Author: Nathan Beaudry

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Apple Podcasts Reviews:

• I love mags
• From the UK
• 5 Stars!
• Great fun podcast on Deep Purple
• I wrote this review several months ago, okay sometime last year but I forgot to send it ! So here it is ; I found out about this excellent podcast by accident & I absolutely love it. It’s a great fun listen, I absolutely love the natural humour. I’ve only played a few episodes so have loads to catch up! The House of Blue Light review was very interesting. I saw Purple on this tour at Wembley London UK. On that eve Blackmore refused to do an encore! So Lord and Glover played lead. It was definitely an interesting version of Smoke on the water! Having seen Gillan in mind blowing vocal form (the band) live in 81, it was noticeable Ian had lost some of his range/power by 87/88. Overall he was/is still great. Keep up the great work, thank you! Ps The latest “Accidentally on Purpose” episode was excellent, I had forgotten how good this album was. Like you l appreciate it more now. I bought it when it came out & wasn’t sure I liked it back then 🙂

Whitesnake Live in Illinois September 1, 2022!

• Sadly the show was canceled on August 5, 2022
• https://whitesnake.com/usa-tour-cancellation-announcement/

Postcards From The Edge . . . OF CONNECTICUT!

• Peter Gardow writes in about important matters: The Golden Girls!

Deep Dive Podcast Network:

• Deep Dive Podcast Network
• Sabbath Bloody Podcast
• Skynyrd Reconsydyrd
• The Deep Purple Podcast
• T-Bone’s Prime Cuts On The Other Side
• In The Lap Of The Pods
• The Magician’s Podcast
• Hawk Binge
• Maiden A-Z
• Diary of the Madmen
• Universally Speaking: The Red Hot Chili Peppers Podcast
• Metal Gods Podcast
• The Podcast Will Rock
• Back Tracks: Aerosmith Revisited
• So Far, So Pod . . . So What!
• The Tom Petty Project

Lead up to the Album:

• Many factors were cursing the Mark 5 lineup as they toured in the early 90s.
• Firstly, the changing tastes in music (not limited to but including the rise of the Grunge era) contributed to this lineup’s shows not being as well attended and its album sales not as high.
• In Europe with the fall of the Soviet Union the audiences were so eager for any rock shows that they still tended to do well in the Eastern part of the continent.
• The band’s iconic image and legacy helped keep it afloat in these uncertain times.
• At BMG they were not happy with the current direction of the band.  Joe Lynn Turner’s presence seemed to give the band more of a generic impact, not the impact the classic Mark 2 lineup had.
• In November of 1991 they began work on their new album at Greg Rike studios in Florida.
• Turner says: “We’d come out with some great tracks and they’d all turn round and say ‘It’s awful’ . . . Singing with those guys was a dream come true and a nightmare waiting to happen.”
• Colin Hart paints a different picture of what the tour was like rounding out Slaves and Masters.  He describes one off gigs in eastern Europe and an overall “awful” feeling.
• Colin says that Bruce Payne “always knew when to orchestrate the changes.”
• Colin describes dwindling tour receipts, lack of interest of promoters.
• Colin booked the band into BEarsville STudios in Woodstock, New York to be begin working on the new album.  The studio was built by Bob Dylan’s manager, Albert Grossman.
• They recorded some material through January of 1992 but eventually reached out to some outside songwriting help from Jim Peterik, the songwriter behind Survivor.
• Roger Glover was not happy with this move as he saw his creative input in the band at stake.
• Joe Lynn Turner had a more positive take on the relationship with Peterik.  He decitbises some “really cool stuff” they’d written such as songs entitled “Lost In The Machine,: “the STroke of Midnight,” and “Little Miss PRomiscuous.  He says “We were just ripping it up with social statements, and all that kind of stuff. We were sort of becoming like an angst band,but with a commercial attitude, and a lot of great music!”
• Roger recalls the songs, “Just Don’t Call It Love,” “Put Your Money Where Your Moth IS”  “Vicious Circle of Friends and says “it was a great idea never brought to fruition, I have a demo somewhere.”
• There was a fair amount of talk about 1992 being the 25th anniversary of the band and this, along with previously stated reasons, was another excuse to demand a change for the band.
• Apart from Blackmore the others in the band felt Joe’s style was not good for the band.  Earlier there had been initial contacts with Gillan’s management about such a reunion.
• Gillan, however, was not the only option they explored.  Blackmore had really been interested in Mike DiMeo, the singer of the band Riot.
• Mike DiMeo: “Ritchie Blackmore asked me to join Deep Purple! That’s the stuff that I like to sing, you know. I was supposed to sing on “The Battle rages On.” I had started to work on that record with Roger Glover. I only worked with them for about three months before BMG pulled the plug. They divided they wanted Ian Gillan to do the twenty-fifth anniversary. I have those same songs on a CD with me singing on them.”
• Roger Glover says that they worked with DiMeo at a studio in Connecticut.  He said “it was okay, it wasn’t too great. At least I wasn’t convinced . .. Ritchie really liked him, however.  I don’t know what was said between them. I never heard about him again, until now. I still have the tape somewhere, so there’s no danger of it ever being released.”
• Lord, who usually was one to ‘ go with the flow’ was in a different mood this time around.  Blackmore received an ultimatum to accept Gillan back on board.
• It took a lot of convincing by the label, and seemed to largely be in the form of a huge cash payout for Blackmore to accept this deal.
• The payout to Blackmore was allegedly in the neighborhood of $2 million. Some said that Ritchie, who was going through his third divorce at the time, may have accepted the offer largely because of the financial burden this was putin gon him.
• Blackmore says he was simply “outvoted” and asaid “I’ll go along with that.”  Blackmore said they needed a scapegoat and Joe was it.
• Glover was given the task of convincing Gillan to come back.  It seemed to take only one phone call and a few days of consideration before he came back.
• There was a slight hesitation, possibly because Gillan once famously said, “I’d rather slit my throat than sing with that band again.”
• Gillan had put together a four piece band called Repo Depo with Leonard Haze (drums), Brett Bloomfield (bass), and Dean Howard (guitar).  They’d toured in South America and were the final lineup of the Garth Rockett/Gillan reincarnation.
• Phil Banfield, Gillan’s manager, was frustrated with Gillan not immediately going abc to Deep Purple and threatened to quit which Gillan said finally got him to accept the offer.  Gillan said he loved Repo Depo and was very sad to leave it behind.
• Colin Hart describes Roger Glover flying to England with demos of the new material to see if Gillan could still sing at his previous level, an audition of sorts.
• Gillan describes the disgust he felt upon realizing he was being auditioned and that his entry back into the band was not a given.
• Gillan had to take it all in that he knew he was re-entering the band against Ritchie’s wishes.
• Gillan’s two releases while on hiatus from Deep Purple included “Naked Thunder” which saw lackluster sales and “Toolbox” did better but was nowhere near ths ales he saw tih Deep Purple.
• IT was then on to Red Rooster Studios in Tuntzing, Germany.  They then returned to Bearseville Studios then to Orlando at Greg Rike STudios.
• Tensions between Gillan and Blackmore were immediate.
• Colin Hart describes showing Ritchie the biggest suite in the main guesthouse at Red Rooster Studios for him to stay in.  He said Ritchie’s first question was “I want to see where Ian and Roger are!”
• Most of the backing tracks were already done.  Gillan had to come in and write new lyrics and record new vocals over what was already existed.
• Blackmore, of course, preferred the original recordings done with Joe Lynn Turner.
• Blackmore, despite accepting the ultimatum and the alleged payout was not happy.
• Blackmore said they had a song called “Lonely For You” (not sure if this evolved into something else on the final album) that he claimed woul dhave been a number 1 single.  E went to management and insisted Gillan sing it exactly the same.  He said management agreed and this would be a condition of Gillan returning.  When Blackmore spoke to Gillan he said he didn’t know anything about this arrangement.  Blackmore said, “That wasn’t Gillan’s fault, it was management’s.”
• Gilland Glover worked together in the studio to rewrite and rerecord lyrics.  While there had been other times in their history when people were in the studio at different times this was the first time that the band had recorded such a large segment without eh whole band working together.
• Mick Wall wrote in Metal Hammer (August 1993) that there was no real communication with Ritchie and Gillan when meeting back up again.  There was no “Hello” or greeting, they just had a quick discussion about the stongs then Blackmore played football and hung around for a bit before going back off to America.  Gillan and Glover finished up all the lyrics and vocals in about seven weeks.
• Gillan, in Rock World, about recording at the studio in Orlando, Florida: “I really enjoyed that. It was near a lake and I went out canoeing every morning. I went swimming and everyone was waving at me from the shore. I had no idea there was a dangerous alligator chasing me!”

