Month: July 2025

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Episode 328 – Jerusalem

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

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  • More from Ralphie’s world travels!

Lead up to the Album:

  • Paul Dean was the brother of Zoe Dean who was Ian Gillan’s girlfriend for about 10 years from 1969 to 1978. Zoe took Gillan home to stay with the family and Paul Dean said he played Gillan the first Black Sabbath album which he heard for the first time.
  • Dean said that Zoe was managing them and Gillan asked to take a listen to their music. He then took over management of the band.
  • In an interview with Pyschadelic Baby Magazine, Paul Dean said:
    • In 1967 when Ray and I were 16 and still at school we went to see John Mayall and the Bluesbreakers and were absolutely blown away with a form of music we had never heard before. The next day we decided to form a band along with another friend Chris Skelcher. None of us had ever played an instrument before, Ray took drums, Chris guitar and I took bass and vocals.
    • None of us had any major influences, so we actually learnt how to play as we went along. I started writing as we decided we didn’t want to do any covers and liked the idea of creating something of our own that was a bit different. We practised at every opportunity and did part time and holiday jobs to pay for equipment. Our only focus was the band.
    • No, none of us had ever touched an instrument before or had done anything musical. Even when Ray and I brought in Bill, Phil, Bob and Lynden at different times, none of them had actually been in another proper band. All performing virgins. The first recording we ever did was when Ian brought Roger Glover to Salisbury to do some recording on Rogers newly acquired Revox 2 track. Don’t know what happened to the tapes. Phil was the singer at this time.
  • Gillan had newly formed “Pussy Music” and “Pussy Enterprises.”
  • In 1972 the band was given 2 days to put something together for release and that is when they wrote and recorded a single, Kamikazi Moth.
  • For the album they stayed with Ian Gillan in Pangbourne and commuted into London daily to record at Ian’s Kingsway Studios (formerly De Lane Lea).
  • Gillan, in a 1972 interview with Record Mirror:
    • “My interest has been in an advisory capacity,” said Ian. “I didn’t so much produce the album as simply advise on a few technical problems and make some suggestions. I came across the band at a time when they were trying to get a record deal together and were in a state of confusion.
    • “In some ways its a nostalgic thing for me because I see them going through the same kind of problems and transitions that I did in the early days, before Episode Six even, when I was playing with little local bands in Hayes, Middlesex. I’ve always regretted that I never had any record of those early efforts because there was something about the brash enthusiasm of an early musical birth that you never recapture.
    • “I don’t want to give the impression that these boys are novices because they are not. They started playing almost as infants at school five years ago when Paul met up with Ray Sparrow and got a band together and later at college they met Bill Hinde and Bob Cooke.
    • “More recently they`ve brought in a new singer, Lynden Williams, and he has just the right kind of dramatics and vocal ability that convinced me that he had what it takes.”
  • From the same interview:
    • “Mind you,” he said. “I don’t care what anyone says it is the sole aim of any support band to blow the top of the bill off the stage and if anyone had got a ‘clapometer’ together I think ‘Jerusalem’ would have taken a few points off some of the bands they’ve worked with recently like Medicine Head.
    • “I don’t think we should give the impression that we go in with that attitude though,” said Paul guardedly. “I mean we found a group billed below us on a recent bill and I felt just a little embarrassed. It’s competitive without being cut-throat.”
  • From the album liner notes (by Ian Gillan):
    • This is the first album by Jerusalem, a band which excites me very much, they are rough, raw and doomy with their own strong identity. As they are young and a bit green, they don’t follow many rules, so their material is almost crude–-but still immensely powerful in content.
    • I believe that, whenever possible, the work of writers and players in their formative stages should be recorded; before inhibition and self consciousness set in, before fire and aggression die down, and while they are still absorbing influences and doing things which others might consider uncool. Most important though, before they might develop that self imposed rigidity which afflicts so many. I hope none of these things happen to Jersusalem, we’ll have to wait and see, this album is just in case.
    • I hope you like it as much as I do.
      • Ian Gillan.

Core Band:

Technical:

Album Art & Booklet Review

  • Design [Front Sleeve], Guitar [First] – Bob Cooke
    • Paul Dean: “Yes, it is now considered a great cover. Bob Cooke came up with the idea and painted it (think his original is an oil painting). It is not meant to be religious in any way whatsoever, just something powerful that implies fighting and reaching out for your future, whatever it may be. Nothing comes to you in this life, you have to get out there and make waves!”

Notes

Released on a brown/white Deram label in a gatefold cover.

This release has a single pressing ring @ 32mm.

