Author: Nathan Beaudry

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Postcards From The Edge . . . OF CONNECTICUT!

• Letter from Connecticut about Chicago business leaders!
• Package from Jeff Breis!
• Made in Japan socks!

History:

• This band was put together for the express purpose of recording this one album.
• The man behind the idea was a German businessman, Leo Muller. The name was actually an alias used by Dave Miller who was a record producer who ran a number of budget music companies. He was actually an American.
• His budget label was called Stereo Gold Award and he also did an album called “Tribute to Jimi Hendrix by The Purple Fox.”
• Muller got in touch with Thin Lizzy to do the project.
• The group did not want to do the project as they were trying to make Thin Lizzy their own thing but they were also desperately in need of money.
• Phil Lynott decided that he wasn’t able to sing like Gillan and decided to only play bass and do backing vocals.
• The result was that they recruited a singer, Benny White, from the Dublin-based group Elmer Fudd as they were known for doing Deep Purple covers at their shows.
• Brian Downey called Benny White “an Ian Gillan clone.”
• Thin Lizzy had no keyboard player so Elmer Fudd’s keyboard player Dave “Mojo” Lennox  jumped in.
• The band members were paid 60 pounds a day to travel in to De Lane Lea in London to record the album.
• Brian Downey recalls that the rehearsals for recording took about “Two or three hours” before the full day recording session.
• Thin Lizzy were paid 1000 pounds for the recording but their names were not included on the album.

Core Band:

• Eric Bell – guitar
• Phil Lynott – bass guitar
• Brian Downey – drums
• Benny White – vocals
• Dave Lennox – keyboards
  • https://www.irish-showbands.com/Bands/elmerfudd.htm
  • https://www.facebook.com/themoondogsrock/posts/i-will-miss-dave-lennox-who-passed-away-last-week-he-was-an-exceptional-keyboard/1042737191195335/

Album Art & Booklet Review

• The band pictured on the cover is not Funky Junction as they never played live. Instead they used a concert photo of the band Hard Stuff featuring John Gustafson.
• In Germany the album was called “The Rock Machine Plays the Best of Deep Purple.
• The album was sold at Woolworths for 50p.

Notes

MER373 seen on sleeve and spine, MER 373 seen on labels. Yellow labels – on this version the ‘Made in England’ is directly below the publisher credits (there is another UK version where the text is at the label rim).

Text on back cover of LP:

Funky Junction are an exciting new group that has the pulse of today. In this tribute to Deep Purple, they play many of Purple’s hits. UK and world wide audiences are acclaiming them for the great group they are.

FUNKY JUNCTION – THE SOUND OF TODAY!

Both disc and sleeve made in UK/England.

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Album Tracks:

Side One:

1. Fireball
2. Dan (Leo Muller)
   • A take on the Irish traditional “Danny Boy.”
3. Black Night
4. Palamatoon (Leo Muller)
   • http://www.mushrumps.com/shrumps/FunkyJunction-Palamatoon-111.html
   • What is a Palamatoon? I have no idea but it seems to be the sound of young Thin Lizzy dicking about on synths while in the midst of making a cack-handed Deep Purple knockoff LP for the Woolworths crowd. Yes it’s that good.

Side Two:

5. Strange Kind of Woman
6. Hush
7. Rising Sun (Muller)
   • Instrumental version of “House of the Rising Sun.”
8. Speed King
9. Corina (Muller)
   • Based on traditional Irish tune “Corrina, Corinna.”

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Bustin’ Out The Spreadsheet

Reception and Charts:

• Muller would go on to use the name Funky Junction as a band name for another album in 1973: “Especially for You… credited to Gladys Knight & the Pips featuring Funky Junction.

Reviews

• Reviews on Discogs:
  • https://www.discogs.com/release/10403127-Funky-Junction-Play-A-Tribute-To-Deep-Purple
• 1996 Review from The Highway Star:
  • https://thehighwaystar.com/specials/funky/review%201.html

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

Brendan Ashbrook – Logo Designer

For More Information:

• https://en.wikipedia.org/wiki/Funky_Junction
• https://www.discogs.com/release/1496503-Funky-Junction-Play-A-Tribute-To-Deep-Purple
• https://thehighwaystar.com/specials/funky/rundown.html
• https://www.allmusic.com/artist/dl-miller-mn0001217938#biography
• https://www.thinlizzyguide.com/discography_info/information/info_album/funky_junction.htm
• https://mikeladano.com/2014/07/12/co-review-funky-junction-play-a-tribute-to-deep-purple-1973/
• https://www.irish-showbands.com/Bands/elmerfudd.htm
• https://irishrockers.com/artist/Elmer%20Fudd
• https://www.allmusic.com/artist/dl-miller-mn0001217938#biography

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.

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Nate on CNN

Discussing the Made in Japan Remix, Stranger Things, and the upcoming Rapture of the Deep Remix.

https://www.cnn.com/2025/08/16/entertainment/video/hollywood-entertainment-music-podcasts-stranger-things-deep-purple-made-in-japan-rapture-of-the-deep-reissues

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The Deep Purple Podcast is 100% listener supported and ad-free! If you receive value from our show please consider supporting us!

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  • Keep up the good work. I love the show!
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  • No worries! I wanted to upgrade because I truly love the content you guys continue to provide. It is fun to listen to DP fans here in the United States (other than me and my brothers) talk about their legendary albums and everyone else they influenced. Keep up the great work with you and John. Like Ritchie, I’ll continue to look out the window while everybody else gets run over by a car looking at their phones ! Maybe Bob Dylan will walk up to me and ask me, “Hey, who the he’ll are you?” Have a great rest of summer for you and John!
• Leezus Christ Superstar joins us at the “$3 Nobody’s Perfect” Tier
  • Hey y’all! I’m new ’round these parts! My name is Leigh and i’m from Ontario, Canada around 2 hours northeast of Toronto (kinda between Toronto and Ottawa). Been a Purple fan since around 1985 when the current album Perfect Strangers was a soundtrack in my childhood home. Before that time “Electric Avenue” was my jam. I dug in further when i got my fisher price record player in 1986 and inherited my mom’s old record collection. Only three albums were of interest to me, Machine Head, Shades Of Deep Purple and The Lamb Lies Down On Broadway. I also had Supertramp “Crimes Of The Century” and it became a frisbee after first listening.
  • Fast forward to last year and i was looking for a non true crime podcast to listen to and my first thought was a music podcast and my #1 band of all time was the first thing i searched for. Took me about 6 months to get caught up and needless to say, i’m a huge fan. I’ve learned a ton and appreciate all the time and effort it must take to produce something so well done. Anyways enough of me, thanks for doing what you do!

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Postcards From The Edge . . . OF CONNECTICUT!

• Ralphie coming to us from Europe!
• Postcards from Mark Roback!

History:

• Steven Wilson
  • Founding member, guitarist, vocalist of the band Porcupine Tree
  • https://stevenwilsonhq.com/
  • https://www.youtube.com/stevenwilsonhq
  • https://soundcloud.com/steven-wilson
  • https://www.facebook.com/StevenWilsonHQ/
  • https://en.wikipedia.org/wiki/Steven_Wilson
  • https://www.discogs.com/artist/227943-Steven-Wilson
  • Steven Wilson: Remixing Classic Albums
  • Prog-rock wunderkind Steven Wilson is using his studio skills to give legendary rock albums a new lease of life.
  • “The equivalent of polishing the Sistine Chapel, that’s what I feel I’m doing sometimes with these classic records.” Steven Wilson is talking about his remixing work, which he began in 2009 as a sideline to his very successful career as a musician and producer. So far, he’s polished classic records by King Crimson, Roxy Music, Jethro Tull, Yes, XTC, Tears For Fears and more, creating new stereo and 5.1 surround mixes that have been generally praised by fans and critics.