Core Band:

• Bass – Roger Glover
• Drums – Ian Paice
• Guitar – Ritchie Blackmore
• Organ, Keyboards – Jon Lord
• Vocals – Ian Gillan

Technical:

• Producer – Thom Panunzio
  • Ritchie: “I was at this club in Florida and I heard this track by Joan Jett. It had a very big sound to it and it was done by Panunzio, and it was so loud so I thought maybe we should use him.”
  • Panuzio started as an engineer at The Record Plant in NEw York City.  He also worked at The Hit Factory and Rhinoceros Studios.
  • In 2003 Thom joined Universal as an Executive Senior Vice President and head of A&R for Geffen.
  • Worked with Joan Jett, Iggy Pop, Alice Cooper, Patrick Swayze, The Reverend Horton Heat
• Producer, Mixed By – Roger Glover
• Production Manager – Raymond D’Addario
• Tour Manager – Colin Hart (2)
• Tour Manager [Travel Manager] – Diane Murphy
  • Deep Purple manager from 1987 through 2001.
• Engineer – Bill Kennedy
  • Worked with Megadeth, The Tragically Hip, and Nine Inch Nails
• Engineer – Hans Gemperle
  • https://www.metal-archives.com/artists/Hans_Gemperle/518425
  • Worked with a number of German acts.
• Engineer – Jason Corsaro
  • Worked with The Cars, The Clash, and Gary U.S. Bonds
• Engineer [Assistant] – Darren Schneider
  • Worked with Living Loud, Steve Morse Band, The Hoochie Coochie Men
• Engineer [Assistant] – Devin Emke
  • Had a career working mostly with jazz musicians.
• Engineer [Assistant] – John Siket
  • https://soundbetter.com/profiles/3845-john-siket
  • Worked with Sonic Youth, Phish, Dave Matthews Band
• Engineer [Assistant] – Mark Conese
  • Engineer and drummer
  • Played drums on Roger Glover’s “Mask” album
• Engineer [Assistant] – Mike Reiter*
  • Has a production credit on Frehley’s Comet’s “Second Sighting” album  – Discogs lists him as having a writing credit as well but cannot find anything to back that up
• Engineer [Assistant] – Peter Beckerman
  • Worked with The Ramones, Dr. John, and Rusted Root
• Engineer [Assistant] – Wally Walton
  • A short entry on Discogs

Album Art & Booklet Review

• Design [Package Design] – Reiner Design Consultants, Inc.
  • http://reinerdesignconsultants.com/
  • Grammy award winning graphic design firm formed by Roger Gorman in 1984. They worked for Cameo, Madonna, Aerosmith, David Bowie, Metallica and Queensrÿche, among others.
  • Designed Metallica’s “$5.98 E.P. – Garage Days Revisited” “…And Justice For All,” Queensryche’s “Operation: Mindcrime,”
• Graphics [Dragon Graphic] – James Grashow
  • http://www.jamesgrashow.com/
  • He is a well known New York wood sculptor and artist.
  • Did the album cover for Jethro Tull’s “Stand Up.”

Thanks to Our Core Level Patrons:

• The $7.77 KeepItWarmRat Tier
  • Michael Vader
• The Episode $6.66 Tier
  • Steve Coldwell
  • Arthur Smith
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• The $6.65 “Almost Evil” Tier
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• $5.99 The “Nice Price” Tier
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• $5 “Money Lender” Tier
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  • Will Porter
  • Zwopper The Electric Alchemist
  • Tim “Southern Cross” Johnson
  • Percival Frequency

Album Tracks:

1. The Battle Rages On (Blackmore, Gillan, Lord, Paice)
   • This song is said to have been formed from the original title “Lost In The Machine.”
   • Ian Gillan in RAW Magazine, July 21, 1993: “It’s archetypal Purple, but very 90s with it, very expressive. It flows very naturally and is one of the few tunes where you feel that Jon Lord was involved in the writing. Roger’s lyrical idea was that when the Berlin Wall came down everyone felt it was the end of trouble, but at the last count there were 26 wars going on around the world.”
   • Gillan in Metal Hammer (August 1993): “That song is basically about Yugoslavia and the futility of trying to make love when all people want to do is kill each other. IT’s an indictment of hate. But, of course, people see the title and immediately think it must be about us, which is why we rather wickedly, I suppose, made it the title of the album.”
2. Lick It Up (Blackmore, Gillan, Glover)
   • It’s suspected that this song blossomed from the demo called “Little Miss Promiscuous.”
   • Ian Gillan (In Rock World Magazine – August, 1993):”We hadn’t been together for a long time, when we made that one. On the new album I think ‘The Battle Rages On’ and‘Lick It Up’are really 1990s rock and get right in the groove. Apparently there’s a Kiss song called ‘Lick It Up’ but ours is nothing like it.
   • Ian Gillan in RAW Magazine: “I had no idea Kiss had a track of the same name, although i hear it’s nothing like it. It just felt dirty to me, and it’s my favourite track on the album.”
3. Anya (Blackmore, Gillan, Glover, Lord)
   • Glover says that they’d written the song but didn’t have an intro.  Jon Lord plate dan intro but when Ritchie walked in he said: “Nah. Shit.”
   • Ritchie grabbed a nearby acoustic and just noodled around for 40 minutes.
   • Jon came in the next day and asked what Ritchie thought of his intro.  Roger culled through Rtichie’s acoustic playing, stitched something together and Jon played around it to fit in with what Ritchie was doing.
   • Glover said: “It cost me almost a complete day of work. It was cutting and pasting instead of live, but I think it turned out very well.”
   • Ian Gillan in Raw (where they call the song “Auya.”): Similar in structure to “Woman From Tokyo,” where you take the spirit of people and a country and turn it into a girl. IT’s about the spirit and freedom that existed behind the Iron Curtain before it came down, the overwhelming desire in every culture to have freedom of expression. It’s the spirit of Hungary, actually, the people who were almost destroyed by the regime, but who always fought back.”
   • https://en.wikipedia.org/wiki/Puszta
4. Talk About Love (Blackmore, Gillan, Glover)
   • Ian Gillan in RAW: “Kinda Funky. Tongue in cheek. I like the words.”
5. Time to Kill (Blackmore, Gillan, Glover)
   • Ian Gillan in RAW: “A poem really. When you’ve time to kill you acn maybe think about trying to resolve some problems. The meanings of the songs are always secondary to the music but there’s some interesting stuff there anyway.”
   • Gillan in Metal Hammer “It was the first song that Rog and I wrote together. We wrote that and ‘Solitaire’ the same day.”

Thanks To Our Foundation Level Patrons:

• The $3.33 Half Way to Evil Tier
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  • Stephen Sommerville The Concerto 1999 Fanatic
  • Spike, The Rock Cat
  • Hank the Tank
  • Private Eyes
  • Ashen Lionel
  • Spike’s Mom
  • Blackmore’s Tights
  • John Miceli

For Further Information:

• https://en.wikipedia.org/wiki/The_Battle_Rages_On…
• https://www.discogs.com/release/869442-Deep-Purple-The-Battle-Rages-On
• http://www.deep-purple.net/DPASmags/dtb45.htm
• Darker Than Blue Issue #45, July 1993
• Child in Time by Ian Gillan
• Black Knight: Ritchie Blackmore by Jerry Bloom
• The Complete Deep Purple by Michael Heatley
• Smoke on the Water: The Deep Purple Story by Dave Thompson
• A Hart Life by Colin Hart with Dick Allix
• Deep Purple – Nasty Piece of Work by Jerry Bloom
• https://www.thehighwaystar.com/graphics/funstuff/puzzle/
• Help from the archives of Jeff Breis
• Help from the archives of Will Porter
• Help from the archives of Flight of the Rat Bat Blue Light
• Help from the archives of Jim Collins
• Help from the archives of
• @tiaensch on Twitter
• Doug MacBeath
• Chris Clark

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 Twitter, Facebook, or Instagram.

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

How To Support Our Show:

• Leave us a 5-Star Review on Apple Podcasts
• Buy Merch at Our Etsy Store!
• Become a Patron on Patreon
• Donate on Paypal (Donate one time or click “make this a monthly donation” box)
• Donate to $DPPOD Using Cash App

Brendan Ashbrook – Logo Designer

Thanks to Our Executive Level Patrons:

• The $25 “Uncommon Man” Tier
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• $15 “What’s Goin’ On Here” Tier
  • Richard Fusey
• The £10 Tier
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• The Turn it up to $11 Tier
  • Clay Wombacher
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  • Alan “Ain’t Too Proud To” Begg
  • Mikkel Steen
• $10 “Some One Came” Tier
  • Ryan M
  • Jeff Breis
  • Victor Campos
  • “Better Call” Saul Evans
  • Kev Roberts &  his wonderful children: Matthew, Gareth, and Sarah

Whitesnake Live in Illinois September 1, 2022!

• https://whitesnake.com/event/rosemont-il-2022/
• Live at Allstate Arena in Rosemont, IL
• With Scorpions

Deep Dive Podcast Network:

• Deep Dive Podcast Network
• Sabbath Bloody Podcast
• Skynyrd Reconsydyrd
• The Deep Purple Podcast
• T-Bone’s Prime Cuts On The Other Side
• In The Lap Of The Pods
• The Magician’s Podcast
• Hawk Binge
• Maiden A-Z
• Diary of the Madmen
• Universally Speaking: The Red Hot Chili Peppers Podcast
• Metal Gods Podcast
• The Podcast Will Rock
• Back Tracks: Aerosmith Revisited
• So Far, So Pod . . . So What!
• The Tom Petty Project

Lead up to the Album:

• May 16, 1989
• Recorded at The Ritz, Manchester, England

Core Band:

• Bass – Keith Mulholland
  • Previously in bands Nutz, and Rage
• Drums – Lou Rosenthal
  • Previously in bands Export, and Father Francis
• Guitar – Harry Shaw
  • Previously in band Export and credited with vocals on Hard Stuff’s album Bulletproof
• Guitar, Keyboards – Steve Morris (2)
  • Previously in band Export, Torino, and Heartland
• Keyboards – Marc Buckle*
  • Other credits with Gillan post Moonshiners
• Vocals – Ian Gillan

Thanks to Our Core Level Patrons:

• The $7.77 KeepItWarmRat Tier
  • Michael Vader
• The Episode $6.66 Tier
  • Steve Coldwell
  • Arthur Smith
  • Anton Glaving
• The $6.65 “Almost Evil” Tier
  • Kenny Wymore
• $5.99 The “Nice Price” Tier
  • Fielding Fowler
  • Robert Smith
  • Peter from Illinois
  • Michael Bagford
  • Karl Hellberg
• $5 “Money Lender” Tier
  • John Convery
  • German Heindl
  • Adrian Hernandez
  • Jesper Almén
  • Oleksiy The Perfect Stranger Slyepukhov
  • James North
  • Mark Hodgetts
  • Will Porter
  • Zwopper The Electric Alchemist
  • Tim “Southern Cross” Johnson
  • Percival Frequency

Album Tracks:

1. I’ll Rip Your Spine Out
   • From Gillan’s “Double Trouble”
2. No Laughing in Heaven
   • From Gillan’s “Future Shock”
3. Living For The City
   • Stevie Wonder Cover
   • From Gillan’s “Magic”
4. Trouble
   • From Gillan’s “Double Trouble”
5. Ain’t That Loving You Baby
   • Popular Gillan cover, early version on “Cherkazoo”
6. Brazos
   • “No More Cane on the Brazos”
   • A traditional prison song from the Southern United States
   • The Band did a version at Woodstock called “Ain’t No More Cane on the Brazos”
7. I Thought No
   • From “Accidentally on Purpose”
8. Let It Roll
   • Little Feat cover
9. Nothing But The Best
   • From “Naked Thunder”
10. Unchain Your Brain
    • From “Glory Road”
11. I Can’t Dance To That
    • From “Accidentally on Purpose”
12. No Easy Way
    • From “Glory Road”
13. New Orleans
    • Cover from Gillan’s “Future Shock”
    • Gary U.S. Bonds cover
14. Lucille
    • Popular Little Richard Cover used as encore during Deep Purple shows
15. Brazos (Reprise)
    • Reprise of earlier track

Thanks To Our Foundation Level Patrons:

• The $3.33 Half Way to Evil Tier
  • Raff Kaff
• $3 “Nobody’s Perfect” Tier
  • Peter Gardow
  • Ian Desrosiers
  • Mark Roback
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  • Stuart McCord
  • Flight of the Rat Bat Blue Light
  • Øyvind Fjeldbu –
  • Runar Simonsen –
  • JJ Stannard
• $1 Made Up Name Tier
  • The “Undead Bootlegger” Leaky Mausoleum
  • Stephen Sommerville The Concerto 1999 Fanatic
  • Spike, The Rock Cat
  • Hank the Tank
  • Private Eyes
  • Ashen Lionel
  • Spike’s Mom
  • Blackmore’s Tights
  • John Miceli

For Further Information:

• https://www.discogs.com/release/7499798-Garth-Rockett-The-Moonshiners-Live-At-The-Ritz-89
• https://www.youtube.com/watch?v=UXng2TwkIhE
• http://www.deep-purple.net/tree/gillan/garth-rockett.htm
• Child in Time by Ian Gillan
• Deep Purple – Nasty Piece of Work by Jerry Bloom
• The Complete Deep Purple by Michael Heatley
• Smoke on the Water: The Deep Purple Story by Dave Thompson
• https://www.setlist.fm/setlist/garth-rockett-and-the-moonshiners/1989/the-ritz-manchester-england-6b85b6d2.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 Twitter, Facebook, or Instagram.

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

How To Support Our Show:

• Leave us a 5-Star Review on Apple Podcasts
• Buy Merch at Our Etsy Store!
• Become a Patron on Patreon
• Donate on Paypal (Donate one time or click “make this a monthly donation” box)
• Donate to $DPPOD Using Cash App

Brendan Ashbrook – Logo Designer

Thanks to Our Executive Level Patrons:

• The $25 “Uncommon Man” Tier
  • Ovais Naqvi
• $15 “What’s Goin’ On Here” Tier
  • Richard Fusey
• The £10 Tier
  • Dr. Jill Breis
• The Turn it up to $11 Tier
  • Clay Wombacher
  • Frank Theilgaard-Mortensen
  • Alan “Ain’t Too Proud To” Begg
  • Mikkel Steen
• $10 “Some One Came” Tier
  • Ryan M
  • Jeff Breis
  • Victor Campos
  • “Better Call” Saul Evans
  • Kev Roberts &  his wonderful children: Matthew, Gareth, and Sarah

A Word From Our Sponsor:

• Budweiser

Whitesnake Live in Illinois September 1, 2022!

• https://whitesnake.com/event/rosemont-il-2022/
• Live at Allstate Arena in Rosemont, IL
• With Scorpions

Hall of Fame Presentation:

• Jörg Planer

Deep Dive Podcast Network:

• Deep Dive Podcast Network
• Sabbath Bloody Podcast
• Skynyrd Reconsydyrd
• The Deep Purple Podcast
• T-Bone’s Prime Cuts On The Other Side
• In The Lap Of The Pods
• The Magician’s Podcast
• Hawk Binge
• Maiden A-Z
• Diary of the Madmen
• Universally Speaking: The Red Hot Chili Peppers Podcast
• Metal Gods Podcast
• The Podcast Will Rock
• Back Tracks: Aerosmith Revisited
• So Far, So Pod . . . So What!
• The Tom Petty Project

Lead up to the Album:

• In December of 1981 Micky Moody quit Whitesnake.
• Moody: “By ’81 people were becoming tired. We had too many late nights, too much partying. We weren’t making nowhere near the kind of money we should have been making. Whitesnake always seemed to be in debt, and I thought “what is this?, we’re playing in some of the biggest places and we’re still being told we’re in debt, where is all the money going?”. We hadn’t got much money out of it and to be told you’re 200,000 pounds in debt, when you just had six golden albums. It wasn’t just me, cause everybody was getting tired, pissed off and losing their sense of identity. It was over by then, we couldn’t get any further. It’s difficult for a band to go more than three or four years without getting tired of each other and losing ideas. Nothing lasts forever. Everybody wanted to do something different after a few years, a solo album or write with someone else.”
• Soon after Moody quit David Coverdale called a meeting put the band on hold.  He used this opportunity to break ties with long time Deep Purple and Whitesnake manager John Coletta.  From that point on Coverdale took over the business end of the band.
• In 1982 Marsden quit the band as well.  In Marsden’s book he states that David Coverdale called a meeting and dismissed the remaining members of the band with the exception of Jon Lord.
• In August of 1982 David Coverdale tried to get Micky Moody to return to the band to complete the album.  Along with new guitarist Mel Galley they finished up backing tracks.  Birch was there for final production and mixing.
• Marsden states in his autobiography: “How could it all go so wrong? The answer lay not so much in what we were doing as what we weren’t. We were no longer working with the seventh member of the band, its heart – one Martin Birch. He was the glue that held Whitesnake together. With hindsigh, it’s bloody easy to see. Martin was not there from the start of the album sessions and so, MArtin Birch, it was all your fault!”
• Marsden goes on to say that Birch was producing Rainbow and also Iron Maiden which was taking up much more of his time and likely because Iron Maiden was paying him more than Whitesnake’s label was willing to.  Marsden: “. . . when we were informed that Martin would not be producing us any more, not one of us asked any questions, and shame on us all for that. We should have asked why, and we should have demanded answers.”
• They got together at Nomis Studios in west London to work on the album with Guy Bidmead who’s worked with Marsden on his solo album.
• Marsden says he and David had written new material but that Moody hadn’s seemed interested in writing any new songs.
• Marsden describes this album as the beginning of the end.
• They went on to record at a studio called Rock City which Marsden says none of them liked. He described the studio as being technically fine but lacking the high-end perks of previous sessions and that none of the band felt at home.
• Shortly after they left Rock City and moved to Clearwell Castle in Gloucestershire.  Marsden said that after that move the vibe was back.
• The album was mixed at Britannia Row where Marsden did some guitar overdubs.
• Marsden describes two sessions where Jon and Ian were both no shows. He then suggested they end the band and David told him it was already int eh worlds.
• There was an attempt to fire their label, Seabreeze, to which Coverdale didn’ts how up.
• Marsden says that Coletta gathered with Lord, Paice, Murray, and Marsden tot ell thema lll he was out of the band.
• Marsden says after they all left he pulled Marsden aside and told him he’d been offered to sign him as a solo artist but that he had to sign the contract that day.
• He said the band ended without any sort of fight or anything, it just sort of fizzled out.
• After this the album was finished without all of the ordiginal contributors to the songwriting or recording.
• In Moody’s book he mentions taht the manager of Clearwell Castle, Bernard Yeates, told them that he’d booked a wedding reception during the sessions and that the bride’s parents had been warned taht there would be a rock band hanging out at the bar and the common areas.
• Moody tells a story of Billy Connolly and his then girlfriend Pamela Stephenson being wedding guests and they ended up partying with them at the wedding indulging in “a combination of toot and booze.”  Connelly picked up Moody’s banjo and began playing it.

Core Band:

• David Coverdale – lead vocals
• Micky Moody – guitar, backing vocals
• Bernie Marsden – guitar
• Neil Murray – bass
• Ian Paice – drums, percussion
• Jon Lord – keyboards
• Backing Vocals – The Paratroopers (2)
• Backing Vocals [“The Paratroopers”] – D. C.*, Mel Galley, Micky Moody

Includes printed inner sleeve (with a thumb cut) and merchandise insert.

The backing trax were recorded at Rock City, Shepperton; The Truck Mobile at Clearwell Castle, Gloucestershire and Brittania Row, London.

The vocal trax were recorded at Battery Studios, London.

Mixed at Battery Studios Sept/Oct 1982.

Runouts:

‘ƱtopiA’ / ‘ƱTOPIA’ / ‘Ʊtopia’, ‘THE GAY BLADE STRIKES AGAIN…’ and ‘WE WISH YOU WELL…’ are etched; remainder is stamped.

‘Ʊ’ in runouts represents the Utopia Studios lyre symbol.

Variant 8 – the ‘U’ of Side A’s 30354 A-6U̶-1-1-1′ is crossed out with ‘x’

Technical:

• Recorded By [Backing Trax] – Guy Bidmead
• Recorded By [Vocal Trax, Assistant] – Bryan New*
• Recorded By [Vocal Trax], Mixed By, Producer – Martin Birch
• Mastered By – Steve Angel

Album Art & Booklet Review

• Design [Cover] – The Concert Publishing Company
• Photography By [Back Cover] – Virginia Turbett
  • https://virginiaturbett.com/
• The back cover features a picture of David Coverdale alone and full band credits were left off the album amidst the turmoil the band’s lineup was going through at the time.
• Critical reception of the album cover was not good.  Simon Robinson describe it as, “a kitschy sculpture of the kind some folk insist on decorating their mantlepieces with.”

• Sculpture seems to be based on the sculpture Psyche Revived by Cupid’s Kiss by Antonio Canova who also had a painting.

• This sculpture was inspired by a Roman painting found in Herculaneum during Canova’s visit to Naples in 1787.
• Canova also seems to have an oil painting based on this as well.

