Author: Nathan Beaudry

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Album Tracks:

Note from CTC Issue 22:

From: Par.Holmgren@svt.se Subject: CTC: The guitar(ist)s on ADDICTION All, Damien asked me to specify about who is playing what on the new album. Well, basically Joakim is playing on *his* three tracks and Bonilla on *his*. But with these exceptions: * I’m Not Your Slave; Joakim is doing the HEAVY riff around the chorus; 1.37-1.52 and at the end from 3.41. * Madeleine; MB plays the guitarsolo and the accoustic guitars. * Blue Jade; Again MB does the accoustics.

1. I’m Not Your Slave (Bonilla, Hughes)
2. Cover Me (Bonilla, Hughes)
3. Blue Jade (Hughes, Marsh)
4. Justified Man (Bonilla, Hughes)
5. I Don’t Want To Live That Way Again (Bonilla, Hughes)
   • Glenn’s favorite ballad on the album.

US Bonus Tracks

6. Way Back To The Bone (live)
7. Touch My Life (live)
8. You Fool No One (live)

Musicians on Bonus Tracks:

• Bass – Sampo Axelsson (tracks: 11 to 13)
• Drums – Morgan Ågren (tracks: 11 to 13)
• Keyboards – Lasse Pollack (tracks: 11 to 13)

Japanese Track Order:

1. I’m Not Your Slave
2. Cover Me
3. Addiction
4. Madeleine
5. Talk About It
6. Death Of Me
7. Down
8. Blue Jade
9. Justified Man
10. I Don’t Want To Live That Way Again

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Bustin’ Out The Spreadsheet

Reception and Charts:

• Released July 10, 1996 in Japan.
• Released in Europe later that year.
• Released in the US in 1997.
• US release contained three live bonus tracks
• Released as a 2CD set by Purple records including US bonus tracks and a 2nd CD of live material performed in Holland on July 14, 1995.
• GH: in CTC ISsue #25: “I also need time to think what I need to make myself happy. FEEL it was an album I didn’t want to make. I was convinced into making it. Although I think it is a very good rock album. The only problem with me is it’s not funky. And the real Glenn Hughes – and the real Glenn Hughes fan knows that I am into funky music.”made me happy when I made the album. ADDICTION was a rough album to make because 
• LH: First he asks, “Are you satisfied with the success of ADDICTION, and, if we’re not too nosy, how successful has it been so far?”
• GH: It’s about – it’s not as successful as FEEL, not yet. I tell this to you again that the albums I have been making the last three, four years have just been scratching the surface. I don’t think I am ever going to have a massive album until I am with a label that appreciates what I am doing. I have been making albums to make these labels happy. I’d like to make albums that make Glenn Hughes happy. FEEL was an album that was making me happier. If you look at ADDICTION as a rock album, it’s a great rock album, but I didn’t want to make a rock album. If you look at the members on FEEL, I said I felt it was necessary to make a different kind of album, but I went back to playing rock. But a lot of people liked it. The press loved it. I got great reviews. Some of the press people don’t understand the funky Glenn Hughes or the soulful Glenn Hughes, but it’s too bad; they are going to have to get used to it.

Reviews

Addiction – Album Review

GLENN HUGHES ADDICTION Zero Records XRCN 1280 : Japan : July 10. 1996 CD SPV Records SPV 085 44412 : Europe : 1996 CDGlenn’s latest ten track solo CD. issued ahead of the pack in Japan yet again for obvious reasons (they paid for it!). A lot of people had spoken to me about the CD expressing mixed feelings and I have to say I can see why having played it a few times.As with Feel before it, Addiction still has a kind of made to measure atmosphere about it. Great vocals as always, and especially poignant here given the subject matter. but I’m still left with the impression that Glenn is or has held back a little. Certainly it’s a lot rockier in a kind of modern Sabbath school of riffs way but musically the band isn’t able to put across much of a personality so it comes across as a working by numbers affair for the most part. The sad part is that played live some of these cuts were real blinders. The title track for example, which here is good (with some nice guitar work which pointedly refuses to ape American style whizziness) but succeeds by knocking you into submission – whereas it grabbed one by the throat instantly on stage.Likewise Talk About It came over more strongly live, being a much needed break from the assault on one’s senses. Death Of Me ,opens the CD to good effect. Predictable structure it’s true but it kinda works it’s way under your skin. Strangely enough it’s a song called Justified Man towards the end of the disc that I find myself drawn to. Taking a slightly different direction, more of a bluesy Free style rock. it suggests that this might be a fruitful area for the future and Glenn’s vocals here really suit the style. It’s so much more adult than the very American look at the blues which he had to work with a couple of CDs ago. Glenn puts his heart and soul into the lengthy CD closer I Don’t Want To Live That Way, but musically it’s a curiously shapeless work out which rather means the effort is disipated. So all in all a mixed bag and interestingly one on which very few have commited their thoughts on paper – which is why you’ve had to put up with me rambling on again.