Rim text (@11:00 o’clock position), reads: “Made In England By The Decca Record Co. Ltd.”

“XZAL” stamped in runouts are Decca’s record format indicator for a ‘stereo’ recording.

“1W” stamped in runouts indicate Decca’s in-house mastering was performed by Harry Fisher.

All of these characteristics denote a Decca Record Co. Ltd., Pressing Plant, UK. release.

First pressing. Repress on red label Jerusalem (4) – Jerusalem

Laminated with ‘Clarifoil’ made by British Celanese Limited

℗ 1972

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Album Tracks:

Side One:

  1. Frustration
  2. Hooded Eagle
  3. I See The Light
  4. Murderer’s Lament
  5. When The Wolf Sits

Side Two:

  1. Midnight Steamer
  2. Primitive Man
  3. Beyond The Grave
  4. She Came Like A Bat From Hell

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Bustin’ Out The Spreadsheet

Reception and Charts:

  • Album was recorded in 1971.
  • From the best that we can tell the album was released on March 24, 1972.
  • Though there is an interview with Ian Gillan talking about “making the record” that was released in Disc & Music Echo from January 29, 1972.
    • In the interview Ian says: ““I made the record because they are bloody good and it seems a shame for their sound not to be recorded… right now there’s a rawness and excitement…”
  • “Sledgehammer-heavy masterpiece of underground British rock!” —Classic Rock Magazine
  • “Big fat chords, wailing guitar, punch-drunk bass and straight-ahead solid drums all strutting in your face like some massive guy you just don’t want to f**k with.” —Head Heritage
  • The album was re-issued 1993 on CD for the first time in Germany.
  • There was a 2014 remaster and reissue as well.
  • It was again reissued in 2021 on opaque black vinyl, opaque blue vinyl, translucent red vinyl and finally 100 copies of a translucent green vinyl by Rockadrome.
  • Bob Cooke and Lynden Williams went on to be in Zorbonauts with Geoff Downes and others.

Reviews

  • From the interview in Record Mirror:
    • Ian hit out at some of those critics who do not seem to care about anything formative or cannot necessarily compare to the technical proficiency of more experienced and qualified musicians.
    • “I really feel some of these critics who cannot accept the fact that so called ‘heavy music’ has now become pop music by virtue of the fact that it is popular are writing with their heads in the sand,” he said.
    • “Why is it that some writers seem to adopt this position that nothing can ever be any good if it is widely accepted and why is it that some bands like Black Sabbath seem so anxious to put down the young people who come to their concerts and refer to them disparagingly as `teenyboppers’.
    • “How would you like to be called a ‘teenybopper’ just because you happened to be young and like bands that retained some essence of vitality. That’s just something else I can’t understand.
    • A band is hungry so it becomes good out of that hunger. It gets recognised and successful then throws the acceptance back in the faces of the people who made them. It just doesn’t make sense.
    • “Critics who are not prepared to encourage new talent and make some kind of allowance that no band becomes as good as those who are on top immediately are doing no good to themselves or the business that feeds them. They slam a show which maybe 5,000 people dug and the unfortunate thing is that maybe a quarter of a million people read the review!”
    • All bands like ‘Jerusalem’ want is a chance to prove themselves and Gillan is doing his bit to lend a hand. More established artists with his attitude would be no bad thing.

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Episode 327 – Deep Purple’s Rarest Live Tracks

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Deep Purple’s Rarest Live Tracks

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Songs Played 1 Time:

Songs Played 2 Times:

created by photogrid

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Episode 326 – Michael Schenker Group – Assault Attack

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  • From Germany!
  • A care package from Connecticut!
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Lead up to the Album:

  • Reportedly after returning from the Japanese tour (where they recorded the live album “One Night At The Budokan”) Cozy Powell and Peter Mesch (the band’s manager) announced that they wanted a better singer for the band. They suggested David Coverdale but Schenker had his mind made up that he wanted Graham Bonnet.
  • It’s thought that this and other disagreements were the reason that MSG and Mensch parted ways.
  • In February of 1982 Bonnet joined the band. Powell and keyboardist Paul Raymond left the band after this and were replaced.
  • After being together for about 4 months the band went to France to record the album at Château d’Hérouville (also referred to as Honky Château)
    • https://en.wikipedia.org/wiki/Ch%C3%A2teau_d%27H%C3%A9rouville
    • Elton John Recorded three albums here “Honky Chateau” “Don’t Shoot Me I’m Only The Piano Player” and “Goodbye Yellow Brick Road”
    • Rainbow recorded “Long Live Rock and Roll” here.
    • The studio closed in 1985 but reopened in 2020.
    • Martin Birch did this session immediately after completing “Number of the Beast” with Iron Maiden.