Press Release

(June 18, 2025 – Los Angeles, CA) On August 15, 1972, Deep Purple took the stage in Japan for the first of three shows that would give rise to one of rock’s most celebrated live albums, Made in Japan. Today, Warner announces a new Super Deluxe Edition of the landmark release, due out August 15—exactly 53 years after the first performance was recorded.

Made in Japan (Super Deluxe Edition) features new stereo and Dolby ATMOS mixes of the original by acclaimed producer Steven Wilson, all three concerts newly remixed by Richard Digby Smith, and several rare single edits. It will be released as a 5CD/Blu-ray set at retailers nationwide, and a 10LP black vinyl edition, available exclusively from www.deeppurple.com and Rhino.com. Pre-order HERE.

A 2LP black vinyl version of Steven Wilson remixes will be available on August 15 and October 3 in the U.S., Canada, and Japan at select independent record stores. The digital companion will be available everywhere on August 15.

Originally intended as a Japan-only release, this double live album became a surprise global phenomenon. Released in the U.K. in December 1972 and in the U.S. the following March, Made in Japan went platinum in America and several European countries.

Singer Ian Gillan, guitarist Ritchie Blackmore, keyboardist Jon Lord, bassist Roger Glover, and drummer Ian Paice—Deep Purple’s famed Mk II lineup—turned studio staples like “Smoke On The Water,” “Highway Star,” and “Space Truckin’” into explosive live statements. “We came halfway around the world and found the audience singing every word. It was magical,” Glover recalls in the collection’s liner notes.

The band enlisted engineer Martin Birch—who had worked on several of their best-known studio albums—to record the shows to eight-track tape at Festival Hall in Osaka and the Budokan in Tokyo. The performances on Made in Japan (Super Deluxe Edition) capture Deep Purple at full throttle, powering through songs from their then-new album Machine Head, along with fan favorites like “Child In Time,” “Strange Kind Of Woman,” and “Speed King.” The collection also includes rare single edits, like the German version of “Black Night” and the Mexican edit of “Space Truckin’.”

The live album garnered widespread critical acclaim, with Rolling Stone declaring it “Purple’s definitive metal monster, a spark-filled execution of the typical Purple style.” This recognition led to its impressive ranking at No. 6 on their “Readers’ Poll: The 10 Best Live Albums of All Time.” AllMusic also praised the album, stating that “Deep Purple pushed its music into the kind of deliberate excess that made heavy metal what it became.” Additionally, the album achieved commercial success, landing at No. 6 on the Billboard 200 chart.

Wilson harnesses the raw energy of the original tapes in his new stereo and Atmos mixes. “It’s all completely as it happened on the night,” he says. “The album has a power and sense of abandon that they never quite captured in the studio. Hopefully this new mix makes it feel even more like you’re there.”

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Setlist

• Highway Star
• Smoke on the Water
• Child in Time
• The Mule
• Strange Kind of Woman
• Lazy
• Space Truckin’
• Encores varying by night

August 15, 1972

• Festival Hall, Osaka
• https://www.setlist.fm/setlist/deep-purple/1972/festival-hall-osaka-japan-1bd20d6c.html
• Encores: Black Night, Speed King

August 16, 1972

• Festival Hall, Osaka
• https://www.setlist.fm/setlist/deep-purple/1972/festival-hall-osaka-japan-3d20d63.html
• Encores: Black Night, Lucille

August 17, 1972

• Nippon Budokan, Tokyo, Japan
• https://www.setlist.fm/setlist/deep-purple/1972/nippon-budokan-tokyo-japan-bd20d62.html
• Encores: Black Night, Speed King

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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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For More Information:

• https://www.soundonsound.com/people/steven-wilson-remixing-classic-albums
• https://store.deeppurple.com/en/deep-purple/special-collections/made-in-japan/?pdshow=true
• https://www.rhino.com/article/deep-purple-landmark-live-album-made-in-japan-super-deluxe-edition-out-august-15
• https://nowspinning.co.uk/deep-purples-made-in-japan-reborn-first-listen-to-steven-wilsons-remix/
• https://en.wikipedia.org/wiki/Steven_Wilson
• https://en.wikipedia.org/wiki/Steven_Wilson

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.

Subscribe at Apple Podcasts, Spotify, Google Podcasts, Overcast, Pocket Casts, Anchor.fm, Breaker, PodBean, RadioPublic, Amazon Music, Pocket Casts, or search in your favorite podcatcher! 

How To Support Our Show:

The Deep Purple Podcast is 100% listener supported and ad-free! If you receive value from our show please consider supporting us!

• Support Our Show

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New Patron/Patron Upgrades:

• Adrian Hernandez upgrades to the $5.99 “The Nice Price” Tier!
  • I really love the content and music you guys cover. I’m a die hard DP fan and I am always surprised how big the DP family tree is thanks to you guys. I’ll be releasing a few Ian Gillan covers for his 80th birthday coming up on Spotify. Are you guys going to do a birthday episode for Uncle Ian ?

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Updates, Live Show Reviews & News:

• Nate is the oldest person at The United Center in Chicago as he attends the Tyler, The Creator show!

Upcoming Rankings Show:

• Deep Purple “Who Do We Think We Are”
  • Patron rankings needed by August 18th
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Postcards From The Edge . . . OF CONNECTICUT!

• Ralphie goes TRANSATLANTIC??

Influences and Early Years

• Ian Gillan & The Javelins – How The Javelins came to be
• Ian Gillan & The Javelins – It’ll Be Me.
• https://www.purple.de/dirk/purple/tours/2025/2025-06-15.php
• Ian Gillan – Cherkazoo And Other Stories ( Remastered)
• https://www.purple.de/dirk/purple/tours/2025/2025-06-15.php
• Ian Gillan Band – Trying To Get You (From ‘Osaka 77’ Bootleg)– Ian Gillan Band Version
• Gillan – Trying To Get To You – Version for Glory Road
• Elvis scares backup singer
• Starts at the 0:30 just as Elvis is beginning to size up his prey.
• Wainwright’s Gentlemen – Ain’t That Just Like Me
• https://www.purple.de/dirk/purple/tours/2025/2025-06-15.php
• Brian Connolly from Sweet on the drums
• https://www.purple.de/dirk/purple/tours/2025/2025-06-15.php

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• The $6.99 “New Nice Price” Tier
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  • Jellybean
  • Evan Robison
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  • Ralphie Lee

Interviews:

• Deep Purple Mark 2 interview prior to the launch of Perfect Strangers
  • 2:20 mark back and forth with Jon Lord
• Ian Gillan interview (German tv) Brilliant !!!!
  • Rough day for Ian! And even rougher for Roger!
• Ritchie Blackmore discussing an infamous moment with Ian Gillan in 1971 whilst touring Australia.
• Ritchie Blackmore discussing one of his many tussles with singer Ian Gillan
• Blackmore – Gillan battle of words 1993
• The Beatles’ George Harrison on Deep Purple
• Ian the Ivory Hunter Hunter
• https://www.purple.de/dirk/purple/tours/2025/2025-06-15.php
• Ian’s 60th Birthday
• Deep Purple = 1 ” Access All Areas (Documentary)
  • Gillan’s hotel safe usage tutorial @ 8:20
• Most recent show June 15, 2025 in Sao Paolo Brazil
• Audio Engineers React to = 1 by Deep Purple!
• Next Show November 16 in Tbilisi, Georgia
• Gillan quotes: https://www.thehighwaystar.com/rosas/misc/off.htm

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Bustin’ Out The Spreadsheet

Reception and Charts:

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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For More Information:

• https://en.wikipedia.org/wiki/Ian_Gillan
• https://www.gillan.com/
• https://www.thehighwaystar.com/rosas/jouni/ig.html
• Child in Time by Ian Gillan
• Smoke This!: The Warblings, Rants, Philosophies, and Musings from the Singer of Deep Purple by Ian Gillan

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.