• https://web.archive.org/web/20070808135230/http://www.melodicrock.com/reviews/reviewsjapan.html
  • Total Score 90% Production 95% Songs 85% Vibe 85% Attitude 95%
  • Glenn Hughes has been around the block not only once, but maybe four or five times!! Since this album is now on wide release, I thought it would be good to revisit it, now that it has had time to mature. Now back in his prime, after several visits to Betty Ford, Glenn has had a new lease of life and has been releasing albums with great reliability, a trait I wish other acts would pick up on. His most recent albums Blues, From Now On, Burning Japan Live and Feel, have all been superb. Diverse, yes, but of great quality nevertheless. With Addiction, Glenn has made his first 90’s album. That is, it’s raw, it’s heavy, and it’s very contemporary. What he hasn’t done is sold out to alternative. He has merely taken his God given voice, and let her rip, on the heaviest album I have ever heard Glenn do.
  • Depending on where you buy the album from, the track listing is shuffled, but the rockers on this album include the anthem ‘Death Of Me’ – killer heavy track!, ‘Down’ and ‘Cover Me’. The ‘not quite flat out’ tracks include the awesome ‘I’m Not Your Slave’, which ends as heavy as anything on the album, and the good fun rock track ‘Justified Man’. For balance there are a couple of slower tracks, but not your usual ballads in any way. ‘I don’t Want To Live That Way Again’ clocks in at over 9 minutes, and smoulders along, until near the finish where it explodes. A great album for Hughes fans to add to their collection, but also a good point for new fans – especially those who don’t know his other albums – to pick up on one of rocks finest talents. They don’t call him The Voice Of Rock for nothing!
• https://my.crossrhythms.co.uk/products/Glenn_Hughes/Addiction/17741/

Glenn Hughes – Addiction
	STYLE: RockRATING OUR PRODUCT CODE: 17741-27838LABEL: Steamhammer 0854412FORMAT: CD AlbumITEMS: 1
Reviewed by Alex FiggisFrom the opening crash of cymbals through to the lingering vocals at its end, ‘Addiction’, Hughes’ fourth studio project to date, is dense both musically and lyrically. By fusing the harder edged moments of ‘From Now On’ (’94) with 1995’s ‘Feel’, the whole album is given a moody submetal/hard rock sound, in spite of such ballads as “Blue Jean” and “I Don’t Want To Live That Way Again”. However, behind the heavy concoction created by guitarists Marc Bonilla. Joakim Marsh and drummer Joe Travers, Hughes* bass can still be heard slapping down the old familiar funk rhythms, adding an interesting and compelling element to ‘Addiction’s sound. Lyrically, Hughes communicates with the listener at a deep, thought provoking and emotional level; covering such topics as pain (“Talk About It”), drug addiction (“Addiction”), Divine protection (“Cover Me”), justification (“Justified Man”) and repentance (“I Don’t Want To Live That Way Again”)… all of which Hughes has experienced personally, having become a Christian after years of drug and alcohol addiction. The repetition of the chorus in some songs could impair one’s enjoyment. In spite of this slight niggle, there is enough material here to keep the listener’s attention both lyrically and musically. Not one to be missed.

• From CTC #20 – See issue for full details and song-by-song review:
  • Review of Glenn’s forthcoming album ADDICTION written by Paer Holmgren. I have been listening a lot to this tape. Probably more than any other of Glenn’s album in the 90’s. It’s got an amazing amount of energy and it’s very aggressive. Music for the 90’s this is. Contemporary. Will hopefully attract a lot of new younger fans BUT could also maybe scare some of the older geezers away. If you REALLY like AOR like FROM NOW ON, BRAZEN ABBOT etc I’m NOT sure if you will like this. But it IS a VERY good album, at least 6 great songs and the other 4 are quite good as well. Marc Bonilla has done a very good work when it comes to production and has really taken it to the edge (and occasionally beyond). Glenn’s voice is the best I’ve ever heard him perform when it comes to hard rock (But MY favourite albums are still PLAY ME OUT and YOU ARE THE MUSIC). FEEL felt like a 200% Glenn Hughes solo album, this doesn’t, as it only features one side of Glenn’s music. Still it’s definitely *the right album* to do at this moment (IMO that is…) And very important: most of the songs will work out great live, can’t wait until the autumn… Musicians: Marc Bonilla; guitars and some keyboards, Joakim Marsh; guitars on *his* 3 songs and I’m Not Your Slave, Joe Travers; drums. I’m 0% objective but I prefer Joakim’s guitars and would have liked to hear him play on more of the songs, especially the heavier ones; Death of Me and the title track. Marc has done some very tasteful accoustic guitars though and as mentioned before, a great production. The drums are by far the best I’ve heard on Glenn’s solo album, they were not especially good on FEEL, imo.