Core Band:

Additional Musicians:

  • Keyboards – Tommy Eyre
    • Tommy Eyre was the replacement for Paul Raymond for the recording of the album.

Technical:

  • Producer, Engineer – Martin (The Ninja) Birch
  • Engineer [Second] – Benedict Tobias Fenner*
    • Prolific engineer working with Radiohead, The Cranberries (co-producer), The Feeling, James, Marti Pellow, David Bowie, Brian Eno, Elvis Costello, INXS, Depeche Mode, The Kinks, Whitesnake, Trevor Rabin, Robin Trower, Michael Schenker Group, Bob James, John Patitucci, Bob Mintzer, Gary Husband and Janek Gwizdala.
    • Fenner has worked with many producers including long associations with Brian Eno, Elvis Costello, Andy Richards, Ray Davies, Trevor Rabin, Martin Birch, Eddie Kramer and Richard Niles.
  • Engineer [Second] – Patric Drouget*
  • Management – Damage Control Management
  • Producer, Engineer – Martin “The Ninja” Birch

Album Art & Booklet Review

  • Other [Album Title] – Jack Magill
  • Photography By [Cover] – Fin Costello
  • Photography By [Group] – Brian Aris

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Album Tracks:

Visit my website https://vinyl-records.nl for complete album information and thousands of album cover photos

Side One:

  1. Assault Attack (Schenker, Bonnet, Glen, McKenna)
    • This song was included in the video game “Brutal Legend” which was released in 2009.
    • Video game was made by Tim Shafer which made one of  this host (Nate’s) favorite video games of all time, 1995’s Full Throttle which was also a heavy metal themed game as well as the first two Monkey Island games and Psychonauts.
  2. Rock You to the Ground (Schenker, Bonnet)
  3. Dancer (Schenker, Bonnet)
    • This was the only single from the album. It was released with the B-side “Girl From Uptown) which was included in the later CD reissue as a bonus track.
  4. Samurai (Schenker, Bonnet, Glen)
Visit my website https://vinyl-records.nl for complete album information and thousands of album cover photos

Side Two:

  1. Desert Song (Schenker, Bonnet)
  2. Broken Promises (Schenker, Bonnet, Glen)
  3. Searching for a Reason (Schenker, Bonnet)
  4. Ulcer (Schenker)

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Bustin’ Out The Spreadsheet

Chart (1982)Peakposition
Japanese Albums (Oricon)[6]9
Swedish Albums (Sverigetopplistan)[7]34
UK Albums (OCC)[8]19
US Billboard 200[9]151

Reception and Charts:

  • The album was released in October of 1982.
  • Ranked #481 in Rock Hard Magazine’s book The 500 Greatest Rock & Metal Albums of All Time.
  • Get With The Programme. The Michael Schenker Group Assault Attack UK tour of 1982 was only 14 dates starting in late November. 2 at Manchester Apollo, one at the Hammy and a haul around the provinces.
  • Peak chart position:
    • UK – 19
    • Sweden – 34
    • Japan – 9
    • US Billboard 200 – 151

Reviews

  • Martin Popoff ranked this album 10/10 in the “Collector’s Guide to Heavy Metal.”
  • https://zrockr.com/2015/11/05/michael-schenker-group-assault-attack/
  • Kerrang Review
  • Sounds 3 / 5
  • Metal Hammer 6 / 7
  • All Music 3 / 5 (User rating of 4.5 / 5)
    • Assault Attack Review by Andy Hinds
    • Michael Schenker’s pairing with former Rainbow wailer Graham Bonnet made perfect sense, since Schenker’s facile, classically flavored Euro metal guitar style is a graceful extension of Ritchie Blackmore‘s innovations. The results on Assault Attack are pleasing; while Schenker predictably delivers top-notch performances, Bonnet‘s vocals are edgier and more engaging than those of former MSG singer Gary Barden. [A bonus tracks edition of Assault Attack was released in 2006.]

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Episode 325 – Captain Beyond – Live in Arlington, TX (1973)

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Postcards From The Edge . . . OF CONNECTICUT!

  • Ralphie continues binge-listening to the show!
  • Peter Gardow sends family floral heirlooms to to the state of Illinois!

Lead up to the Album:

  • After the release of Sufficiently Breathless they reunited with Caldwell on drums for a year.
  • Evans would leave the group in 1974.
Version 1.0.0

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