Month: March 2025

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Postcards From The Edge . . . OF CONNECTICUT!

• The Mystery of Ralphie from Nashville

Our Episode on Jon Lord’s Studio Album of “Gemini Suite”:

• Episode #112 – Jon Lord – Gemini Suite

Lead up to the Album:

• Performed and recorded on September 17, 1970 at 
• Jon Lord had been obsessed with performing rock music with an orchestra starting in the mid 60s in his previous band, The Artwoods.
• The Artwoods had almost used the New Jazz Orchestra on their 1966 debut album then later planned on working with a German conductor but neither materialized, the latter falling apart as The Artwoods broke up before it could happen.
• On “The Book of Taliesyn” Deep Purple brought in a string section for the song “Anthem.”
• In 1969 on their self-titled album Jon Lord got as close to his goal as he had yet gotten when they composed “April.”  But “April” was broken up into band and string quartet parts, the two were not combined.
• In June of 1969 it was decided that they would book The Royal Albert Hall that September and put on a Concerto with the Royal Philharmonic.  The only thing needed at that point was for Jon Lord to actually write it.
• As discussed on previous episodes the rest of the band were not 100% on board for this project but the performance went over very well.
• Lord: “It got us labelled as a group who’d jumped on the classical/rock bandwagon. It drew attention to us at a time when we needed it, but we weren’t expecting to be labelled as a group that plays with an orchestra.  It caused a rift in the group. What they were afraid of, and what I hadn’t seen was happening, was that people weren’t sure what we were all about. They got frightened we’d get railroaded into playing hundred of Concertos. They thought I didn’t want to play rock & roll.
• At this point Jon Lord was largely seen as the leader of Deep Purple and this caused some resentment.
• This almost lead to Lord leaving the band but in the end management smoothed things out and Lord assured the others he was committed to Deep Purple.
• After the Concerto they did have to fulfill one last Concerto date in America at The Hollywood Bowl where the score was lost.
• Lord was also commissioned to write another rock and orchestral collaboration.  The band reluctantly agreed but only if it was downplayed and that it would be the last time they would do any such thing.
• Lord got to work writing what would have a piece dedicated to each of the five members of Deep Purple, each focusing on the abilities of the individuals.
• The writing process happened very quickly while on tour with The Faces in America.
• They performed it once on September 17, 1970 with the Orchestra of the Light Music Society conducted by Malcolm Arnold.
• This time they were in a much better position than a year before with “Deep Purple In Rock” gaining traction and “Black Night” having some chart success.
• There was no publicity for this performance.  The show was reviewed by two music magazines and it aired on British and Danish Radio shortly after the performance.
• The feeling by Lord was that this had taken The Concerto to the next level, bridging the gap a little more seamlessly than he’d done the previous year.
• The recording was shelved and not released until 1993.  We’ll review that on a future episode.
• Jon Lord did say in interviews following the concert, that he would like to record it but for now was focused on Deep Purple.  Sometime was only six months later.
• In Ian Gillan’s Biography “Child in Time” he describes Blackmore as going “berzerk” when he saw promotional posters for the concert. Blackmore said that the Concerto had become a “millstone around their necks.”

Core Band:

• Bass – Roger Glover
• Composed By, Keyboards – Jon Lord
• Drums, Percussion – Ian Paice
• Lead Guitar – Ritchie Blackmore
• Lead Vocals – Ian Gillan

Additional Musicians:

• Conductor – Malcolm Arnold
• Orchestra – Orchestra Of The Light Music Society
  • Not a ton of credits on Discogs beyond this.
  • Worked with Percy Grainger and Sir Vivian Dunn

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The Venue:

• https://en.wikipedia.org/wiki/Royal_Festival_Hall

Setlist

1. The First Movement: Guitar, Organ
   • Simon Robinson:
     1. “Blackmore’s movement came first. According to people at the show, he turned his volume control down, bowed his head and got on with business. On one of the last live recordings to feature his Gibson [ES-]335, he proceeded to put together guitar passages of stunning beauty, echoed by quiet and sympathetic orchestral backing. With a natural ear for these things, Jon had recalled some of the quieter moments which actually accompanied the ending of “Child In Time” on stage and written these into the movement.”
     2. “Next up was Ian Gillan. Both he and Blackmore had been the most vocal in their opposition to this kind of work, yet like Blackmore, Gillan turned in a breathtaking performance. The story is that he was still writing the words backstage during the preceding performance (the Orchestra did Gershwin’s Rhapsody in Blue).”
     3. Vincent Budd writes that the first movement appears to pay homage to the opening of “Galliard of the Sons of the Morning” from “Job” by Vaughn Williams.
        1. Job: Scene VIII: Galliard of the Sons of Morning. Altar Dance and Heavenly Pavane
2. The Second Movement: Voice, Bass
   • Simon Robinson:
     1. “Ian Paice’s movement turned into something of a drum battle between the orchestra’s percussion players, and proved popular with the crowd. In contrast, Lord’s own solo lost its way in places, maybe through nerves, though elsewhere he was in fine form. Glover too adopted a rather casual approach for his break, though maybe his idea was to inject a little humour into the proceedings.
     2. Vincent Budd writes that this section brings in bits of “The Miraculous Mandarin” as well as some of the worlds of Virgil Williams. This podcast host is not familiar enough with either to say what they are.
     3. Vincent Budd compares the vocal movement to be reminiscent of Elgar’s “Sospiri for Strings.”
        1. Edward Elgar – Sospiri, for cello, harp and strings | Amsterdam Sinfonietta
3. Third Movement: Drums, Finale
   • Simon Robinson:
     1. Budd compares Ian’s drumming in this section to that of Gene Krupa.

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Bustin’ Out The Spreadsheet

Reception and Charts:

• The Jon Lord album would not be released until the following year.  See our episode on that album here: Episode #112 – Jon Lord – Gemini Suite
• There was no rush to release the recording. Jon Lord, when questioned about it, said that he would like to record it at some point. He would go on to do that with the studio version that was released the following year.

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• Deep Dive Podcast Network

Brendan Ashbrook – Logo Designer

For More Information:

• https://en.wikipedia.org/wiki/Gemini_Suite_Live
• https://www.discogs.com/release/3422812-Deep-Purple-And-The-Orchestra-Of-The-Light-Music-Society-Conducted-By-Malcolm-Arnold-Gemini-Suite-Li?srsltid=AfmBOoqLqrBMN4SsoIg-wZSGG1lCYH-ZDWKLxd7YN-KGNc4783tJx1hL
• https://en.wikipedia.org/wiki/Royal_Festival_Hall
• https://www.45worlds.com/cdalbum/cd/rpm114
• https://musicbrainz.org/release/da4e8402-4f70-4316-8e7c-f9bc978d4ced
• Liner notes to Gemini Suite re-release in 2008 by Simon Robinson.
• Jon Lord All Those Years Ago
• 2006 UK Release notes by Vincent Budd

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Postcards From The Edge . . . OF CONNECTICUT!

• A postcard mystery is brewing.

Lead up to the Album:

• Zzebra was formed from members of the bands If an Obisaba.
  • https://en.wikipedia.org/wiki/If_(band)
    • If was a progressive/jazz rock band in the late 60s, early 70s.
    • Dave Quincy and Terry Smith left the band after four albums to form Zzebra.
  • https://en.wikipedia.org/wiki/Osibisa
    • Abdul Loughty Lasisi Amao was a founding member of the band and on their first two albums.
    • Osibisa went on to do the soundtrack to the movie Superfly.
• Gus Yeadon was brought into the band but was not happy with the lineup. Producer Ken Burgess had a friend and partner named Tommy Eyre who had returned from the US where he was recording with Mark-Almond.  He went to see the band at the Marquee and ended up joining to complete the album.

Nate reached out to John McCoy to ask him about Zzebra and this album in particular. Here’s what he had to say:

Hi Nathan…..ZZEBRA! I loved that band and the musical freedom we had.

Myself and drummer Liam Genockey had been working together for a couple of years in folk rockers Curtiss Maldoon  with tours of USA support to Badfinger and an album “Maldoon” on Purple Records, followed by a stint with American folk legend Julie Felix touring UK,far east and after that became popular as  bass/drums session players in very varied musical genres. We shared an appreciation of many styles

One such session was for a low budget film score….also booked for the session was Dave Quincy and Terry Smith from a very successful jazz rock band IF and an African percussionist, /sax/ flute player Loughty Amao from the band Osibisa.