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Album Tracks:

Side One:

1. Young Blood (Coverdale, Marsden)
   • Solo: Marsden
2. Rough An’ Ready (Coverdale, Moody)
   • Solo: Moody
3. Bloody Luxury (Coverdale, Marsden, Moody)
   • Solo: Marsden, Moody
4. Victim of Love (Coverdale, Moody)
   • Solo: Moody
   • Moody put this solo down after being rushed back into the studio along with Mel Galley to do backing vocals.
5. Crying In The Rain (Coverdale, Marsden)
   • Solo: Marsden
   • The song was written about the breakup of Coverdale’s first marriage, written in Portugal.
   • Marsden describes this as a great new song that was “drenched int he irresistible humour that was Whitesnake at the time.”
   • They had seen a TV news report interviewing about a local man about the mass extermination of farm animals int he area.  The news reporter seemed very serious about the death of the animals and the local man said “Plenty more about.”  They said the band cracked up at the man’s response.
   • He said that at the point of the song where David is supposed to sing “black cat moans when he’s buringn with a fever,” David instead did an imitation of the man and said, “Plenty more about!”
   • Marsden said they were laughing too heard and the session was almost ruined.  They had to take a break for an hour and ban Coverdale from the studio until they finished the track.
   • Marsden says there’s a tape of this take and he still thinks it’s hilarious.

Side Two:

1. Here I Go Again (Coverdale, Marsden)
   • Solo: Marsden
   • Marsden said he recorded a demo of this and played it for Jon Lord who asked him to play the opening chords again.  When he heard them he said to Bernie, “You’re a clever little sod, aren’t you?”
   • Marsden said Lord loved playing the opening on the Hammond.
   • He said Coverdale went into “lyrical overdrive” after hearing the demo.  He said Coverdale wrote new lyrics to it.
   • Neil, Jon, Ian, and Bernie are all on backing vocals.’
   • Marsden said that the guitar solo has a nod to John Lennon’s “Woman” in the arepeggio.
   • Marsden said he thought they had a big song on their hands with this one as did David but, clearly, neither of them realized how big it would become.
   • Coverdale says he also wrote this in Portugal about the breakup of his first marriage.
2. Love An’ Affection (Coverdale, Moody
   • Solo: Lord
3. Rock An’ Roll Angels (Coverdale, Moody)
   • Solo: Lord
   • Marsden said for reasons that he couldn’t explain that Paice struggled with this song and had to redo it several times.  He said it was very unlike Ian and that Ian was very short on confidence at this point, which he also says was uncharacteristic.
   • After about ten takes Ian sent the band to the pub so he could record it alone with Guy.
4. Dancing Girls (Coverdale)
   • Solo: Lord
5. Saints An’ Sinners (Whitesnake)
   • Solo: Marsden

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Bustin’ Out The Spreadsheet

Reception and Charts:

• The album peaked at number 9 on the UK Album Charts.
• It’s said that Coverdale released this album “as is” based on time constraints and contractual obligations.
• Micky Moody described the album’s songs: “the songs went form the sublime (‘Here I Go Again’ and ‘Crying in the Rain’) tot he ridiculous (‘Bloody Luxury’ and ‘Dancing Girls’), with a bunch of well-performed albeit unremarkable – rockers hovering about in the middle.
• They embarked on a tour after recording but it had to be canceled due to Ian Paice coming down with mumps.
• Coverdale: “Well, there are some good songs. I mean there are always good songs on my stuff. I’m a song guy. But it was definitely a jigsaw puzzle of a record.”
• Coverdale said he was really torn and didn’t know what to do to get out of his management deal.  He said when his daughter was 4 or 5 that she had a really tough time with some illnesses and when he was really worried about her and praying for her recovery he said it gave him “the balls to turn around and say, ‘This means nothing to me; I want out.’  That was how he reformed the band and got out of his bad record deal.
• Lord admitted that he didn’t think Ian Paice was very happy in the band.

Reviews:

• Simon Robinson: “Today the album remains one of their weakest, although it does hint at the transition from the traditional Whitesnake style toward the harder musical approach which was slowly emerging, especially on tracks like ‘Victim Of Love.’ Overall the sound is poor and not particularly well mixed, with the keyboards lost and the bass relegated to some far distant place.
• Jon Lord: “It’s not my job to sit here and make excuses, but . . .. the backing tracks were made under quite difficult circumstances in terms of the band itself and the producer . . . we went through about 19 different studios. It had to be released though, otherwise we would have been sued from here to Christmas.”

For Further Information:

• https://en.wikipedia.org/wiki/Saints_%26_Sinners_(Whitesnake_album)
• https://www.discogs.com/release/1641977-Whitesnake-Saints-Sinners
• Help from the archives of Jörg Planer
• Help from the archives of Jeff Breis
• Sail Away: Whitesnake’s Fantastic Voyage by Martin Popoff
• Where’s My Guitar by Bernie Marsden
• Whitesnake: An Illustrated Biography by Simon Robinson
• Micky Moody: Snakes and Ladders: My Autobiography by Micky Moody
• Deep Purple by Peirfrancesco Atzori
• https://artsandculture.google.com/asset/amore-e-psiche-antonio-canova/VQH6qcg_CSzVIw
• https://www.theartpostblog.com/en/psyche-revived-by-cupids-kiss-canova/
• https://www.antoniocanova.org/psyche-revived-by-cupids-kiss/

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 Twitter, Facebook, or Instagram.

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

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Whitesnake Live in Illinois September 1, 2022!

• https://whitesnake.com/event/rosemont-il-2022/
• Live at Allstate Arena in Rosemont, IL
• With Scorpions

Deep Dive Podcast Network:

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• The Tom Petty Project

Lead up to the Album:

• Where Paul Mann organized the orchestral work and list of performers with the Paice and Lord families, it was Wix Wickens, musical director for Paul McCartney, who handled everything on the band portion of the evening.

Core Band:

• Conductor [Band Musical Director] – Wix Wickens*
• Conductor, Liner Notes – Paul Mann (5)
• Leader [Orchestra] – Darragh Morgan
• Mixed By – Bruce Dickinson, Ian Paice
• Music By – Jon Lord
• Orchestra – Orion Orchestra*
• Orchestrated By – Jon Lord (tracks: 1, 2, 4, 5, 7, 8), Paul Mann (5) (tracks: 3, 6)
• Other [Compére] – Bob Harris
• Recorded By [Orchestra], Mixed By [Orchestra] – Andrew Dudman
• Recorded By, Mixed By – David “Skippi” Loudoun*
• Live at the Royal Albert Hall, April 4th, 2014

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Album Tracks:

1. Uncommon Man
   • From Now What?!
   • Paul Mann asked the band if he could orchestrate the first two songs from their most recent album for the show.
2. Above and Beyond
   • From Now What?!
   • Ian Gillan did the eulogy at Jon Lord’s funeral and closed with “Souls, having touched, are forever entwined.”  They ended up becoming lyrics in this song.
   • Paul Mann orchestrated the closing guitar harmonics that Steve Morse played as violin with celesta, harp, and celestial percussion.
   • He also used this effect on the line “Am I getting through?”
3. Lazy
   • Don Airey plays tribute to Jon Lord and trades off with the conductor and violinist Stephen BEntley-Klein
4. When a Blind Man Cries
   • In the liner notes Paul Mann mentions that Lord started adding the opening bars of “Adagio for Strings” by Samuel Barber into “When A Blind Man Cries”
   • In the Concerto Tour in 2000-2001 the orchestra accompanied Steve with these cuqatations and the same is done here.
5. Perfect Strangers
   • Features orchestrations by Jon Lord.
   • They were written in 2008 for Jon’s use in his solo concerts.
   • Previously it had only been done in a shorter form because it was long and challenging.
   • Jon’s orchestration is heard here for the first time and is made to resemble Hungarian folk music.
   • Paul Mann describes it as “the kind of Hungarian Rhapsody Liszt would have written if he’d been a Deep Purple fan.”
6. Black Night
7. Hush
   • With Wix Wickens, Nigel Hopkins, Rick Wakeman, Andy Wallace,m Murray Gould, Jerry Brown, Micky Moody, and Mario Argandona
   • Steve and Don duel with Rick Wakeman in the instrumental portion of the song
   • Wakeman quotes from “Roundabout” by Yes.

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  • Ashen Lionel
  • Spike’s Mom
  • Blackmore’s Tights
  • John Miceli

For Further Information:

• Liner notes by Paul Mann
• https://www.discogs.com/release/6151112-Various-Celebrating-Jon-Lord-The-Rock-Legend

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 Twitter, Facebook, or Instagram.

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Whitesnake Live in Illinois September 1, 2022!

• https://whitesnake.com/event/rosemont-il-2022/
• Live at Allstate Arena in Rosemont, IL
• With Scorpions

Deep Dive Podcast Network:

• Deep Dive Podcast Network
• Sabbath Bloody Podcast
• Skynyrd Reconsydyrd
• The Deep Purple Podcast
• T-Bone’s Prime Cuts On The Other Side
• In The Lap Of The Pods
• The Magician’s Podcast
• Hawk Binge
• Maiden A-Z
• Diary of the Madmen
• Universally Speaking: The Red Hot Chili Peppers Podcast
• Metal Gods Podcast
• The Podcast Will Rock
• Back Tracks: Aerosmith Revisited
• So Far, So Pod . . . So What!
• The Tom Petty Project

Lead up to the Album:

• Where Paul Mann organized the orchestral work and list of performers with the Paice and Lord families, it was Wix Wickens, musical director for Paul McCartney, who handled everything on the band portion of the evening.