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For More Information:

• https://en.wikipedia.org/wiki/Addiction_(Glenn_Hughes_album)
• https://www.discogs.com/release/3193964-Glenn-Hughes-Addiction
• https://www.glennhughes.com/addiction.html
• Glenn Hughes The Autobiography: From Deep Purple to Black Country Communion by Glenn Hughes
• https://musicbrainz.org/release/f62d5a08-7219-482b-9c9e-9d7234d6587b
• Darker Than Blue Issue 49  February 1997
• Coast to Coast Fanzine – May 19, 1997 –   #27
• Coast to Coast Fanzine  #26
• Coast to Coast Fanzine  #25
• Coast to Coast Fanzine  #24
• Coast to Coast Fanzine  #23
• Coast to Coast Fanzine  #22
• Coast to Coast Fanzine  #21
• Coast to Coast Fanzine  #20
• Coast to Coast Fanzine  #19 

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Postcards From The Edge . . . OF CONNECTICUT!

• Greetings from Dearborne, Michigan
• More postcards from “Ralphie” in Nashville!

Lead up to the Album:

• From Hughes’s Website: “Back to big rock again. I wanted the edge back. It was a dark period for me – relationship issues, acceptance issues, denial and anger – a perfect time to record this album. Marc, Mike Scott, and Jocke did a fine job. I sang with raw emotion, spitting out lyric after lyric of torment and destruction. ‘I Don’t Want To Live That Way Again.'”
• CTC Fanzine, Issue #27, May 1997:
  • Glenn Hughes is trying to convince RAW journalist Mark Putterford (and probably himself) that his years of drug and alcohol addiction are over and that he can pick his career out of the gutter, dust it down, and try to fulfill his huge potential. Glenn Hughes in RAW 20: “If I’ve heard it once, I’ve heard it a hundred times: ‘Glenn Hughes? Oh, yeah, the Cocaine King. He’s finished, man…’ And I laughed at it because I never thought I had a drug problem. Then last summer I woke up. It took me 16 years – 16 *stupid* years – to realize what an asshole I’d been, and to see my career was going down the toilet. I thought about all the deaths there’s been through cocaine, and I was addicted to that shit! I just thought, ‘I don’t wanna die, I wanna LIVE!'”
• From CTC Fanzine, Issue #36 – Jocke Marsh met Glenn Hughes for the first time at the wedding of a mutual friend Paer Holmgren and his wife Eva.
  • JM: No, we had not met before. Paer had known Glenn a good while at the time, and he had told me about him and so on. So it didn’t feel as such a weird thing when I actually got to meet him. I was sort of prepared from Paer’s stories. And I am also a good friend of Thomas (Larsson) and Bojjan (Eric Anders Bojfelt) who were in Glenn’s band before. I had seen videos of them playing with Glenn, etc. We had just got our cover band together, and we were to play at Paer’s wedding, which was just perfect. And we realized that we had a superb opportunity to play with Glenn, so he was asked if he’d like to join us for a couple of songs just for fun.
  • LH: If you had not asked him, maybe you would have had regrets afterwards?
  • JM: Yeah, I don’t even want to think about it! So Paer asked him if he’d like to do it, and to do maybe Gettin’ Tighter and maybe something else. So we got to meet at the wedding, and the rest is history.
  • LH: As I understand, it wasn’t like you had any time to rehearse with Glenn before the wedding though?
  • JM: No, we had not rehearsed with him at all. I went through the arrangement of the songs with him during the dinner, and *that* was not a very easy thing. Paer and Eva (Paer’s wife) had placed me across the table of Glenn. And I thought it was sort of almost too much for me. Anyway, he came there and we said hello, and I did not manage to say a word for the first 20 minutes. And then I thought to myself, I have to break the ice, and we started talking. He’s such an easy guy to talk to, so it was no problem from then on. We went through the arrangement then and there, because we had put Way Back To The Bone right in the middle of Gettin’ Tighter, and then we had also the track You Gotta Dance To That Rock ‘N Roll in there. Do you know that song? 
• LH: I have heard he was practically lying in bed sick and just got up to put down his vocals, and then went back to bed. JM: Yeah, he was in great pain. I was very impressed by the way he handled all that, and that he managed to sing so well considering that he was ill.
• From CTC #21: GH: On the album, which is a very confrontational album… you see what I have done on the new album… it’s called Addiction for obvious reasons… it’s an album that… I wanted to be a bit more serious about my lyrics on this album. Wanted to a be bit more in depth and to have someone understanding what I was singing about, rather than singing about boy meets girl. What I did was opening my own wound and for my own rehabilitation, after five years of being clean, I wanted to go back and look to see what I have been doing. And see if it could help me as a person. So some of this stuff is very angry and some of it is very sad, but it’s a very good album. Have you heard it yet? 