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Postcards From The Edge . . . OF CONNECTICUT!

• Ralphie Round Up

History:

• Of the album Ronnie said, “I think musically we’ve certainly progressed, and I know we’re all very proud of what we’ve done. To me, it’s taken what we’ve achieved on the first two albums to a new level.”
• “We live in a world that’s got enough bad situations happening,” he said. “Do people want to be reminded of what’s wrong in their lives through the lyrics to a song? I don’t believe so. So, my words have a lot to do with the imagination, and offer escapism.”

Core Band:

• Bass – Jimmy Bain
• Drums – Vinny Appice
• Guitar – Vivian Campbell
• Keyboards – Claude Schnell
  • Had previously played in Rough Cutt with Jake E. Lee as well as with Hughes Thrall.
• Vocals, Producer, Lyrics By, Written-By [Melodies] – Ronnie James Dio

Technical:

• Engineer – Angelo Arcuri
  • Engineered previous Dio releases.
• Engineer [Assistant] – Gary McGachan
  • Worked with Barry White, Twisted Sister, and Dokken.
• Mastered By [Originally Mastered By] – Greg Fulginiti
• Producer – Ronnie James Dio

Album Art & Booklet Review

• Artwork [Original Concept] – Ronnie Dio*, Wendy Dio
• Design – Jeri McManus
  • https://www.smogdesign.com/
  • Has done work on over 300 album covers including Ric Ocasic, Chaka Kahn, Paul Simon, The Time, Madonna, and many, many more.
• Design – Steve J. Gerdes*
  • http://www.stevegerdes.com/
  • Worked on covers for Depeche Mode, Rough Cutt, Black Sabbath (Seventh Star), Smashing Pumpkins, Janet Jackson, and many more.
• Illustration – Robert Florczak
  • Only a few other album covers including mostly classical releases.
• Photography By – Gene Kirkland
  • https://www.genekirklandphotography.com/
  • Worked on visuals for Dio, KISS, W.A.S.P., Megadeth (Rust in Peace), Aerosmith, Guns N Roses, and more.
• Photography By – P.G. Brunelli
  • Did photos for Iron Maiden (Number of the Beast), Samson, Thin Lizzy, Yngwie Malmsteen, and more.
• Typography [Hand-lettering] – Margo Chase
  • https://www.chasedesigngroup.com/
  • https://en.wikipedia.org/wiki/Margo_Chase
  • Margo was an award winning designer working with artists from Prince to Selena.
  • She also worked with major brands with her company doing major work for Proctor & Gamble.
• The inscription around the border is Latin reading:FINIS PER SOMNIVM REPERIO TIBI SACRA COR VENEFICVS OSTIVM AVRVM
  • This could translate as:
    • Along the borders of dreams I found for you the sacred poisonous heart and golden door
    • comes the end by sleep I will prepare the sacred heart which is the magic that opens upon the altar
• Booklet is divided into three sections:
  • Those who created
  • Those who labored
  • Those who supported

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Album Tracks:

Side One:

1. King of Rock and Roll (Dio, Appice, Bain, Campbell)
   • Recorded in the studio with audience effects added after.
   • The liner notes in the 2012 release say that the “King of Rock and Roll” was written about Ozzy Osbourne.
2. Sacred Heart (Dio, Appice, Bain, Campbell)
3. Another Lie (Dio)
4. Rock ‘n’ Roll Children (Dio)

Side Two:

5. Hungry for Heaven (Dio, Bain)
6. Like the Beat of a Heart (Dio, Bain)
7. Just Another Day (Dio, Campbell)
8. Fallen Angels (Dio, Appice, Bain, Campbell)
9. Shoot Shoot (Dio, Appice, Bain, Campbell)
   • https://www.bbc.co.uk/music/articles/e1f0eaee-17e2-4bc3-aa1a-cd9415bf6954

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Bustin’ Out The Spreadsheet

Reception and Charts:

• The album was released in August of 1985.
• The album earned gold certification on October 15, 1985. It was the last Dio album proper to receive a gold ranking. Later the compilation “The Very Beast of Dio” would earn gold in 2009.
• Reached number 29 in the US charts selling 500,000 copies.
• The first three albums were re-released as special editions in March of 2012 with bonus tracks.
• Of the album Appice said, “I don’t think the songs were as heavy on the previous two records. But that said, it still was a great record.

Reviews

• The Rolling Stone Album Guide. Random House. 1992. p. 198
  • 1 star (out of 5)

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

Brendan Ashbrook – Logo Designer

For More Information:

• https://en.wikipedia.org/wiki/Sacred_Heart_(Dio_album)
• https://www.discogs.com/release/2350197-Dio-Sacred-Heart?srsltid=AfmBOoqBSmZk4ruAmrKaBv3edrZ9OPO2buhWxd6n81DEJb_jJOTQ-AlH
• Ronnie James Dio: A biography of a heavy metal Icon by James Curl
• Rainbow in the Dark: The Autobiography by Ronnie James Dio
• Ronnie James Dio – A Career Through The Lens 1975-2009 by Frank White
• 2012 Special Edition release liner notes by Malcolm Dome.

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.

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Postcards From The Edge . . . OF CONNECTICUT!

• Ralphie, Ralphie, Ralphie

History:

• The band was formed in 1967 after recording the hit single “Let’s Go To San Francisco.”
• John Carter and Ken Lewis of The Ivy League formed the group.
• In the summer of 1966 Brian Wilson decided to stop touring with The Beach Boys to focus on studio work. The Beatles made the same decision. John Carter decided to do the same.
• The new bandleader for The Ivy League decided to replace several members so John Carter recruited them into his new project The Flower Pot Men.
• John Carter partnered with other songwriters on a project called The Ministry of Sound which wrote the song “Time and Motion Man” later recorded by Episode Six.
• With Lewis Carter decided to write “Let’s Go To San Francisco” after reading about so much of the bands from the West Coast of the United States along with the whole scene that was developing at that time.
• The single for “Let’s Go To San Francisco” was released in August of 1967 and had to be split over two sides of the single. The single reached #4 in the UK charts.
• To be played in the US the band had to be called The Flower Pots to avoid the reference to drug use.
• At the time there was a lot of controversy over The Monkees not performing on their own albums so attention was put on The Flower Pot Men who had really recorded it as members of The Ivy League.
• John had been lead singer on the track but refused to do any live performances. Live the singers included Tony Burrows, Neil Landon, Robin Shaw, and Peter Nelson.
• Backing the singers was a band called The Sundial which consisted of Jon Lord, Nick Simper, Ged Peck, and Carlo Little.
• “The eight of us soon gelled into a slick, confident act, with each show being better than the last”, claims Simper. “The opening song was always The Four Seasons’ ‘Let’s Hang On’, with Tony Burrows hitting Frankie Valli’s high notes with ease, followed by various songs by The Four Tops, The Beach Boys and Wilson Pickett. Of course, the hit song ‘Let’s Go To San Francisco’ was always a showstopper.”
• This lineup recorded a couple of the sessions for the newly branded Radio 1 featuring this lineup.
• Nick Simper and Jon Lord’s first gig with The Flower Pot Men – 22 September 1967 –  Broken Wheel, Retford (Derbyshire Times/Retford Times) (FIRST DOCUMENTED)

The Flower Pot Men: Midsummer Dreaming – An Anthology 1967-1970, 3CD Digipak

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Band & Tracks

Let’s Go To San Francisco Parts 1 and 2 (original mono version) 

The single that started it all.