Core Band:

• Conductor [Band Musical Director] – Wix Wickens*
• Conductor, Liner Notes – Paul Mann (5)
• Leader [Orchestra] – Darragh Morgan
• Mixed By – Bruce Dickinson, Ian Paice
• Music By – Jon Lord
• Orchestra – Orion Orchestra*
• Orchestrated By – Jon Lord (tracks: 1, 2, 4, 5, 7, 8), Paul Mann (5) (tracks: 3, 6)
• Other [Compére] – Bob Harris
• Recorded By [Orchestra], Mixed By [Orchestra] – Andrew Dudman
• Recorded By, Mixed By – David “Skippi” Loudoun*
• Live at the Royal Albert Hall, April 4th, 2014

Thanks to Our Core Level Patrons:

• The $7.77 KeepItWarmRat Tier
  • Michael Vader
• The Episode $6.66 Tier
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• The $6.65 “Almost Evil” Tier
  • Kenny Wymore
• $5.99 The “Nice Price” Tier
  • Fielding Fowler
  • Robert Smith
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  • Will Porter
  • Zwopper The Electric Alchemist
  • Tim “Southern Cross” Johnson
  • Percival Frequency

Album Tracks:

1. Things Get Better
   • Originally by The Artwoods
   • Featuring Paul Weller
2. It Take What I Want
   • Originally by The Artwoods
   • Featuring Paul Weller and Micky Moody
3. Silas and Jerome
   • Originally by Paice Ashton Lord
   • Featuring Phil Campbell (The Temperance Movement), Ian Paice, and Bernie Marsden
4. I’m Gonna Stop Drinking
   • Originally by Paice Ashton Lord
   • Featuring Phil Campbell, Ian Paice, and Bernie Marsden
   • https://en.wikipedia.org/wiki/Phil_Campbell_(musician)
5. Soldier of Fortune
   • Featuring Steve Balsamo, Sandi Thom, and Micky Moody
   • https://en.wikipedia.org/wiki/Sandi_Thom
   • The liner notes describes this as “one of the Deep Purple songs Jon loved most.”
   • The orchestral arrangement is by Jon and is something he used in solo performances.
   • The song was played at Jon’s funeral along with “Pictured Within” and a short Beethoven piano piece.
6. You Keep On Moving
   • Featuring Glenn Hughes, Bruce Dickinson, Ian Paice, Don Airey, and Micky Moody
   • Orchestral arrangement for this track and “Burn” by Richard Whilds.
7. Burn
   • Featuring Glenn Hughes, Bruce Dickinson, Ian Paice, Don Airey, and Rick Wakeman
8. This Time Around
   • Featuring Glenn Hughes
   • Paul Mann writes in his liner notes that they were going to close with Burn but Glenn decided on the morning of the concert that he wanted to end with this song.
   • Orchestral arrangement again by Richard Whilds.

Thanks To Our Foundation Level Patrons:

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  • Øyvind Fjeldbu –
  • Runar Simonsen –
  • JJ Stannard
• $1 Made Up Name Tier
  • The “Drip Legend” Leaky Mausoleum
  • Stephen Sommerville The Concerto 1999 Fanatic
  • Spike, The Rock Cat
  • Hank the Tank
  • Private Eyes
  • Ashen Lionel
  • Spike’s Mom
  • Blackmore’s Tights
  • John Miceli

For Further Information:

• Liner notes by Paul Mann
• https://www.discogs.com/release/6151112-Various-Celebrating-Jon-Lord-The-Rock-Legend

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 Twitter, Facebook, or Instagram.

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

How To Support Our Show:

• Leave us a 5-Star Review on Apple Podcasts
• Buy Merch at Our Etsy Store!
• Become a Patron on Patreon
• Donate on Paypal (Donate one time or click “make this a monthly donation” box)
• Donate to $DPPOD Using Cash App

Brendan Ashbrook – Logo Designer

Thanks to Our Executive Level Patrons:

• The $25 “Uncommon Man” Tier
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• $12.99 “What’s Goin’ On Here” Tier
  • Richard Fusey
• The £10 Tier
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• The Turn it up to $11 Tier
  • Clay Wombacher
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  • Mikkel Steen
• $10 “Some One Came” Tier
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  • Jeff Breis
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  • “Better Call” Saul Evans
  • Kev Roberts &  his wonderful children: Matthew, Gareth, and Sarah

Apple Podcasts Reviews:

• Memovegao
• From Mexico
• 5 Stars!
• An awesome DeepDive
• I love this podcast! Finally, a continuous conversation about Deep Purple and all ramifications. ¡Saludos desde Guadalajara!

Whitesnake Live in Illinois September 1, 2022!

Deep Dive Podcast Network:

• Deep Dive Podcast Network
• Sabbath Bloody Podcast
• Skynyrd Reconsydyrd
• The Deep Purple Podcast
• T-Bone’s Prime Cuts On The Other Side
• In The Lap Of The Pods
• The Magician’s Podcast
• Hawk Binge
• Maiden A-Z
• Diary of the Madmen
• Universally Speaking: The Red Hot Chili Peppers Podcast
• Metal Gods Podcast
• The Podcast Will Rock
• Back Tracks: Aerosmith Revisited
• So Far, So Pod . . . So What!
• The Tom Petty Project

Lead up to the Album:

• In the liner notes Paul Mann describes Jon Lord having his earliest musical experiences at De Montfort Hall in his hometown of Leicester listening to concerts by the Halle Orchestra and Sir John Barbirolli.
• In his later years he saw Buddy Holly at the same location and the melding of both genres was already in his mind.
• JAcky Paice and the Sunflower Jam team set out to assemble as many of the musicians Jon Lord had played with and come up with a programme that could honor him in the best way possible.
• The Royal Albert Hall was picked as the obvious location where Jon Lord had debuted his Concerto For Group and Orchestra 45 years earlier
• He had also had one of his last performances at the same venue about a year before passing away.
• Mann tells the story of meeting Jon Lord there and walking around to find the entrance.  A woman stopped Jon and based on his appearance asked if he was playing there that evening (Eric Clapton was scheduled to play).  He said no and she said “Ah well, never mind – stick at it and you might get to play here one day.”
• For the concert they assembled the 83-piece Orion Orchestra.
• Deep Purple was obviously billed to play and they were able to get all the performers to play for free so they could donate the proceeds to The Jon Lord Fellowship.

Core Band:

• Conductor [Band Musical Director] – Wix Wickens*
• Conductor, Liner Notes – Paul Mann (5)
• Leader [Orchestra] – Darragh Morgan
• Mixed By – Bruce Dickinson, Ian Paice
• Music By – Jon Lord
• Orchestra – Orion Orchestra*
• Orchestrated By – Jon Lord (tracks: 1, 2, 4, 5, 7, 8), Paul Mann (5) (tracks: 3, 6)
• Other [Compére] – Bob Harris
• Recorded By [Orchestra], Mixed By [Orchestra] – Andrew Dudman
• Recorded By, Mixed By – David “Skippi” Loudoun*
• Live at the Royal Albert Hall, April 4th, 2014

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  • James North
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  • Will Porter
  • Zwopper The Electric Alchemist
  • Tim “Southern Cross” Johnson
  • Percival Frequency

Bonus Tracks:

1. Fantasia
   • The opening track from Sarabande.
   • Bass – Neil Murray
   • Drums – Jerry Brown
   • Guitar – Murray Gould
   • Keyboards – Wix Wickens*
   • Orchestra – The Orion Orchestra
   • Percussion – Mario Argandoña
   • Piano – Nigel Hopkins
2. Durham Awakes
   • From The Durham Concerto which was written for the 175th anniversary of the University of Durham.
   • This is the second of six movements from the concerto.
   • The piece combines the Northumbrrian pipes with Lord’s Hammond organ.
   • The ending of the movement is inspired by Sir Malcolm Arnold, the conductor of Concerto for Group and Orchestra and also one of Lord’s favorite composers.
   • Cello – Matthew Barley
   • Northumbrian Pipes – Kathryn Tickell
   • Orchestra – The Orion Orchestra
   • Organ [Hammond] – Nigel Hopkins
   • Violin – Jacqueline Martens
3. All Those Years Ago
   • Steve Balsamo
     1. A close friend of John’s who he’d worked with.
     2. Balsamo: “Jon called me one day and said, ‘I have and idea for a song and I want to call it All Those Years Ago. Come over to the house for a few days, dear boy, and we’ll have a bash.”
     3. Balsamo says the song is about the passive of time, the fearlessness of youth and looking back.
   • Micky Moody
   • Guitar, Soloist – Micky Moody
   • Orchestra – The Orion Orchestra
   • Piano – Nigel Hopkins
   • Violin – Anna Phoebe
   • Vocals, Soloist – Steve Balsamo
4. Pictured Within
   • Miller Anderson
   • This was the title track of Jon’s album by the same name.
   • The quotes are variations from Elgar’s “Nimrod” to open each verse.
   • The piece was written in the late 90s after both of Jon’s parents passed away.
   • It was used during the Concerto Tour of 2000-1.
   • The song was also played at Jon’s funeral.
   • On those occasions it was sung by the man who it was written for: Miller Anderson.
   • Cello, Soloist – Matthew Barley
   • Orchestra – The Orion Orchestra
   • Percussion – Mario Argandoña
   • Piano – Nigel Hopkins
   • Vocals, Soloist – Miller Anderson
5. Sarabande
   • Rick Wakeman
   • The piece quotes from the closing bars of Vaught Williams’ “Fantasia on a Theme of Thomas Tallis which was one of Jon’s favorite orchestral pieces.
   • Bass – Neil Murray
   • Drums – Jerry Brown
   • Guitar – Murray Gould
   • Orchestra – The Orion Orchestra
   • Percussion – Mario Argandoña
   • Piano – Nigel Hopkins
   • Synthesizer, Soloist – Rick Wakeman
6. One From The Meadow
   • Margo BAchman
   • Lyrics are by Sam Brown.
   • From the 2004 album Beyond the Notes.
   • Paul Mann found orchestrations Lord had written for the song after his death.  It was unfinished.
   • Acoustic Guitar – Murray Gould
   • Orchestra – The Orion Orchestra
   • Percussion – Mario Argandoña
   • Piano – Wix Wickens*
   • Violin, Soloist – Darragh Morgan
   • Vocals, Soloist – Margo Buchanan
7. Bouree
   • Also from Sarabande
   • Bass – Neil Murray
   • Drums – Jerry Brown
   • Guitar – Murray Gould
   • Keyboards – Wix Wickens*
   • Orchestra – The Orion Orchestra
   • Percussion – Mario Argandoña
   • Piano – Nigel Hopkins
8. Afterwards
   • Jeremy Irons
   • Paul Mann
   • Jon Lord often accompanied his friend Sir John Mortimer when they would have actors and musicians pair up to read poetry with music playing behind it.
   • One poem featured was “Afterwards” by Thomas Hardy.  Jon improved piano b=behind it.  Parts of this eventually found their place into Jon’s “To Notice Such Things.”
   • Orchestra – The Orion Orchestra
   • Piano – Paul Mann (5)
   • Vocals [Speaker] – Jeremy Irons

After this segment of the show was complete Bob Harris, the MC, took the stage and said, “After the Intermission we’re gonna rock.”