When the session work was finished we kept on jamming into the early hours, loving each others playing and we all agreed it was something special and different and soon ZZEBRA was born ,through Daves jazz connections we were soon playing London jazz  circuit even securing multiple shows at the prestigious Ronnie Scott’s club. Through Loughty’s success with Osibisa we crossed over into the rock circuit playing The Marquee and touring with  Soft Machine and Chick Corea’s “Return to Forever”

To continue…we recorded the first album at a rural residential studio in Kent called Escape studios where we were able to immerse our selves in exploring this unusual mix of musical styles. By this time we had been joined by singer /keyboards player Gus Eden from pop rock group Love Affair. Under the magical production work of Ken Burgess and engineer Tony Taverner. 

The band continued on to record two further albums with various changes in personally until like many 70s bands we were hit by the onslaught of Punk! That’s enough for now isn’t it?! Cheers and enjoy listening to the soundtrack of a lost World! Cheers John

Core Band:

• lto Saxophone, Tenor Saxophone, Soprano Saxophone, Piano, Clavinet – Dave Quincy
  • https://en.wikipedia.org/wiki/Dave_Quincy
  • Played with Manfred Mann
  • Formed the band If with Terry Smith before forming Zzebra
• Bass – John McCoy
  • https://en.wikipedia.org/wiki/John_McCoy_%28musician%29
  • Had previously played in the London band Scrapyard with Bernie Torme before joining Zzebra.
• Congas, Baritone Saxophone, Tenor Saxophone, Flute, Percussion [African], Vocals – Loughty Amao
  • With the band Osibisa before forming Zzebra.
  • Played on Uriah Heep’s “Look at Yourself” album
  • Sadly passed away in 1988
• Drums, Percussion, Vocals – Liam Genockey
  • https://en.wikipedia.org/wiki/Liam_Genockey
  • Irish drummer who worked on many albums including with Gerry Rafferty, Bonnie Tyler, and Colin Towns
  • Would go on to be the drummer in Gillan.
• Guitar – Terry Smith
  • https://en.wikipedia.org/wiki/Terry_Smith_(guitarist)
  • Worked on a number of different bands, primarily If.
  • Also was in a blues band with Tony Ashton.
• Piano, Flute, Guitar, Lead Vocals – Gus Yeadon*
  • Welsh singer predominantly known for his work with Zzebra. He left during the recording of the first album.
• Piano, Keyboards [Guest] – Tommy Eyre
  • Joined the band to finish up the first album. Worked with Ainsley Dunbar and Mark-Almond.
  • Worked with Alex Harvey, Joe Cocker, Michael Schenker, Gary Moore, B.B. King, John Mayall, Tracy Chapman, Wham, and Greg Lake. Played on and arranged the music for Joe Cocker’s cover of “With a Little Help From My Friends.” Also played on the song “Baker Street.”
  • Also worked with the band Riff Raff.
  • Sadly he passed away in 2001.

Technical:

• Producer – Ken Burgess
  • https://en.wikipedia.org/wiki/Ken_Burgess_(musician)
  • Worked on production for Riff Raff and Rare Bird.
• Reissue Producer – Jordi Soley
• Engineer [Mixing] – Paul Hardiman
• Engineer [Recording] – John Taverner (2)
  • Liner notes lists as Tony Taverner.

Album Art & Booklet Review

• Photography By – Keith Silva/Picturepoint*
  • Only a few other credits.
• Art Direction – Paul Welch
  • Worked with Ella Fitzgerald, Pat Travers, Mungo Jerry, Marsha Hunt, Graham Bonnet, Bernie Torme, and Vangelis.
• Photography By [Group Photographs] – Charles Marriot
• Design – Wade Wood Associates
  • Designed album covers for artists such as Slade, Widowmaker, Ludwig van Beethoven

Recorded at Escape Studios, Kent, UK, October 1974.

Mixed at Advision Studios, London, November 1974.

Originally released in 1974.