The following are 5 tracks recorded live on the BBC featuring Jon Lord, Nick Simper, Carlo Little, and Ged Peck.

• Neil Landon – lead vocals
  • https://en.wikipedia.org/wiki/Neil_Landon
  • Founded the band Fat Mattress with Noel Redding
• Pete Nelson – lead vocals
  • https://www.45cat.com/biography/peter-nelson
  • http://www.whiteplainschronicles.com/2018/06/pete-nelson.html
  • Went on to the band White Plains
• Tony Burrows – lead vocals
  • https://en.wikipedia.org/wiki/Tony_Burrows
  • Lots of singles released. Went on to record “Beach Baby” with The First Class
• Robin Shaw – lead vocals
  • http://www.whiteplainschronicles.com/2018/05/robin-shaw.html
  • Went on to the band White Plains

13 Let’s Go To San Francisco* BBC session

14 California Dreamin’* BBC session

Mamas and The Papas

15 Flowers Never Bend With The Rainfall* BBC session

Simon & Garfunkel Cover

https://en.wikipedia.org/wiki/Flowers_Never_Bend_with_the_Rainfall

16 Don’t Worry Baby* BBC session

https://en.wikipedia.org/wiki/Don%27t_Worry_Baby

Beach Boys Cover

17 A Walk In The Sky* BBC session

Original song written by John and Ken as the follow up to “Let’s Go To San Francisco”

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Reception and Charts:

• February 24, 1968 – Nick Simper and Jon Lord’s last gig with The Flower Pot Men (??) California Ballroom, Dunstable (LAST DOCUMENTED). Less than two months later they’d be playing their first live show with Deep Purple billed as Roundabout in Denmark.
• John Carter had written the song “Beach Baby” with his wife Gillian Shakespeare and recorded it with his group First Class.
  • “Now on American Top 40, I have that song that was launched by a criminal act, an act that could have cost the owner of a British record company at least a stiff fine [sic]. He’s also a recording artist, Jonathan King. He’s known to Americans as the guy who hit back in 1965 with ‘Everyone’s Gone to the Moon‘, remember? Well, since then he’s become a successful producer in England, and he started his own label a couple of years ago. Last year, during the United Kingdom’s severe energy crisis, a songwriter came to Jonathan’s house with a master tape of a new song that he’d just recorded, but he’d come on a bad day of the week. You see, it was a day when Britons were prohibited from using electricity because of the power shortage. But something told King to take a chance. He invited the artist to come in, and, in a room lit only by candles, keeping the volume turned way down, he listened to that tape, and he knew he’d bought a hit song. Here it is, up to #25 this week, ‘Beach Baby’ by First Class.”
  • The song contained two instrumental passages, the first from the composer Sibelius, the second a direct quote from “Let’s Go To San Francisco.”
  • The single version of the song was almost 5 minutes long so most stations faded it out before the instrumental break in order to shorten it and to avoid the legal action that was being taken against Carter from the Sibelius family which would end up giving half of the proceeds from the song to the estate.
• Beach Baby
• https://open.spotify.com/track/5J74pF4Nn86qyLQihpkXq4

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

Brendan Ashbrook – Logo Designer

For More Information:

• https://en.wikipedia.org/wiki/The_Flower_Pot_Men
• The Flower Pot Men: Midsummer Dreaming – An Anthology 1967-1970, 3CD Digipak – liner notes by David Wells
• John Carter and Gill Shakespeare Interview by The Pale Bloom
• https://garagehangover.com/tag/ged-peck/
• https://www.nicksimper.net//nicks-story/chapters-11-17/chapter-16-flowerpot-men-on-the-road/
• https://forgottenbands.blogspot.com/2011/03/next-band_5259.html

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.

Subscribe at Apple Podcasts, Spotify, Google Podcasts, Overcast, Pocket Casts, Anchor.fm, Breaker, PodBean, RadioPublic, Amazon Music, Pocket Casts, or search in your favorite podcatcher! 

How To Support Our Show:

The Deep Purple Podcast is 100% listener supported and ad-free! If you receive value from our show please consider supporting us!

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Thanks to Our Executive Level Patrons:

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Postcards From The Edge . . . OF CONNECTICUT!

• 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:

• Bass – Paul Dean (3)
• Drums, Percussion – Ray Sparrow
• Guitar [Second] – Bill Hinde
• Vocals – Lynden Williams
• Guitar –Bob Cooke

Technical:

• Engineer – Lou Austin*
• Lacquer Cut By – W (12)
• Liner Notes – Ian Gillan
• Photography By – John Thomson (2)
• Producer – Ian Gillan
• Sleeve Notes – Ian Milton

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:

6. Midnight Steamer
7. Primitive Man
8. Beyond The Grave
9. 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.

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

Brendan Ashbrook – Logo Designer

For More Information:

• https://en.wikipedia.org/wiki/Jerusalem_(British_band)
• https://www.discogs.com/release/2501404-Jerusalem-Jerusalem
• https://musicbrainz.org/release/77ada017-c623-4c02-8f9c-a3e49e87f058
• https://musicbrainz.org/release/16d947ae-4949-4ca9-9abe-16004a1b8f41
• https://jerusalembanduk.wixsite.com/mysite
• https://web.archive.org/web/20210514034417/https://primitivemansoundz.com/interviews/paul-dean-jerusalem-interview – unable to find even on archived site
• https://www.rockadromerecords.com/1327/jerusalem-interview-on-its-psychedelic-baby-blog/
• https://galacticramble.blogspot.com/2011/06/jerusalem-aggressive-music-with-lot-of.html
• https://lionproductions.org/pages/JERUSALEMLP.html
• https://www.talkingelephant.co.uk/product/jerusalem/

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Postcards From The Edge . . . OF CONNECTICUT!

• Ralphie, Ralphie, Ralphie!