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  • Spike’s Mom
  • Blackmore’s Tights
  • John Miceli

For Further Information:

• Liner notes by Paul Mann

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 Twitter, Facebook, or Instagram.

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Whitesnake Live in Illinois September 1, 2022!

Postcards From The Edge . . . OF CONNECTICUT!

• This week . . FROM MAINE!

Deep Dive Podcast Network:

• Deep Dive Podcast Network
• Sabbath Bloody Podcast
• Skynyrd Reconsydyrd
• The Deep Purple Podcast
• T-Bone’s Prime Cuts On The Other Side
• In The Lap Of The Pods
• The Magician’s Podcast
• Hawk Binge
• Maiden A-Z
• Diary of the Madmen
• Universally Speaking: The Red Hot Chili Peppers Podcast
• Metal Gods Podcast
• The Podcast Will Rock
• Back Tracks: Aerosmith Revisited
• So Far, So Pod . . . So What!
• The Tom Petty Project — NEW!

Lead up to the Album:

• David Givens met Jimmy Page in Boston when they were opening for Led Zeppelin.  Page recommended seeking out Eddie Kramer. Givens called Kramer when they were in New York and dropped Jimmy Page’s name so Kramer told him to come to the studio.
• They were in the middle of building Electric Ladyland when they arrived and Givens described Kramer crawling around among wires when they walked in.
• Kramer went to see the band when they were back in Boulder and liked what they did so agreed to produce the album.
• They were on ABC’s label at the time and the president wanted them to go with Bill Szymczyk to produce. He said that Kramer was hyped up and got too much credit for Hendrix’s success.
• Givens didn’t agree and they were dropped by their label as a result.

Core Band:

• Bass – David Givens
• Drums – Bobby Berge
  • Johnnie Bolin: “Robbie Chamberlin–Tommy never did like him. He got rid of him, and that’s when he got Bobby Berge.”
  • David Givens: “Tommy said, ‘I know this guy from South Dakota, Bobby Berge.’ So we brought Bobby out. Bobby was this really weird, un-hip, backward guy. He had a really domineering wife. HE was a really sweet guy, but we picked on him.”
  • David describes the band as “sort of snotty hippies” and says that Bobby really didn’t fit in. He said Robbie was very hard to get along with.  Robbie’s feelings toward Tommy were mutual.  Robbie thought tommy was arrogant, and Tommy thought Robbie was stuck up and a stickin the mud.  David says, “They were both right.”
  • Bobby said Tommy’s playing on the first Zephyr album blew him away so he was excited to join the band.
• Organ, Piano, Soprano Saxophone, Flute – John Faris
• Piano [Occasional], Clavinet, Percussion – Eddie Kramer
• Piano, Vocals, Harmonica – Candy Givens
• Steel Guitar, Acoustic Guitar, Electric Guitar, Twelve-String Guitar, Vibraphone [Vibes] – Tommy Bolin

Additional Personnel:

• Backing Vocals – Albertine Robinson
  • Worked with George Benson, Bob Dylan, Al Kooper
• Backing Vocals – Eileen Gilbert
  • Worked with George Benson, Edgar Winter, and Jimmy Smith
• Backing Vocals – Gerard “Ginger Face” McMahon*
  • https://en.wikipedia.org/wiki/Gerard_McMahon
  • Whilst McMahon has undertaken many different musical projects throughout his career, he is probably still best known by many for the gothic rock anthem “Cry Little Sister,” a song which he recorded in 1987 for the soundtrack album of the cult horror film The Lost Boys.
• Backing Vocals – Tasha Thomas
  • https://en.wikipedia.org/wiki/Tasha_Thomas
  • In 1972 Tasha sang backup vocals along with singer-songwriter & Songwriters Hall of Famer Ellie Greenwich (1949–2009) for Jim Croce‘s debut album You Don’t Mess Around With Jim. She appears on Slade‘s 1976 Nobody’s Fools LP providing backing vocals on several songs including the title track. Tasha also provided backup vocals on the 1977 Kiss album Love Gun, as one of the “KISSettes”.
  • Sadly, passed away in 1984.
• Synthesizer [Moog] – Paul Conly
  • Worked with The Chemical Brother and Lothar and the Handl People
• Saxophone [Saxophones] – Paul Fleisher
  • http://www.paulfleisher-sax.com/english/e-main.html
  • Played with a number of artists including Lou Reed.
• Vocals – Buzzy Linhart
  • https://www.buzzartinc.com/
  • https://en.wikipedia.org/wiki/Buzzy_Linhart
  • Played with John Sebastian, Harry Nilsson, and Mark Moogy Klingman

Technical:

• Producer, Engineer – Edwin H. Kramer*
  • http://www.eddie-kramer.com/
  • https://en.wikipedia.org/wiki/Eddie_Kramer
  • Legendary producer who has worked with such artists as Jimi Hendrix, The Rolling Stones, The Beatles, David Bowie, The Rolling Stones, Led Zeppelin, Eric Clapton, Kiss, and Whitesnake.
• Recorded At – Electric Lady Studios
• Mastered At – Sterling Sound
• Mastered By – Sterling Sound
• Mastered By [Assistance] – Dave Palmer (2), Kim King

Album Art & Booklet Review

• Cover – Ed Thrasher
  • https://en.wikipedia.org/wiki/Ed_Thrasher
  • Stared his career as an art director with Capitol Records.
  • Then moved to Warner Bros. where he worked from 1964 thgrough 1979.
  • HE worked on hundreds of projects including Jimi Hendrix’s “Are You Experienced?” and Doobie Brothers “Toulouse Street.”
  • He continued to work through the 80’s and did the poster and artwork for Prince’s “Purple Rain.”
  • Also worked on art for Frank Sinatra, Sammy Davis, Jr., Dean Martin, and many more.
  • Sadly he passed away in 2006.

Thanks to Our Core Level Patrons:

• The $7.77 KeepItWarmRat Tier
  • Michael Vader
• The Episode $6.66 Tier
  • Steve Coldwell
  • Arthur Smith
  • Anton Glaving
• The $6.65 “Almost Evil” Tier
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  • James North
  • Mark Hodgetts
  • Will Porter
  • Zwopper The Electric Alchemist
  • Tim “Southern Cross” Johnson
  • Percival Frequency

Album Tracks:

Side One:

1. Going Back To Colorado (C. Givens, Tesar, Bolin)
2. Miss Libertine (C. Givens, D. Givens)
   • Backing vocals by David Givens
3. Night Fades Softly (D. Givens)
   • Synthesizer [Moog] – Paul Conly
4. The Radio Song (D. Givens)
   • Saxophone [Saxophones] – Paul Fleisher
   • Vocals – Buzzy Linhart
5. See My People Come Together (Bolin)
   • Tommy played his guitar through a Leslie for this song and “Showbizzy.”
   • Givens says this is one of the few songs they’d worked out and played live before recording.
   • Tommy created the outline of the song, David worked on the arrangement, and Candy reworked the words.
   • Givens says Tommy’s solo was the first or second take.

Side Two:

1. Showbizzy (Bolin)
   • Was recorded in Studio B with the guys from Lothar and the Hand People helping them.  Givens describes it as “sort of self-produced.”
2. Keep Me (Tesar, Bolin)
3. Take My Love (Faris)
4. I’ll Be Right Here (Tesar, Bolin)
5. At This Very Moment (C. Givens)

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  • Blackmore’s Tights
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Bustin’ Out The Spreadsheet

Reception and Charts:

• Despite working with Eddie Kramer and the trajectory it looked like the band was taking, the album was not a success commercially.
• Eddie Kramer: “I only knew [Tommy] for a very short period of time, which was the Zephyr album – one of the first albums he ever did. I remember they said, “You’ve got to hear our guitar player, he really loves Jimi,” as a lot of guitar players do. I thought he was a really good guitar player.
• Eddie goes on to say the album went fairly well but he remembers there was some difficulty with some of the songs not being as well formed as they could have been.
• Eddie says Zephyr opened up for Jethro Tull and he got up on the stage with the band, the first time he ever did and was terrified.  He played keyboard but said he’d never do it again and he felt more comfortable on the “other side of the glass.”
• David Givens said that the day Hedrix died [September 28, 1970] Eddie called to say, “We won’t be recording today – Jimi’s dead.”
• Givens was the one who told Tommy Jimi had died and he was in shock.  They were about to meet him.
• Not sure how this ties into the story of Tommy having Jimi’s ring.
• Also, the famous story of Tommy telling someone that Jimi Hendrix did drugs as an excuse for his drug use.
• David says they went into the studio wanting to play some of Jimi’s tunes as a sort of tribute.  When they went in Jimi’s black strat was there and Tommy picked it up and they played “Hey Joe” and “Foxy Lady.”  They were kicked out by one of the engineers.
• Kramer says the loss of Jimi and knowing his career was in turmoil was a lot to try to keep things going so he doesn’t have much of a memory of doing the Zephyr album.  Things would turn out soon after that when he began producing for Carly Simon.
• David Givens said that the record was “a mess” because Kramer was very distracted after Jimi’s death.  He became preoccupied with working on “Cry of Love” an album of songs Jimi was working on at the time of his death.  Hendrix had been very involved in the mixing and Givens said they were even asking them for help.  He remembers one of the songs was “Belly Button Window.”
• Givens says Bolin and Berge were playing more abstractly at this point and he said that he wanted their music to be more accessible.
• Karen Ulibarri said that at this point Candy was just wailing and Tommy was trying to get in as many licks as possible to get people to hear them.   Karen described the band’s style as “very unsophisticated–as far as performing and as far as recording was.”
• Berge says that David and Candy wanted Robbie back in the band and Tommy didn’t want to play with Robbie and that’s the main reason for the breakup.
• The album came out in early 1971 and by summer time they had broken up.  They only played a few shows in support of the album but David Givens said “The fun was gone.”
• Givens said they had high hopes for the album but that it never got finished as far as vocals and guitars and it was “half-assed from top to bottom.”  They even had a friend take the pics that ended up in the album.
• Billboard review in February 1971:
  • Going Back to Colorado gets this new rock group off to a breezy start. The quintet (David and Candy Givens, Bobby Berge, Tommy Bolin, and John Faris) has a lot on the ball and they show it off well in songs like “See My People Come Together”, “Miss Libertine”, “Take My Love” and “The Radio Song.”
• Cash Box review in February 1971:
  • It shows they’ve come a long way since first appearing on the recording scene . . . (Candy Givens) has, at last, learned how to harness the intense power of her voice. The group’s writing has improve considerably also . . . Tommy Bolin is now writing excellent songs.
• David Givens on Candy Givens:
  • “I understand why people don’t like her at all if all they ever heard was that first record, or even “Going Back to Colorado.” Early on-and particularly the first record, because they’re all ‘take 500’–she sounds really stupid and over-amped. She was in some ways ‘the female equivalent of Robert Plant’ in the beginning. If you listen to ‘Sunset Ride’–the Zephyr album we made after Tommy–you can hear that she can actually sing beautifully.
• Tommy left Zephyr shortly thereafter where he formed the band Energy with Bobby Berge, Jeff Cook, Stanley Sheldon, and Tom Stephenson.