Core Band:

• Drums – Joe Travers
  • From Discogs: “American drummer, born August 20, 1968, engineer “vaultmeister”/ archivist & researcher for the Zappa Family Trust, a position he describes as “The person who looks after the tape vaults and knows all the necessary information to document the contents – and preserves the Zappa masters from getting damaged by the passing of time”.”
  • Played with Z on their two albums Shampoohorn and Music For Pets, worked with Mike Keneally and Beer for Dolphins
• Guitar – Joakim Marsh*
  • https://sv.wikipedia.org/wiki/JJ_Marsh
  • Swedish guitarist, has worked with the group Spellbound, has worked with Glenn Hughes since starting on this album
• Guitar, Keyboards, Producer – Marc Bonilla
  • http://www.marcbonilla.com/
  • http://en.wikipedia.org/wiki/Marc_Bonilla
  • Worked with Keith Emerson, David Coverdale, Ronnie Montrose, Asia, and Edgar Winter.
• Vocals, Bass, Producer – Glenn Hughes

Technical:

• A&R [Shrapnel Records] – Mike Varney
• A&R [Zero Corp] – Kazuo Uchiyama
• Engineer [Assistant] – Tony Alvarez (2)
  • Only a few other credits on Discogs.
• Producer, Engineer, Mixed By – Michael Scott
  • Worked with Carly Simon, Jose Feliciano, and would go on to work with HTP.
• Executive-Producer, Management – Bill Hibbler
  • Only credits are this and Hughes’s previous album, “Feel.”
• Legal – Edward Z. Fair*
• Mastered By – Steve Hall
• Producer – Michael Scott
  • Worked with Carly Simon, Van Halen, Quincy Jones, Dwight Shrute, Jim Halpert.

Album Art & Booklet Review

• Artwork [Art Direction] – SUKA (4)
• Artwork [Design Assistance] – Amit Zohar
• Photography By – Jack Pedota
• Photography By [Photo Production Coordinator] – Tony Diaz (3)

• Recorded at Entourage Studios. Mixed at Westlake Audio.

• Mastered at Future Disc Systems.

Tracks 11-13 Recorded Live in 1997 Liquid Room, Tokyo, Japan

℗ © 1996 Issued under license from Glenn Hughes to Shrapnel Records Inc.

℗ © 1997 Shrapnel Records Inc.

(Duration times only listed for studio tracks)

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Album Tracks:

Note from CTC Issue 22:

From: Par.Holmgren@svt.se Subject: CTC: The guitar(ist)s on ADDICTION All, Damien asked me to specify about who is playing what on the new album. Well, basically Joakim is playing on *his* three tracks and Bonilla on *his*. But with these exceptions: * I’m Not Your Slave; Joakim is doing the HEAVY riff around the chorus; 1.37-1.52 and at the end from 3.41. * Madeleine; MB plays the guitarsolo and the accoustic guitars. * Blue Jade; Again MB does the accoustics.