Deep Purple’s Rarest Live Tracks

List of Deep Purple tracks played live:https://www.setlist.fm/stats/deep-purple-3bd6acc8.html

Songs Played 1 Time:

• Mad Dog
  • https://www.setlist.fm/setlist/deep-purple/1987/cumberland-county-civic-center-portland-me-63de3e03.html
  • DEEP PURPLE – Civic Center, Portland, Oregon, USA – Mad Dog (Flac)
• Sail Away
  • https://www.setlist.fm/setlist/deep-purple/1975/sporthalle-boblingen-germany-bc64156.html
  • Snippet only?
  • No audio available
• Jam Stew
  • https://www.setlist.fm/setlist/deep-purple/1969/bbc-radio-4-studios-london-england-33b8c809.html
  • Deep Purple – Jam Stew (BBC Session)
• Gemini Suite Live

Songs Played 2 Times:

• What’s Goin’ On Here
  • December 9, 1973
  • https://www.setlist.fm/setlist/deep-purple/1973/kb-hallen-copenhagen-denmark-33d284f1.html
  • https://www.purple.de/dirk/purple/tours/1973/73-12-09.php
  • “It was 40 years ago this very day, December 9, 1973, when I had the indescribable honour of walking onstage with the extraordinary talents of Ritchie Blackmore, Jon Lord, Ian Paice & Glenn Hughes at the KB Halle in Copenhagen, Denmark for the very first time. The ‘Burn’ album had yet to be released, but, it showed the balls of the guys in the band to go out & play brand new, unheard songs to a rapturous Danish audience. An unforgettable experience for me. Thank you ALL for an amazing journey that continues today …”
  • David Coverdale
  • Lake Tahoe
  • Dec 9, 2013
  • Bootleg: First MkIII Gig
  • https://www.ltkroman.dk/music/1973_deeppurple/deeppurple.htm
  • December 11, 1973
  • Deep Purple – Whats Going On Here (1974)
  • Bootlegs:
  • Burn The Witch – 2 CD … Darker Than Blue DTB 057/058
  • Truckin’ – 2 LP
  • White Nights – 2 CD … Crystal Sound CS-21/22
  • https://www.setlist.fm/setlist/deep-purple/1973/scandinavium-gothenburg-sweden-33de3491.html
• Peaches en Regalia
  • July 16, 2011
  • https://www.setlist.fm/setlist/deep-purple/2011/auditorium-stravinski-montreux-switzerland-13d0bdbd.html
  • July 16, 2016
  • https://www.setlist.fm/setlist/deep-purple/2016/auditorium-stravinski-montreux-switzerland-2bff2ce2.html
  • Peaches and Smoke
• Love Help Me
  • September 27, 1968
  • https://www.setlist.fm/setlist/deep-purple/1968/mothers-birmingham-england-63d87ea3.html
  • https://www.purple.de/dirk/purple/tours/1968/68-09-27.php
  • September 28, 1968
  • https://www.setlist.fm/setlist/deep-purple/1968/van-dike-club-plymouth-england-6bd87ea2.html
  • No recordings available
• Long Time Gone
  • July 22, 2000
  • https://www.setlist.fm/setlist/deep-purple/2000/auditorium-stravinski-montreux-switzerland-63d1b2eb.html
  • Deep Purple – Long Time Gone (live unreleased song)
  • https://www.thehighwaystar.com/specials/songs/longtime.html
  • July 24, 2000
  • https://www.setlist.fm/setlist/deep-purple/2000/auditorio-de-castrelos-vigo-spain-63df86f7.html
• Lalena
  • April 15, 1969
  • https://www.setlist.fm/setlist/deep-purple/1969/eastern-washington-fieldhouse-cheney-wa-usa-43d85bdf.html
  • June 24, 1969
  • https://www.setlist.fm/setlist/deep-purple/1969/bbc-radio-5-live-london-england-33b8c815.html
  • Deep Purple – Lalena (Live 1969)
• Hallelujah
  • July 10, 1969
  • https://www.setlist.fm/setlist/deep-purple/1969/speakeasy-london-england-53d85f4d.html
  • https://www.purple.de/dirk/purple/tours/1969/69-07-10.php
  • It happened to be Mark 2’s first live performance, as Ian Gillan recalls “I felt absolutely elated at joining Purple. When I first heard them I had never been moved musically so much in my life. At the time Deep Purple were the greatest band I could join. It made me realise I had to work much harder than I had ever worked before.”
  • These were the guys I fronted on 10 July 1969 on a tiny stage at the Speakeasy in Margaret Street in London’s West End. I stood before my peers that night – pros, other musicians and people in the music business. As soon as we started, the place went ‘Wooah’. It was awesome, and I just coasted through – the feeling of power indescribable. I played congas, for want of something to do during an instructional, and I cried – oh I cried.
  • August 5, 1969
  • https://www.setlist.fm/setlist/deep-purple/1969/beat-club-bremen-germany-23b8c81f.html
  • Info on Setlist.fm but not on purple.de.
  • Says the episode was recorded and aired on the 30th of August.
  • Song is not “performed” but rather mimed by the band on the show.

• Fortuneteller
  • September 18, 1991
  • https://www.setlist.fm/setlist/deep-purple/1991/szabadidkozpont-szombathely-hungary-bd2f9f6.html
  • https://www.purple.de/dirk/purple/tours/1991/91-09-18.php
  • Burning Savaria – DVD
  • September 20, 1991
  • https://www.setlist.fm/setlist/deep-purple/1991/varosi-stadion-nyiregyhaza-hungary-3d59d53.html
  • Not listed on purple.de. Shown as Sept 15th on that site: https://www.purple.de/dirk/purple/tours/1991/91-09-15.php
  • Interpolation from Copenhagen
  • DEEP PURPLE TRUTH HURTS – FORTUNE TELLER – COPENHAGEN 91 LIVE RARE
  • https://www.purple.de/dirk/purple/tours/1991/91-03-05.php
  • March 5, 1991
• Emmarretta
  • January 14, 1969
  • https://www.setlist.fm/stats/deep-purple-3bd6acc8.html
  • February 11, 1969
  • https://www.setlist.fm/setlist/deep-purple/1969/maida-vale-studios-london-england-43c533d7.html
  • Emmaretta (live)
• Dealer
  • February 6, 1976
  • https://www.setlist.fm/setlist/deep-purple/1976/lakeland-civic-center-lakeland-fl-usa-1bc64134.html
  • February 8, 1976
  • https://www.setlist.fm/setlist/deep-purple/1976/miami-jai-alai-fronton-miami-fl-usa-23d28423.html
  • Deep Purple – Dealer (live 1976)

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More Rare Live Tracks:

• Rat Bat Blue
  • Played six times live in 1996 between February 15 and February 26 during the UK leg of their tour. All in England.
  • https://www.setlist.fm/stats/songs/deep-purple-3bd6acc8.html?songid=43d467f3
  • Deep Purple – “Rat Bat Blue” – Reading, UK 1996
  • Feb261996Aston Villa Leisure Centre, Birmingham, England
    February 26, 1996Feb251996De Montfort Hall, Leicester, England
    February 25, 1996Feb221996Bournemouth International Centre, Bournemouth, England
    February 22, 1996Feb171996Portsmouth Guildhall, Portsmouth, England
    February 17, 1996Feb161996Rivermead Leisure Complex, Reading, England
    February 16, 1996Feb151996Plymouth Pavilions, Plymouth, England
    February 15, 1996
• Child in Time Live with Don and Steve
  • This lineup only performed the song 9 times between march 17 to april 30th (6 weeks) in 2002 with the april show in Indonesia being the last time the show was ever performed live.
  • Deep Purple. World Tour 2002 (live in Dnipropetrovs’k, Ukraine)

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  • I see DC
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  • Eddie Lion
  • Sicktone

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Listener Mail/Comments

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Postcards From The Edge . . . OF CONNECTICUT!

