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Kev Roberts & his wonderful children: Matthew, Gareth, and Sarah
A Note From Jeff Breis:
OK, great choice for a livestream, but you guys need to prepare. This is a live concert from 1972, not a pop-metal show from the 1980s. First, get a 1/2 barrel of Pabst and start drinking at 2pm. Have some other good music of the era playing in the background. When 6 o’clock rolls around, crank up this album, loud. Get into it. Make it too loud to talk over. This is an awesome album. Just dig the music, especially the 13 minute versions! This is what real rock ’n’ roll is about. Stretching out and ripping it up. Fuckin’ A, wonderful! I don’t want to see anybody sitting down!
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No video episode this week as we assumed it would be blocked. Enjoy a superior audio experience using one of the services below. https://www.youtube.com/watch?v=S_a-RE0ag94
In interview with heavymusicartwork.com: “But I guess the one I’m proudest of and really is the full package is Ozzy’s, 1981, ‘Diary Of A Madman’, the great set , brilliantly built by photographer Fin Costello’s work pixies, the ridiculous props, magic alphabets, the hand lettering, Ozzy being as drunk as a skunk at the shoot, Ozzy’s son Louis biting the head off the stuffed dove on the cover, just like daddy and of course becoming ‘THE HAND OF SATAN!!! Haaaaaaaargh!!! Yeah, I love that cover and it definitely sums up the early ’80’s.”
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Album Tracks:
Side One:
Over the Mountain (Daisley, Osbourne, Kerslake, Rhoads)
Bob Daisley: Title and lyrics were mine. To be fair, Ozzy’s melodies and scat singing before lyrics were written sometimes influenced what I wrote, the lyrics were written to fit his phrasing on most songs.
Daisley said Rhoads wrote the riff using eight notes but Daisley suggested going with sixteenth notes.
Daisley stated that over the years Frank Banali had been credited as coming up with the opening drums but he said there is no basis to these rumors.
Lyrics were written right before Ozzy recorded the vocal.
Flying High Again (Daisley, Osbourne, Kerslake, Rhoads)
Bob Daisley: The title and lyrics were mine, Ozzy may have put in a word or two again. In my book, there’s a whole story about how this song came about from an experience I had as a young lad playing in bands in Australia. The title actually came from a very ‘straight’ bloke who asked me a question about drugs.
Started off as a song called “Mean Machine” based on the vocals Lee sang during the writing process.
You Can’t Kill Rock and Roll (Daisley, Osbourne, Rhoads)
Bob Daisley: Ozzy’s title, and a few words were his but the meat and potatoes of the lyrics were mine. I wrote it about being screwed by record companies and being lied to, a premonition me thinks…
In his book “For Facts Sake,” Bob Daisley writes: “One of [the new songs] had a Pink Floyd vibe so I named it “Floydian,” which later became “You Can’t Kill Rock ‘n’ Roll.”
Believer (Daisley, Osbourne, Rhoads)
Bob Daisley: My title and lyrics. I was reading about the power of belief at the time and wanted to convey a positive message. Maybe a word or two from Ozzy and some inspiration from his phrasing but all my idea.
Randy and Daisley would joke that this bass riff sounded like “Purple haze”
Side Two:
Little Dolls (Daisley, Osbourne, Kerslake, Rhoads)
Bob Daisley: My title and lyrics. Again, maybe a word or two here and there from Ozzy but totally my idea. A song about Voodoo without mentioning the word. Fuck knows how I came up with that one…
Daisley says it was based on a riff he’d written in Windowmaker for a song called “Mean What You Say” while the middle eight was taken from a song he’d layed in Mecca’s single, “Black Sally” in 1969.
Tonight (Daisley, Osbourne, Kerslake, Rhoads)
Bob Daisley: Ozzy had originally sung ‘just a kiss before we say goodnight’ to open the song but I thought that was a bit soppy so changed the idea to someone down and out on the street. I think Lee came up with the ‘tonight’ where it ended up in the chorus but I wrote almost all the lyrics.
Daisley says this song had the working title “Just a Kiss.”
S.A.T.O. (Daisley, Osbourne, Kerslake, Rhoads)
Allegedly stands for Sharon Arden Thelma Osbourne
Bob Daisley: Not my title, Ozzy and Sharon changed it from ‘Strange Voyage’ which had been mine, to ‘S.A.T.O.’ after Lee and I were ousted. I wrote the lyrics about how life can be a strange voyage and was inspired by a Buddhist text entitled ‘A Ship to Cross the Sea of Suffering’. The S.A.T.O part is explained in my book.
The working title was “Headbanger.”
Daisley says this is the only song on the album not tuned down a semitone.
Lyrics were inspired by Buddhism
Ozzy and Sharon decided to change the title from “Strange Voyage” to this because they were both having an affair. It stood for S.A. (Sharon Adrian, her boyfriend) T. O. (Thelma Ozzy.)
