece the rest of the way. Can’t blame them for trying a new approach, but gun to my head, I’d have to say that I prefer the original Tommy Bolin version. “You Keep On Moving” is a masterpiece however. I thought I would miss the Coverdale/Hughes harmonies here, but Glenn survives on his own just fine. The crowd gets in the act during the reprise of the verse after a “Sing it with me” urging from Glenn, and responds impressively with a loud “You Keep On Moving, Far Away, Far Away.” The last three tracks are two MK III tunes sandwiched around another Hughes/Thrall number. “Lady Double Dealer” – nice job. The Hughes/Thrall tune, “I Got Your Number” really showed how enthusiastic and knowledgeable about Glenn’s music the audience was. A loud cheer greeted the opening notes, and this time they didn’t need any urging to complete the opening line – [Glenn] “How ya been?” [crowd] “Alright!” This crowd knew and loved the song! “Stormbringer” closes out the show – pretty much the same as the original, and the guitar solo captures the mood of Ritchie’s excellent solo quite nicely. So what’s left to say? Well, before the obvious comparisons to Deep Purple, it should be made clear that this is not a permanent band as Deep Purple was. The concerts, as well as the albums, are promoted and marketed as “Glenn Hughes” – not “The Glenn Hughes Band,” or even “Glenn Hughes and band.” It’s just Glenn Hughes. The main job of the band here is to not get in Glenn’s way. I don’t mean to disparage the band in any way, as they are very competent and talented professionals who do a fine job supporting Glenn. It’s just that this music will not go down in history as one of the all-time performances. That’s the way it is. As far as showcased hard rock singers go, the list of singers with with Glenn’s versatility is very small or non-existent. His voice has an appealing pure quality to it, his range is legendary, and his sense of pitch is right on. The endless arsenal of tonal variations is what keeps his work interesting – he is able to improvise at will, and perhaps never will perform a piece the same way twice. This unpredictability is what keeps the man intriguing. The bottom line is that this album is a definite must-have for Glenn’s fans, hard rock vocal fans, and even Deep Purple fans, even if the music isn’t quite up to their lofty standards. Glenn has given a monstrous performance here, with the vocals of every song exceeding those of the original renderings. Maybe in the future he will join another supergroup like he had in Deep Purple, but for now, this is his best vocal effort to date. I had a lot of fun reviewing it, and will be grooving to it for a long time to come. reviewed by Bill Jones for the newsgroup alt.music.deep-purple Sept 24, 1994

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