For Further Information:

• https://www.discogs.com/release/1983674-Zephyr-Going-Back-To-Colorado
• Touched by Magic: The Tommy Bolin Story by Greg Prato
• Tommy Bolin – in and out of Deep Purple by Laura Shenton
• https://deeppurplepodcast.com/zephyr-a-volcano-of-dreams/

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 Twitter, Facebook, or Instagram.

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• Richard Fusey upgrades to the $12.99 “What’s Goin’ On Here” Tier

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CASH APP DONATION!

• One time $12.12 from none other than Alan “Ain’t Too Proud To” Begg!
  • Ain’t Too Proud To Cash App!
  • Hey Nate, 
  • No I’m not switching to cash app, I’m still on Patreon. 
  • It was just a wee “Brucie Bonus”.
  • Hmm I don’t think that’ll translate ! 
  • Honestly it was just to prove that the Cash App thingy works and that we’re both “down with the kids”
  • All the best 
  • Cheers………Ab  

Whitesnake Live in Illinois September 1, 2022!

Deep Dive Podcast Network:

• Deep Dive Podcast Network
• Sabbath Bloody Podcast
• Skynyrd Reconsydyrd
• The Deep Purple Podcast
• T-Bone’s Prime Cuts On The Other Side
• In The Lap Of The Pods
• The Magician’s Podcast
• Hawk Binge
• Maiden A-Z
• Diary of the Madmen
• Universally Speaking: The Red Hot Chili Peppers Podcast
• Metal Gods Podcast
• The Podcast Will Rock
• Back Tracks: Aerosmith Revisited

Tracks:

• Gillan & Glover – A celebration of 1988’s Accidentally On Purpose.
  • Gillan voiceover from 0:50 through 3:40.
• Gillan & Glover – She Took My Breath Away
  • Music video.
• Gillan & Glover European Promotional Interview 1988
  • Quick interview about their family, early music introductions
• Ian Gillan & Roger Glover – Interview (1987)
  • “Totally Live”
  • 1:10 – question about why they did the album through 2:50.
  • 3:20 – talking about what kind of current music they like, Gillan says how much he likes Whitesnake. Through 4:15.
  • 4:50 – talks about “She Takes My Breath Away” through 5:20.
  • 5:20 – gigging as Purple or Gillan & Glover
  • 5:50 – talk about potential Gillan & Glover tour through 6:30
  • 10:20 – taking calls and game through 13:00
  • 13:00 – interview about what they want to be doing in 5 years and closing
• Gillan & Glover – Clouds And Rain
  • Music video.
• Ian Gillan & Roger Glover Dislocated Live on TV Friday Night
  • Live performance – 2:26 long
• Ian Gillan interview with Mick Wall in February 1988
  • Ian solo interview while Roger is mixing “Nobody’s Perfect.”
  • 2:14 – talk about live album
  • 2:50 – asks what Ritchie thinks about them doing this album and about Ritchie with encores through 4:45
  • 5:00 – talking about video for Lucille and Bernie Torme
  • 5:30 – trivia contest to give away 6 copies of Gillan & Glover album and ending
• Ian Gillan & Roger Glover Via Miami Live on TV Friday Night 1988
  • Live performance- 3:47 long

Thanks to Our Core Level Patrons:

• The $7.77 “KeepItWarmRat” Tier
  • Michael Vader
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• $5.99 The “Nice Price” Tier
  • Fielding Fowler
  • Robert Smith
  • Peter from Illinois
  • Michael Bagford
  • Karl Hellberg
• $5 “Money Lender” Tier
  • John Convery
  • German Heindl
  • Adrian Hernandez
  • Jesper Almén
  • Oleksiy The Perfect Stranger Slyepukhov
  • James North
  • Mark Hodgetts
  • Will Porter
  • Zwopper The Electric Alchemist
  • Tim “Southern Cross” Johnson
  • Percival Frequency

• Cayman Island – 3:56
• The Purple People Eater (Sheb Wooley) – 2:36
  •  reached No. 1 in the Billboard pop charts in 1958 from June 9 to July 14, No. 1 in Canada,^[3] reached No. 12 overall in the UK Singles Chart, and topped the Australian chart.
  • “The Purple People Eater” tells how a strange creature (described as a “one-eyed, one-horned, flying, purple people eater”) descends to Earth because it wants to be in a rock ‘n’ roll band. The premise of the song came from a joke told by the child of a friend of Wooley’s; Wooley finished composing it within an hour.^[4]
  • The song establishes that the creature eats purple people, but not whether or not it is itself purple:
• Chet – 4:17
• John, Paul, and Nate’s 80s Movie Featuring “Chet”
  • https://www.youtube.com/watch?v=r0JvkosJSx8

Thanks To Our Foundation Level Patrons:

• The $3.33 Half Way to Evil Tier
  • Raff Kaff
• $3 “Nobody’s Perfect” Tier
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  • Øyvind Fjeldbu –
  • Runar Simonsen –
  • JJ Stannard
• $1 Made Up Name Tier
  • The “Put the Leak in the Coconut” Leaky Mausoleum
  • Stephen Sommerville The Concerto 1999 Fanatic
  • Spike, The Rock Cat
  • Hank the Tank
  • Private Eyes
  • Ashen Lionel
  • Spike’s Mom
  • Blackmore’s Tights
  • John Miceli

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 Twitter, Facebook, or Instagram.

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

How To Support Our Show:

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• Donate on Paypal (Donate one time or click “make this a monthly donation” box)
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Welcome Our Newest Patron(s):

• John Miceli – Joining at the $1 tier!

Thanks to Our Executive Level Patrons:

• The $25 “Uncommon Man” Tier
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• The £10 Tier
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• The Turn it up to $11 Tier
  • Clay Wombacher
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  • Mikkel Steen
• $10 “Some One Came” Tier
  • Ryan M
  • Jeff Breis
  • Victor Campos
  • “Better Call” Saul Evans
  • Kev Roberts &  his wonderful children: Matthew, Gareth, and Sarah

Deep Dive Podcast Network:

• Deep Dive Podcast Network
• Sabbath Bloody Podcast
• Skynyrd Reconsydyrd
• The Deep Purple Podcast
• T-Bone’s Prime Cuts On The Other Side
• In The Lap Of The Pods
• The Magician’s Podcast
• Hawk Binge
• Maiden A-Z
• Diary of the Madmen
• Universally Speaking: The Red Hot Chili Peppers Podcast
• Metal Gods Podcast
• The Podcast Will Rock
• Back Tracks: Aerosmith Revisited

Personnel:

• Bass – John McCoy
• Drums – Mick Underwood
• Guitar – Bernie Tormé
• Keyboards – Colin Towns
• Vocals – Ian Gillan

Technical:

• Engineer – Paul ‘Chas’ Watkins*
• Lacquer Cut By – Joël (Dork) Michiels*
• Management – Phil Banfield
• Mixed By – John McCoy
• Mixed By – Paul ‘Chas’ Watkins*
• Mixed By [With Contributions From] – Bernie Tormé, Colin Towns, Mick Underwood

Album Art & Booklet Review

• Illustration – Alan Daniels (2)
  • Also did album covers for Girlschool
• Illustration – Angus McKie
  • Did album covers for Vangelis and others
• Painting [Cover] – Alan Daniels (2)
• Photography By [Main Photos] – Gavin Cochrane
  • Photography for Sparks, Pretenders, Stray Cats, The Who, Men Without Hats, and more.
• Gillan: “I realise that a lot of people think the album cover is rubbish. It was certainly a bit strange. But some of the photos inside were amazing. Future Shock came in a gatefold sleeve, and it was a great visual production effort by all concerned.”
• Title based on book by same name by Alvin Toffler:
  • “Future Shock” is the term Toffler gave to the trauma that happens as a result of going through great changes in a short time.In his book he explores how people can adapt to the changes they face, and while doing that he establishes a new social norm: embracing change.
• Gillan, later in a 2017 YouTube video: “Now this is an amazing cover. Portraits of the band, candid shots mixed with a lot of photographs from Young Artists agency that we decided were compatible with the title, ‘Future Shock.’” Well that’s the interesting part I think there . . .bit of a rebellion wnet on when everyone saw the picture because it sort of supposed to be I don’t know what . .. it makes it a little bit weird anyway . . . titled nicked from a book by Alvin Toffler at the time which was full of how exciting the future might be.”