Diary of a Madman (Daisley, Osbourne, Kerslake, Rhoads)
Bob Daisley: My title and lyrics. The title came from a movie of the same name which I’d seen starring Vincent price. When I told Ozzy about my idea he loved it and that became the title of the next album before we’d even started writing it. I wrote the lyrics about my own personal experience which I go into detail about in the book. When Randy, Lee and I first worked up the music for the song without Ozzy, he came in the next day, heard what we had and said, “Who the fuck do you think I am, Frank Zappa?”
Daisley says that at the time he wasn’t aware that some of the chord progressions weren’t entirely original. He said it borrowed from Randy practicing “Etude Number 6” by classical guitarist Leo Brouwer.
Daisley says Ozzy needed a few run throughs with Lee explaining to him how the vocals fit in to get it before he was comfortable singing it.
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Recently John appeared on episode #263 of the HaskinCast Podcast as part of a round table discussion talking about the Grunge music era of the early 90s. This sparked an unplanned discussion during episode #181 of our show which we cut out and include here as a bonus episode. If you want to hear John complain about Grunge then listen to HaskinCast Episode #263 – Roubdtable – When Grunge Hit. If you want to hear him complain more about Grunge music then listen to this bonus episode as well!
Link to video episode on YouTube: https://www.youtube.com/watch?v=wiMWribpSjg
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We haven’t found out. Roger said it was Blackmore’s song name, so that he didn’t know; he seemed to remember a king Alerik from English history, but was uncertain. Another possible source is the Michael Moorcook-books, as I seem to have read a suggestion about Elric (the one with the sword named Stormbringer, y’know)’s father being called Alerik, i.e. the Son of Alerik is Elric himself. But this is highly unverified.
From an email from Paul Mann
Cosmic Jazz
Demo from “Perfect Strangers” sessions. Was available on “Blackmore By Request” bootleg that circulated in the early 1990s.
‘Fire Ice and Dynamite was a movie project that was offered to us. Jon and Ian Paice were not in the States at the time and weren’t interested. Ritchie wanted to do it so we used a riff idea of his that the band didn’t want, Joe wrote some words and I constructed it in the studio, playing keyboards and drum machine. It was at a bad time in the band’s history and we were probably at our most dysfunctional. I haven’t heard it in decades but I don’t think it is any good.'”
Jon Lord was on tour in Europe with “Rock’n’Blues Olympic Circus” with Chris Farlowe, Roger Chapman, Tony Ashton, Pete York.
Roger allegedly programmed the drums, maybe using drum samples of Ian Paice playing.
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Used on the original release but the artwork was subsequently lost.
Liner notes:
Joe’s Words About The Album:
Steve Vai endorsement:
When I was fourteen, I bought a guitar for five dollars. I had heard about a hot guitar teacher in my town named Joe Satriani, he was a few years older than me and went to the same school. I called him for lesions and went to his house with my $5.00 guitar and a pack of strings (for 3 years). Through Joe, I saw what true musicality was. His playing never cease to venture into unexplored realms. As a role model his attitude is totally professional but there’s always the unexpected element of surprise. His personality reflects a subtle spirituality. He’s an incredible inspiration. Love ya Joe.
–Steve Vai
1988 Reissue (Blue Transparent Joe Satriani Cover):
This is the artwork used on all releases prior to the original release from 1988 on.
The Ibanez 540S guitar used on the cover was just a prop for the shoot and Satriani says he never used it on the recording or otherwise.
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Album Tracks:
All songs written and arranged by Joe Satriani.
Not Of This Earth
The title track utilizes a unique compositional technique described by Satriani as pitch axis theory, which consists of shifting modes underneath a pedal tone (in this case, E).
This song uses a technique which Satriani calls “Pitch Axis Theory.”
The enigmatic scale was invented by a professor of music at the Bologna Conservatory, Adolfo Crescentini.
Driving at Night
Hordes of Locusts
New Day
The Headless Horseman
“The Headless Horseman” is performed entirely using a two-handed tapping technique, and was revisited in the form of “Headless” on Flying in a Blue Dream (1989).
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See below for some thoughts on David Coverdale’s legacy on his 71st birthday from Nate as a guest on Vintage Rock Pod!
Today we celebrate the 71st birthday of the legend that is MR DAVID COVERDALE! We look back at his legacy from his rise to fame with Deep Purple to cementing his rock god status with Whitesnake with Nate from the Deep Purple Podcast!
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I was thinking, the made up name tier is all wrong for Spike and his Mom, since those are their actual names! I bumped them up to 3.33 each. Not to be outdone, I am starting the New Nice Price Tier at 6.99. Maybe my mates in the original Nice Price Tier will give in to inflation and come along for the ride! Thanks for the dedication each week!
Scott Zerns joins at the $5.00 “Money Lender” Tier
Just signed up for the 5.00 money lender tier. You guys always do an outstanding job and look forward to every Monday’s new show. Great listen to and from my job, also while jogging and doing yard work. You and John never disappoint. The knowledge and insight you both bring give me more appreciation for this band I have followed for about 40 yrs now. Always something more to learn from the show.
I plan on hopefully launching my own band dedicated podcast in the near future. Just trying to iron out the technical side of it.
Thanks again for what you guys do!!
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Kev Roberts & his wonderful children: Matthew, Gareth, and Sarah
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