1. Death of Me (Bonilla)
   • In an interview with CTC Marsh says that Bonilla had a lot of his mariarial in advance.
   • “Well, I’d say that Bonilla is very aware of contemporary modern music and keeps up to date on the alternative scene. And I think the musical mix on Addiction is kind of cool. It’s still based on hard rock, of course, which could appeal to the old Deep Purple fans. Personally, I just would have liked it to have more emphasis on guitar playing on it. Now the guitar playing is kept very strict and basic, because that’s what’s on the agenda today on the alternative scene. I would have liked some more guitar though!”
2. Down (Axelsson, Bonilla, Hughes, Marsh)
   • Glenn’s favorite song on this album.
   • JM: “It was Bonilla’s idea and Mike Scott’s, the other producer, and Bill (Hibbler), the manager, and Glenn who was very interested to see what it would be like. I think they were afraid that if this wasn’t the musical direction then the album wouldn’t stand a chance of airplay if the album was to be released in the US. Wailing guitar solos are totally dead. I mean, it’s Smashing Pumpkins and stuff like that that rules the US radio. Anyway, we wrote some songs that, well, like Madeleine that was more straight compared to Down, that we also wrote, which was more like Soundgarden-ish.”
3. Addiction (Bonilla, Hughes)
4. Madeleine (Axelsson, Bonilla, Hughes, Marsh)
5. Talk About It (Bonilla, Hughes)
   • https://en.wikipedia.org/wiki/Talk_About_It_(EP)
   • Released as a single and also as part of an EP with three previously unreleased tracks.

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  • Anders Engstrom
  • I see DC
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  • 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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For More Information:

• https://en.wikipedia.org/wiki/Addiction_(Glenn_Hughes_album)
• https://www.discogs.com/release/3193964-Glenn-Hughes-Addiction
• https://www.glennhughes.com/addiction.html
• Glenn Hughes The Autobiography: From Deep Purple to Black Country Communion by Glenn Hughes
• https://musicbrainz.org/release/f62d5a08-7219-482b-9c9e-9d7234d6587b
• Darker Than Blue Issue 49  February 1997
• Coast to Coast Fanzine – May 19, 1997 –   #27
• Coast to Coast Fanzine  #26
• Coast to Coast Fanzine  #25
• Coast to Coast Fanzine  #24
• Coast to Coast Fanzine  #23
• Coast to Coast Fanzine  #22
• Coast to Coast Fanzine  #21
• Coast to Coast Fanzine  #20
• Coast to Coast Fanzine  #19 

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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Ritchie Blackmore Moments:

Ritchie Blackmore Trolling

Ritchie Blackmore – Practical jokes and getting back at Cozy Powell!

Deep Purple – Concerto for Group and Orchestra (1969) (Solo at 6:45)

Blackmore’s Night – Ariel (Live in Paris 2006) HD (5:00 mark)

Deep Purple – You Fool No One / The Mule – Live at California Jam 1974 (1080p) (Solo at 5:30)

Deep Purple – Bilzen Jazz Festival 1969 (Solo at 10:00)

Blackmore’s Night – Fires At Midnight (Live in Paris 2006) HD (Solo at 5:00 mark)

The Outlaws – Law & Order (1963) (Ritchie Blackmore, Mick Underwood)

https://www.youtube.com/@DogwithtwoBones/videos

Deep Purple – You Cant Do It Right Guitar LESSON and Breakdown

https://www.rollingstone.com/music/music-news/ritchie-blackmore-shallow-purple-2-226355

Ritchie Blackmore Interview on Melbourne Radio November 21 1976 mp3 (Refuses to do promo at 47:45)

Ritchie Blackmore discussing the California Jam in 1974 (Part 1).

Ritchie Blackmore on Death

Ritchie Blackmore Interview, 2013

Video: Ritchie Blackmore Interviewed by RT — “The Whole World is Kind of Phony” | Guitar World

Ritchie Blackmore Interview (Rainbow) on Countdown 1979

Ritchie Blackmore – We all love ABBA!

Great podcast interview with Ritchie and Candice: https://podcasts.apple.com/us/podcast/whole-lotta-talk-interviews-that-rock/id1352288358?i=1000502367556 (Arrests story from interview around 32:30)

Derek Lawrence provides some insight into Ritchie Blackmore, Deep Purple & the bands management.

Brian May discussing his earliest memories of Ritchie Blackmore

Ritchie Blackmore Studio Session Smoke on the water incredible Solo

Ritche Blackmore recording Smoke On The Water– Rock Aid Armenia

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More Blackmore Moments:

Ritchie Blackmore Talks About His Favourite Three Guitar Players– Beck, Hendrix, Van Halen

Yngwie Malmsteen – on his meeting with Ritchie Blackmore

Gene Simmons from KISS discussing Ritchie Blackmore!