• From Germany!
• A care package from Connecticut!
• More updates from Ralphie!

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:

• Bass – Chris Glen
  • https://en.wikipedia.org/wiki/Chris_Glen
  • Known for being in The Sensational Alex Harvey band
  • Toured with Ian Gillan to promote Naked Thunder
  • Worked with MSG in reunion lineups
  • Also played with Paul Rose
• Drums – Ted McKenna
  • https://en.wikipedia.org/wiki/Ted_McKenna
  • Started off in the group Tear Gas with Chris Glen
  • Also played with The Sensational Alex Harvey Band
  • Was Rory Gallagher’s drummer from 1978 to 1981.
  • Also played in Greg Lake’s live band
  • Sadly passed away in 2019
• Guitar – Michael Schenker
• Vocals – Graham Bonnet

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:

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)

Side Two:

5. Desert Song (Schenker, Bonnet)
6. Broken Promises (Schenker, Bonnet, Glen)
7. Searching for a Reason (Schenker, Bonnet)
8. 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.]

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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For More Information:

• https://en.wikipedia.org/wiki/Assault_Attack
• https://www.discogs.com/release/1981588-The-Michael-Schenker-Group-Assault-Attack
• https://musicbrainz.org/release/32c88e15-3054-4dde-bf36-0ce1f1d7f836
• https://vinyl-records.nl/heavy-metal/michael-schenker-group-assault-attack-vinyl-lp-album.html

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• Ralphie continues binge-listening to the show!
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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.

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The Venue:

• Texas Hall – The University of Texas at Arlington, TX
  • https://www.setlist.fm/venue/university-of-texas-at-arlington-arlington-tx-usa-6bd2968a.html
  • https://www.uta.edu/
  • https://en.wikipedia.org/wiki/University_of_Texas_at_Arlington

Setlist

1. Voyages of Past Travelers / Distant Sun
2. Drifting in Open Space
3. Pandora’s Box / Thousand Days of Yesterdays (intro)
4. Frozen Over
5. Dancing Madly Backwards (On a Sea of Air)
6. Armworth
7. Myopic Void
8. Mesmerization Eclipse & Drum Solo
9. Stone Free (Encore)

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• https://www.setlist.fm/setlist/captain-beyond/1973/university-of-texas-at-arlington-arlington-tx-73c7ea61.html

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• Easter Greetings from Connecticut
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Deep Purdre Pics as Discussed on the Episode:

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Album Tracks:

All songs written by David Coverdale and Doug Aldrich

1. Summer Rain
2. Lay Down Your Love
3. A Fool in Love
4. Got What You Need
5. ‘Til the End of Time

Japanese Bonus Tracks

• All for Love (Doug Aldrich guitar solo)
• Summer Rain (Acoustic version)

European Bonus Disc

• Summer Rain (Acoustic Version
• All I Want All I Need (Radio edit)
• Take Me With You (Live
• Ready to Rock (Enhanced video)