Made under license from Tommy Eyre.

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Album Tracks:

Side One:

1. Cobra Woman
   • Written by Page-Acres
     • https://www.discogs.com/artist/10295752-Page-And-Acres
     • Can’t find any additional information about these writers.
   • Written-By – G. Yeadon*
2. Mr. J.
   • Written-By – L. Amao*
3. Mah Jong
   • Written-By – D. Quincey*, J. McCoy*, T. Smith*
4. Ife
   • Written-By – D. Quincey*, L. Amao*

Side Two:

5. Spanish Fly
   • Written-By – D. Quincey*, T. Smith*
6. Amuso Fi
   • Written-By – D. Quincey*, G. Yeadon*, L. Amao*
7. Rainbow Train
   • Written by Page-Acres
   • Written-By – D. Quincey*, G. Yeadon*, L. Amao*
8. Hungry Horse
   • Written-By – D. Quincey*, G. Yeadon*, L. Amao*, T. Smith*
   • Tommy Eyre said that when he went to see them at the Marquee while they were playing this song, “Terry . . . attempted an incredibly speedy rising line that ended up in a mis-fretting. He grunted and tried again. Still missed the last couple of notes. As hot as the Marquee club was, Terry was wearing a thick heavy woolen overcoat. He took a huge slug from it, layed it on the ground and then played the line perfectly and at double the speed! That’s when I knew I wanted to play with that band.!”

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Bustin’ Out The Spreadsheet

Deep Dive Podcast Network:

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For More Information:

• https://musicbrainz.org/release/3920a65b-68ba-48de-afda-79f4920564cf/cover-art
• https://www.discogs.com/release/1870777-Zzebra-Zzebra
• https://www.progarchives.com/artist.asp?id=4183
• https://de.wikipedia.org/wiki/Zzebra
• http://www.alexgitlin.com/npp/zzebra.htm
• https://jazzjournal.co.uk/2022/12/07/terry-smith-what-we-played/
• http://www.progressrock.cz/other1/Zzebra.html
• https://www.allmusic.com/artist/abdul-lasisi-amao-mn0001866417

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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 Bluesky, Facebook, Instagram, or Threads.

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Postcards From The Edge . . . OF CONNECTICUT!

• A mysterious pair of postcards arrive indicating that there is one missing from the collection. More to come!

Episode 45 from March of 2020

Episode #45 – Weird Versions of “Smoke on the Water” (Part 1)

Episode 147 from February of 2022

Episode #147 – Weird Versions of Smoke on the Water (Part 2)

The Latest Batch of Weird Versions:

Emil Ernebro demonstrates fingerstyle guitar by playing “Smoke on the Water” (sent by Jonatan Hedlin)

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More Weird Versions!

Drinkone – Smokon De What’A

Bradley Hall Plays Smoke On The WA’ER but it’s REALLY Bri’ish

Ukranian Pensioners play Deep Purple Medley in Donetsk

Ringo and Steve Lukather from Instagram

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  • Runar Simonsen –
  • Ruinous Inadequacies
  • Corey Morrissette
  • Ashely { Still I hear, “Burn” } Rose
  • Weston-super-Mare pilgrim
  • Joe “Dopefish” Siegler
  • Adam Corke
  • Tim Wood
  • Steve “Down to Earth” Koeller
  • The $1.71 “I Want My Own Tier” Tier
  • Rich “Yngwie” Shailor
• The 10 DKK  “Cold Hard Danish Kroner” Tier
  • Carsten Lau
• $1 Made Up Name Tier
  • The “Gave of de ” Leaky Mausoleum
  • Stephen Sommerville The Concerto 1999 Fanatic
  • Hank the Tank
  • Private Eyes
  • Ashen Lionel
  • Zwopper The Electric Alchemist
  • Anders Engstrom
  • I see DC
  • Durple Purple
  • David Hattam
  • Graham Bonnet’s Disco Pants and Haircuts
  • Eddie Lion
  • Sicktone

Deep Dive Podcast Network:

Check out our website to find other like-minded shows taking deep dives into individual songs, bands, and albums.

• Deep Dive Podcast Network

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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 Bluesky, Facebook, Instagram, or Threads.