George Lynch on Ritchie Blackmore being a dick to him(eddie)

What Pete Townshend thinks of Ritchie Blackmore and vice versa(narrated)

Joe Satriani discusses his thoughts on Ritchie Blackmore’s guitar playing

Simon McBride Reveals His Comparison Between Ritchie Blackmore And Steve Morse In Deep Purple (narrated)

The Steve Morse Interview: From The Dregs, to Deep Purple and Kansas

https://www.ultimate-guitar.com/news/general_music_news/ritchie-blackmores-wife-opens-up-on-guitarists-health-he-had-a-heart-attack-about-a-year-and-a-half-ago-hes-got-six-stents

Candice Night on new solo album ‘Sea Glass’ featuring Ritchie Blackmore with Dawn Osborne/TotalRock (Update on Ritchie’s health at 33:50)

“As far as flying anywhere right now, Ritchie has actually been told by his cardiologist not to get in a plane. He had a heart attack about a year and a half ago. He’s got six stents.”

“And I can’t believe he’s gonna be 80 on April 14th, which is crazy, but he doesn’t look it, still doesn’t act it, but eventually medical things wind up catching up with you. So we’ve gotta make sure we keep him happy and healthy.”

Night continued:

“And he’s dealing with gout and some arthritic things. And, of course, his back has always been an issue for years. So it’s getting harder for him – it’s tricky – but, hey, I’ve seen people younger than him in wheelchairs on stage doing what they do. So I think he probably doesn’t want people to see him that way.”

“I see the other perspective – from a fan’s perspective, I would think people would just be happy to be under the same roof with him and listen to him play whatever he comes up with. So, we kind of have this discussion, or argument – I’ll say discussion – all the time.”

“But he was just recently at his cardiologist and they said, ‘Let’s put traveling by plane on hold.’ So, hopefully, we’ll get that all straightened out and that’ll change. But I’ll let you guys know if it does.”

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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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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! 

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Postcards From The Edge . . . OF CONNECTICUT!

• Two stragglers from months ago!

Lead up to the Album:

• Made in Europe was recorded at 3 live shows:
  • 4 April 1975 in Graz, Austria,
  • 5 April 1975 in Saarbrücken, Germany and
  • 7 April 1975 in Paris, France
• The album is said to have been made up primarily with material recorded at the show in Saarbrucken, Germany.
• The full shows in both Graz and Paris were released in their entirety in an official and unofficial capacity.
• There is one potential bootleg of the partial show from Saarbrucken that features Burn, Lady Double Dealer, Mistreated, and Burn. No complete show has ever surfaced. This was released in 1985 in The Netherlands.
• The Paris show was later released in 2001 by Deep Purple Overseas as well as the Graz show and many others.
• In 2012 expanded 2 CD versions of these shows were released.

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The Venue:

• April 7, 1975
• The last show of the Mark III era.
• Performed at the Palais des Sports
  • https://en.wikipedia.org/wiki/D%C3%B4me_de_Paris
• https://www.setlist.fm/setlist/deep-purple/1975/palais-des-sports-paris-france-23d284ef.html

Setlist

1. Burn
2. Stormbringer
3. The Gypsy
   • This is the last live performance of the song by Deep Purple.
4. Lady Double Dealer
   • This is the last live performance of the song by Deep Purple.
   • Whitesnake would perform this song live early on in the band’s run.
5. Mistreated
   • This is the last live performance of the song by Deep Purple.
   • Both Whitesnake and Rainbow would go on to perform this song live.
6. Smoke On The Water
7. You Fool No One
   • This is the last live performance of the song by Deep Purple.
8. Space Truckin’
9. Going Down (Don Nix)
   • https://en.wikipedia.org/wiki/Don_Nix
10. Highway Star

The CD release also features an interview with David Coverdale, Glenn Hughes, and Ian Paice.

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  • Eddie Lion
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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

Brendan Ashbrook – Logo Designer

For More Information:

• https://en.wikipedia.org/wiki/Live_in_Paris_1975
• https://www.discogs.com/release/6069644-Deep-Purple-Live-In-Paris-1975?srsltid=AfmBOood7aYhWXBKsOFwi7qmb7KagUTT-x5-NzFgHoPP8OGfcUgrNn3E
• https://musicbrainz.org/release/77b1631c-d03f-4d36-b04d-3c4df6093e4c
• http://www.deep-purple.net/review-files/paris75/paris75.htm

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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How To Support Our Show:

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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.

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/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

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Brendan Ashbrook – Logo Designer

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

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.