• Liner Notes:
  • Record Business – 11.8.80
    • It’s almost a relief to hear bands like Gillan.
  • Huddersfield Daily Examiner – 20.9.80
    • John changed from playing trumpet to guitar while at school. . . . He moved to London to continue successfully working in rock music, playing afro-jazz at Ronnie Scotts, touring world wided with Julie Felix and playing cello on a Beach Boys album.
  • Hull Daily Mail – Oct ‘80
    • As for Bernie Torme’s guitar solo we all know that HEndrix did it with feedback, but, as the report says, it was “long ago” – too long ago for some of us to remember
  • Sounds – 9.8.80
    • . . . and on certain occasions Towns creams his colleagues into the ground.
  • Sounds – 4.2.78
    • Colin Towns (Keyboards/Vocals)
    • Coming from a diverse busical background which included jazz, R&R (including a stint with Chuck Berry), Country & Western Mr. Towns almost replaced Dave LAwson in a reformed version of Greenslade. LAwson was in fact originally offered the gig with IGB, but declined and gave them Colin’s number . . . 
    • The quietest member of the band, he has been known to more than occasionally go for walks sending the rest of the group into a state of freznsy, only to re-appear just in time for a gig.
  • Virgin Release Sheet
    • Ian was presented with the aforementioned cake onstage at the end of the Friars gig, with the immortal words, “There’s only one place for this,” Gillan promptly heaved the lovingly prepared oj=bject straight onto the bald pate of one John MCCoy, the Gillan band’s odd looking bass player, Aaah, the carefree joys of yough, the fun those rock stars have etc . . ..
    • REmember Gillan is a Group.
  • Record Mirror – 16.8.80
    • BEsides it’s worth having just for the photo of John McCoy.
  • ‘Glory Road’ is ten songs where five men struggle to get worked up about piss-all . . . but there it is in the LP charts.
  • South Wales Argus – 18.10.80
    • If you’re looking for “Trouble” Cardiff Top Rank will be the right place this weekend.
  • The Oxford Times – 05.9.80
    • Before you could about “wally” he was back with his own band
  • Derby Evening Telegraph – 17.10.80
    • But when in five years time Gillan are international superstars, don’t let anybody say ‘I told you so.’ A child of three with his eyes shut couldn’t help but notice the talent they displayed at Derby Assembly Rooms on Saturday Night.
  • The Northern Echo – 25.9.80
    • Ian Gillan is 35, paunchy, dresses badly and sings worse. He ought to be a washed up has-been if ever there was one.
  • Bristol Evening Post = 7.10.80
    • Last night they showed they weren’t afraid of stretching the form beyond the head-banging format. They used colour, tone, skill and turned in some attractive, cheering music.
  • Colin Towns: “‘Breakdown’ (MCA) Young (or should that be old?) Colin has made seven albums with Gillan and out of his own with this shows he’s got a reasonable sense of dynamis to go with those semi restrained crazed vocal streams. HM’sanswer to Pop Group? Sure, Boris.
  • Bernie Torme looks like a reject Rolling Stone but is without doubt a guitarist of unique style and sound.
  • Towns, to his chagrins, isn’t about to become quite as rich as the perpetrators of “The STud” and “Saturday Night Fever.”
    • “I keep having thie word ‘prestige’ rammed own me throat,” he laments “I got very little money in the end. But I was pretty hard up before I did it anyway.”
  • New Music News – 16.6.80
    • Ian Gillan breaks new poetic ground by rhyming “ultrasonic” with “gin and tonic.”
  • Mail – 13.9.80
    • Guitarist Bernie Torme, who previously stly fronted his own band.
  • Melody Maker – 9.8.80
    • The rhythm squad of Mick Underwood and John McCoy neither of them spring chickens, set about shaking the glass from windows with a sturdy resilience.
  • Melody Maker – 30.8.80
    • There were more than 30,000 people out there, going crazy with Gillan’s parting gift.
  • Burnley Evening STar
    • Preston Guild Hall rocked to the rafters with an amazing show of affection for the governor.
  • Sheffield Star – 7.10.80
    • Mick Underwood was impressively solid behind the drums.
  • Evening Sentinel – 9.10.80
    • Torme laid his own stamp on the aged “Smoke on the Water,” using feedback brilliantly and introducing that foamous riff Hendrix fashion – with his teeth.
  • Melody Maker – 30.8.80
    • When they did eventually crash into the body of the song, the corwd made the turf tremble.
  • Evening Sentinel – 9..10.80
    • And that supreme example of The Great Poser, John McCoy on bass. He really is one of Life’s Great Uglies.
    • This quote is oddly paired up with a picture of Roger Glover from “Cornflakes and Crazy Foam.”
  • Glasgow Daily Record – 31.10.80
    • Someone aske dme the other day what I’d do with my next million and I told them I’d probably buy myself a new tent.”
  • Hull Daily Mail – 28.10.80
    • It is a pity the music did not quite match th occasion. It was too patchy, smothered in part by histrionics and self indulgence. Guitarist Bernie Torme launched into a too-long solo which was so hackneyed it quickly became boring. There is only so much that can be done with feedback, and anyway, Hendrix did it a long time ago.
  • LAncashire Evening Post – 6/10.80
    • They seemed to love it best when he dragged his guitar across the speaker sending the decibel needle soaring off the scale.
  • Ipswich Evening Star – 22.10.80
    • And guitar player Bernie Torme was really a treat to watch. He plays his Strat like a formula one racer drives is car-one hand on the gearstick; 

Other Releases:

• 1989 CD release with bonus tracks
• 2007 Re-release with bonus tracks with Ian Gillan retrospective liner notes
• 2012 Re-release on vinyl with 12-page hard covered book.  Only 1,000 copies made.

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• The $7.77 KeepItWarmRat Tier
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Album Tracks:

Side One:

1. Future Shock (Gillan, McCoy, Tormé)
2. Night Ride Out of Phoenix (Gillan, Towns)
3. (The Ballad Of) The Lucitania Express (Gillan, McCoy, Tormé)
   • “Some of the tracks here, like Night Ride Out Of Phoenix and (The Ballad Of) The Lucitania Express, were based on actual incidents which happened to us on the road. I always like doing that sort of thing.
4. No Laughing in HEaven (Gillan, McCoy, Tormé, Towns, Underwood)
   • “This is the one with No Laughing In Heaven, which is definitely my favourite Gillan track. It was really the start of me being publicly irreverent. It harked back to when I was 13 years old, asking questions at Sunday school like, ‘Father, what was the immaculate conception?’, and getting answers like, ‘You have to have faith in God, my son. Faith will guide you’. And I began to realise that I didn’t believe in religion, and that God didn’t create Man, it was the other way round. The idea of going to heaven was anathema to me. The last thing I want to do is be stuck in heaven with the sort of people I’d like to avoid! That’s where this song comes from.”
5. Sacre Bleu (Gillan, McCoy, Tormé)
6. New Orleans (Frank Guida, Joseph Royster) – Gary U.S. Bonds Cover
   • Simon Robinson in Stargazer #24:
     • This oldie (originally by Gary US Bonds) was sufficiently catchy to get the radio airplay, and became their most successful single to date. It’s ok I guess, though I’d have been happier to see MAD make it. The b-side (‘Take A Hold Of Yourself’) is nothing outstanding either, though it has yet more vocal experiments midway.
     • Gillan’s version or the song reached #17 on the UK Singles Chart.

Side Two:

1. Bite the Bullet (Gillan, Towns)
2. If I Sing Softly (Gillan, McCoy, Tormé)
3. Don’t Want the Truth (Gillan, McCoy, Tormé)
4. For Your Dreams (Gillan, Towns)

Thanks To Our Foundation Level Patrons:

• The $3.33 Half Way to Evil Tier
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• $3 “Nobody’s Perfect” Tier
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  • Spike’s Mom
  • Blackmore’s Tights
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Bustin’ Out The Spreadsheet

Reception and Charts:

• This album is viewed by many to be the band’s peak.  It was certainly trues as far as chart position. It reached #2 on the UK chart and was their highest charting album.
• Stargazer – Issue #24 – June, 1981
  • The outer sleeve is chronic, there are very few artists in the sci-fi field doing anything decent, and Gillan used the best, Chris Foss, for ‘Clear Air Turbulence’. The album itself didn’t live up to expectations. There seems to be a lack of musical ideas, reusing from previous albums, which are wearing a bit thin. ‘Ballad Of The Lucitania Express’ is the worst example. Much of the album sounds too rushed, which is a pity because the enthusiasm is there – one snatch of ‘No Laughing In Heaven’ shows that. Some of the tracks sound like Ian was suffering when he recorded them; such as on ‘If I Sing Softly’ and ‘Don’t Want The Truth’, both of which have a lot going for them. For my money the best cut of all is the last; ‘For Your Dreams’. It has a much more thought out feel to it, and begins to bring together Colin’s ideas and Ian’s vocal range successfully. Overall I feel Ian has let the album run away with itself, and ‘Glory Road’ seems (especially the American version with rearranged track order) much stronger.
• Bernie would leave the band while on the road supporting the album and was replaced by Jannick Gers who finished the tour.

For Further Information:

• https://en.wikipedia.org/wiki/Future_Shock_(Gillan_album)
• https://www.discogs.com/release/1652904-Gillan-Future-Shock
• Child in Time by Ian Gillan
• https://en.wikipedia.org/wiki/Future_Shock
• Future Shock LP Release with 16-page booklet liner notes by
• Stargazer #24 – June 1981
• Darker Than Blue – Issue #1 – November, 1981
• Future Shock: Ian Gillan comments on the LP
• https://vinylspinning.tumblr.com/post/645598878773739520/gillan-future-shock-1981-aaak-future-shocks
• https://www.classic-rock-covers.com/2020/04/ian-gillan-band-future-shock-1981.html
• Help from the archives of Jeff Breis

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 Twitter, Facebook, or Instagram.