US/Canadian bonus CD; all tracks taken from Live in the Shadow of the Blues

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Bustin’ Out The Spreadsheet

Reviews

• https://web.archive.org/web/20130120085952/http://heavymetal.about.com/od/cdreviews/fr/whitesnakegoodt.htm
  • 3.5/5
  • Whitesnake has been around for 30 years, and a band with that sort of longevity has to fight to stay modern and relevant. When it comes to new material from bands we grew up with, fans can be ambivalent. We’d rather hear “Still Of The Night,” “Here I Go Again” or “Is This Love” for the billionth time than something new.
  • With Good To Be Bad, Whitesnake proves they still have plenty left in the tank. The 2008 lineup of the band includes vocalist David Coverdale, guitarists Doug Aldrich (Dio) and Reb Beach (Winger, Dokken), bassist Uriah Duffy (Travers/Appice), keyboardist Timothy Drury (Don Henley) and drummer Chris Frazier (Steve Vai).
  • The songs on the CD are classic Whitesnake, full of big guitar riffs and melodic hooks. There’s a nice combination of rockers and ballads, and Coverdale’s voice, although a bit raspy at times, still sounds great. In a different era there would have been about 4 huge radio hits on this CD, and Whitesnake fans should really enjoy Good To Be Bad.
  • (released April 22, 2008 on SPV Records)
• https://www.allmusic.com/album/good-to-be-bad-mw0000784829
  • 4 out of 5
  • Good to Be Bad Review by Thom Jurek
  • Good to Be Bad marks Whitesnake’s 30th anniversary as a band — though frontman David Coverdale is the only original member. It’s their first studio album since 1998’s Restless Heart, which was never released in the United States. The current incarnation of Whitesnake is Coverdale, guitarists Doug Aldrich and Reb Beach, bassist Uriah Duffy, keyboardist Timothy Drury, and drummer Chris Frazier. Frazier is the band’s newest member; the others appeared on 2006’s Live…In the Shadow of the Blues. This is a seasoned road group, but it remained to be heard if they could pull it off in the studio. The answer is hell yes! Listening to this wondrous racket, it seems strange that such a timeless sound has vanished from mainstream rock — guitars just don’t sound like this on records anymore. What’s really weird is that this sound, as seemingly “retro” as it is in recalling the 1980s, is actually a real alternative to what’s on corporate radio in the 21st century. There are some outstanding cuts here. “All for Love,” the album’s centerpiece, contains a majestic power chord intro. It evolves into the big bad four-note riff that the tune hinges on. It’s got a killer rough-and-rowdy hook in the refrain that’s trademark Whitesnake. Another killer arrives with the wild unhinged blues licks that open “Best Years.” The tune’s riff is an inversion of the Allman Brothers‘ “Whipping Post,” and the verse is based on the same changes. This tune is one of the hardest rockers to come swaggering down the stadium rock alley in a dog’s age. “Can You Hear the Wind Blow” features enormous guitars and shimmering keyboards that contrast with the blues wail in Coverdale‘s voice. There is déjà vu here, too: the hook is reminiscent of “Rock You Like a Hurricane” by the Scorpions. Aldrich‘s guitar playing is a huge boon to the Whitesnake sound. He’s obviously listened to Jimmy Page, and the slippery, knotty, and funky blues licks in tracks like “Call on Me” reflect that, but his sound with its effects pedals is more overdriven and bigger than life, offering the base for Whitesnake’s core sound — straight-out festival rock, y’all. This wouldn’t be a Whitesnake recording without a power ballad, and “Summer Rain” is a beauty. Coverdale sings a country-tinged melody; he’s all vulnerable singing above a washed-out meld of acoustic guitars and a gently but insistently swelling organ, kissed by cymbals and a bass drum. Of course, there’s an enormous electric guitar solo near the end to bring it home. Coverdale‘s voice is lower in the 21st century, but just as effective in Whitesnake’s brand of hard rock. “A Fool in Love” begins with the sound of a crackling vinyl record; it gives way to pure balls-out blues-rocker, with slide guitar in Brit metal overdrive. The closer, “‘Til the End of Time,” starts as an acoustic blues, but by the time the big tom-toms roll in and the keys weave through those guitars, it feels like something off Led Zeppelin III. Coverdale has always stuck very close to his blues-rock roots and continues to mine them; his brand of ROCK with chugging outsized guitars is palatable because of his reliance on crafting excellent choruses and hooks. It’s a hell of a comeback and ranks right near the top of the Whitesnake catalog.
• https://www.theguardian.com/music/2008/apr/18/popandrock.shopping4
  • 3 out of 5
  • (steamhammer)
  • “I wouldn’t want to be singing Slide It In in front of a bunch of blokes,” said the Snake’s David Coverdale last weekend. You don’t get those sort of quotes from Foals, which may explain why the unreconstructed heavy rockers’ return is being greeted with joy in older metal circles. On their first album for 11 years, the veteran band Coverdale now jokingly dubs “Greysnake” robustly fight off any musical developments that have taken place since 1979. Dragons are slain, winds blow, heads bang, solos twiddle and a body shakes – unfeasibly – “like a red hot tree”.
  • It’s as unfashionable as a leather raincoat, but Summer Rain and Lay Down Your Love boast industrial-strength choruses straight from the days when the sight of Coverdale and codpiece on MTV convinced alarmed parents to lock up their daughters and stuff loo roll in their ears.
• https://www.ign.com/articles/2008/04/22/whitesnake-good-to-be-bad-review
  • 8.1/10
  • Whitesnake – Good To Be Bad Review
  • Coverdale and Co. prove that there is indeed, life after the ’80s.
  • By Jim Kaz
  • Updated: May 12, 2012 4:44 am
  • Posted: Apr 22, 2008 2:18 pm
  • Out of the ashes of Deep Purple, a young and ambitious David Coverdale struck out on his own with Whitesnake toward the end of the ’70s. With major success overseas the blues-infused combo was unable to crack the US until its breakthrough 1987 album hit the streets a decade later.
  • Tweaking the sound and style, Coverdale recruited a new, more camera-friendly lineup for videos and touring, putting forth a slick pop-metal package tailor-made for American airwaves and MTV. The formula worked a charm and the album sold millions, thanks in part to glitzy videos featuring Coverdale’s belle-of-the-day Tawny Kitaen spread eagle on the hood of his Jag.
  • But criticisms were rampant, coming from the highest echelons of rock hierarchy with people like Robert Plant hammering the band for stealing his shtick. All the egos, excess and Zeppelin-isms would eventually put Coverdale in the unenviable position as poster child for the pomp and poof of the ’80s hair-band movement.
  • 
  • Now after more than a decade of obscurity, the band is back for another shot. While it’s difficult to really think of this as a Whitesnake album with just one original band member, I resolved myself to look past that and judge it solely on the sounds. Fortunately, it was a pretty easy sell.
  • The songs fall somewhere between the bluesy bits of the early days and the high-gloss sheen of the poster-child era. The lineup that features vet Tommy Aldridge on drums is deft enough, but not so flashy as to upstage the boss. And with a booming, organic production, the sounds are also a bit different from what you might expect of a 21st century hard rock album, and that’s what ultimately makes this one stand out. Like a well-worn leather jacket, Good To Be Bad has a warm familiarity about it that just feels right…whenever.
  • The opening thud of “Best Years” sets the tone with thick, chugging guitars and a blanketing organ line that provide the perfect foundation for Coverdale’s signature snarl. The semi-autobiographical lyrics hint at how good it is to be back in the game, a sentiment that comes through in spades throughout the album. “Can You Hear The Wind Blow” is another bluesy jaunt that would easily fit in with the band’s late ’70s repertoire. “A Fool In Love” goes straight for the retro factor, even including pops and crackles in its bluesy intro.
  • No Whitesnake album would be complete without a couple big ballads, and this one’s no exception. “All I Want All I Need” recalls the prior hit “Is This Love” and is eerily similar to the soul standard “I’ll Be Around” in its verses. But the band shines on the acoustic-based “Summer Rain,” which possesses all the soul and authenticity a thousand and one hair bands failed to capture back in the day. On the flipside, the addictive “Lay Down Your Love” is sure to rouse the haters as it unabashedly apes Led Zeppelin’s “Black Dog” in its own seedy, hard-rock grooves. But, in a sense, it’s the best song the Zeps haven’t recorded in years.
  • A few faux-pa’s aside Good To Be Bad has enough shining, mega-rock moments to endear itself to fans old and new. Without posturing or pretension, it just rocks.
  • Download Worthy:
  • 1. “Best Years”
  • 2. “All For Love”
  • 3. “Lay Down Your Love”
  • 4. “Got What You Need”
  • 5. “Summer Rain”
• https://www.metal.de/reviews/whitesnake-good-to-be-bad-10123/
  • 7/10
  • Haaa… ein neues WHITESNAKE-Album! Unglaublich, oder? Ich hätte nicht damit gerechnet, dass die Schlange noch zuckt, geschweige denn damit, dass es irgendwann noch mal ein neues WHITESNAKE-Album geben würde. Wer das bisher ebenso sah, liegt auch nicht ganz falsch. Denn von WHITESNAKE ist außer dem großen Namen und Sänger David Coverdale nichts geblieben.
  • Als vor rund 20 Jahren ”1987“ erschien, war dies für viele alte WHITESNAKE-Fans der Schlusspunkt unter der Geschichte einer großartigen Hardrockband, in deren Analen große Namen wie Jon Lord, Neil Murray, Ian Paice, Cozy Powell und natürlich das kongeniale Gitarrenduo Moody/Marsden einige unter vielen waren. Vom grandiosen Bluesrock und den doppelbödigen Balladen vergangener Tage war nahezu nichts geblieben, stattdessen schwang da ein gewisser Adrian Vandenberg die Klampfe wie ein kanadischer Holzfäller die Spaltaxt, WHITESNAKE klangen irgendwie nach Heavy Metal und das war ganz blöd. Sagten jedenfalls viele; für mich war’s die erste Scheibe auf der WHITESNAKE stand und ich war völlig begeistert.
    Tja, dann kam ’ne ganze zeitlang nix mehr. Vor zehn Jahren erschien das akustische -quasi ohral, höhö- zu verabreichende Brechmittel ”Restless Heart“ von DAVID COVERDALE & WHITESNAKE, und auch ich fiel vom Glauben an die weiße Schlange ab.
  • Groß war dann die Überraschung, von einer Tour und DVD im Jahre 2006 zu hören und auch davon, dass WHITESNAKE sich zwecks Aufnahme eines neuen Albums im Studio befänden. Tja, inzwischen sind sie wieder aus dem Studio raus, die Platte ist gepresst und liegt zum Kauf im Laden. Die Frage ist jetzt, ob man sich ”Good To Be Bad“ denn auch kaufen kann/darf/soll. Alte Fans können hier wenig falsch machen. Zwar gibt’s nicht viel Blues auf ”Good To Be Bad“, dafür aber wirklich angenehme Rocknummern und drei Balladen, hiervon sogar eine echt tolle, akustisch instrumentierte (”Summer Rain“). Super! Mit der hier gebotenen Balance kommen höchstwahrscheinlich auch jüngere Freunde der Schlange gut klar, so dass diese herrlich unzeitgemäße Scheibe ein echter Hit in diesem Sommer werden könnte.
    Nach wie vor eindrucksvoll ist das kraftvolle Organ von Mr. Coverdale, der allen Nachwuchsträllerern einmal mehr zeigt, wo und wie hoch der Hammer bzw. das Mikro hängt. Hut ab! Einziger Wermutstropfen ist, dass es auf ”Good To Be Bad“ keinen so richtigen Kracher wie ”Still Of The Night“ oder die Überhymne ”Here I Go Again“ gibt. Na, dann eben beim nächsten Mal. Ich jedenfalls freue mich schon ganz doll auf den Sommer, auf die Festivals und darauf, WHITESNAKE mal live zu sehen.
• https://www.metal-hammer.de/artists/whitesnake/
  • 6/7
• https://metalstorm.net/pub/review.php?review_id=5442
  • 8.0
  • Nineteen years after the last official release of Whitesnake, the new album of the British combo is finally out, and yes that’s great to see that the band is back and better than ever. If David Coverdale was wondering if the fans were waiting for a new release I can tell him that yes, after the excellent “Live: In The Shadow Of The Blues” released in 2006 we were all waiting for a new release. The good thing here is that we will not be disappointed, Whitesnake’s new album just rocks!
  • It was maybe tricky to do a comeback after so many years (yes I know that David Coverdale released “Restless Heart” in 1997, but it was not a real album of Whitesnake and it was finally a bit anecdotic in the end) but I have to concede that Coverdale didn’t do any mistakes with this new release. Sure, the album features some love ballads which are a bit boring (but that’s not surprising too?) but in general the real Heavy songs are great. “Best Years” or “Can You Hear The Wind Blow” both have great guitars riffs (which probably come from the influences of Doug Aldrich), those songs (and they’re just examples) are great and super Heavy. Maybe that I cannot say that we’re reaching the level of a “Still Of The Night” or “Crying In The Rain” but then really we’re just behind them? All in all, if you like “1987” I quite sure that you’ll love “Good To Be Bad”, the new album is not surprising that’s right but it’s classy Heavy / Hard Rock really.
  • I really like Doug Aldrich and Reb Beach and I think that they give a lot of energy to the new music of Whitesnake. The other musicians do a great job here and the performance of David Coverdale is quite impressive, he is still a 
  • great singer for sure. The only problem for me with this release actually comes from its lyrics. Ok, I’m already hearing some people who’re saying that it’s “Whitesnake” and I agree, but I was expecting something else than love and blabla and unfortunately, one more time the lyrics are a bit? well you know, they talk about “love”, you see what I mean? Despite this negative point, the album is full of great music and its recording is perfect. Really I’m happy to say that Whitesnake’s comeback was not done for nothing and let’s hope that we will have the chance to see them on the road this year, with those new songs it will simply kick some asses live!
  • Yes, you have the answer now, “Good To Be Bad” is a really good album. This is maybe not the best Whitesnake but for sure this is among their best releases and that’s a lot better than a lot of their albums. Coverdale is not so young now but he still haves the class and he still knows how to write good songs. “Good To Be Bad” will be one of the greatest Hard Rock albums of the year 2008, guys that’s good that you’re back.
  • Rating breakdown

Performance:	9
Songwriting:	7
Originality:	7
Production:	9

• Written by Jeff | 28.04.2008

• https://web.archive.org/web/20150527225827/http://www.popmatters.com/review/whitesnake-good-to-be-bad/
  • 6 out of 10
  • Whitesnake
  • Good To Be Bad
  • by Marc A. Price
  • 10 August 2008
  • “It’s very butch. Very muscular…” says David Coverdale about the first Whitesnake album in 11 years. Pause for a while and take that in.
  • The endless 25th anniversary reunion of the masters of hairspray metal is into its sixth year and has spawned Good To Be Bad. Coverdale & Co. are not known for releasing groundbreaking material so one might be forgiven for expecting no surprises on first listen. One would be wrong. The biggest surprise is that it is not a bad record. Sure, it is full of double entendre-fueled cock rock, but as far that oeuvre goes this is a pretty respectable example.
  • 
  • Whitesnake
  • Good To Be Bad
  • (SPV)
  • US: 22 Apr 2008
  • UK: 21 Apr 2008
  • Amazon
  • iTunes
  • This is a summer blockbuster of a record. It is akin to Indiana Jones and the Kingdom of the CGI Gopher in so far as it does exactly what it says on the tin. People will enjoy both because they provide an opportunity to relive past youth (and hair) without taxing the brain in any way, shape, or form. Granted, Harrison Ford will be banking more cash as a result of his endeavor, but that is what you get if you keep retiring and then coming back, Dave.
  • This album ticks all of the boxes for devotees of the band. It drives down the familiar lane of Led Zeppelin riffs, big choruses, and is overflowing with “sexy” lyrics. While unlikely to win over any new fans, it will give the band something to sell at gigs. So, take her top down, ease the seat back, slide it in, and ride her at full pelt with this blasting from her speakers at full volume. Sometimes it’s Good To Be Bad.
• https://recordcollectormag.com/reviews/album/good-to-be-bad
  • 4 out of 5
  • While 1987 has yet to be surpassed by the Saltburn singer and his ever-changing stellar cast of players, this celebration of 30 years of the Snake is a fine salute, running to 11 quality cuts of melodic hard rock. Best Years begins in amiable fashion, before the beefy riffs and rhythm of Call On Me, the acoustic-shaped balladry of All I Want All I Need, and the Thin Lizzy-like romp of All For Love. Coverdale’s gruff vocals
    are pitched over sweet harmonies to good effect on Summer Rain, while Got What You Need ups the fret factor. Lay Down Your Love is the nearest to a 1987 classic,
    but there’s enough to be going on with besides.
  • Tags
    Whitesnake
  • SPV | 80001131 CD
• https://www.rockhard.de/reviews/whitesnake-good-to-be-bad
  • 8.0
  • WHITESNAKE
  • Good To Be Bad
  • Review
  • Reinhören
  • (59:28)
  • Richtig beschwert hat sich kaum ein WHITESNAKE-Fan darüber, dass seit einem Jahrzehnt kein neues Album erschienen ist. Stattdessen freute man sich über eine grandiose DVD und zahlreiche mitreißende Auftritte. Vielleicht war das aber auch nur reiner Pragmatismus, weil man lieber ohne neue Scheibe auskommen wollte, als sich eventuell über einen billigen und halbherzigen Abklatsch früherer Glanztaten ärgern zu müssen. Tja, da wurde Mister Coverdale wohl gnadenlos unterschätzt. Der WHITESNAKE-Frontmann belehrt uns jedenfalls eines Besseren, indem er sich mit dem großartigen Gitarristen Doug Aldrich im Studio verschanzte und elf Stücke aufnahm, die einen perfekten Querschnitt aus Hitalben wie „1987“ und „Slide It In“ bieten.
  • Natürlich könnte man behaupten, „Good To Be Bad“ sei am Reißbrett entstanden und wäre absolut berechnend, aber wen interessiert das? WHITESNAKE-Fans werden überglücklich sein, Tracks wie die grandiose Ballade ´All I Want All I Need´ und die (Blues-)Rocker ´Good To Be Bad´, ´A Fool In Love´, ´Can You Hear The Wind Blow´, ´Lay Down Your Love´, ´Best Years´ oder ´All For Love´ hören zu können, und bekommen genau das, was sie wollen: einen grandiosen Gitarrensound, der klingt, als ob es seit den Achtzigern nie Besetzungswechsel bei WHITESNAKE gegeben hätte, eine immer noch unter die Haut gehende Stimme, klasse Ohrwürmer aus der Blues- und Melodic-Ecke und natürlich jede Menge Love.
  • Autor:Jenny Rönnebeck

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For More Information:

• https://en.wikipedia.org/wiki/Good_to_Be_Bad
• https://www.discogs.com/release/1342108-Whitesnake-Good-To-Be-Bad

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