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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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.
Listen to HaskinCast Episode #263 – Roubdtable – When Grunge Hit and hear John, our friend from high school, Derek, and Scott and his high school friend as they recount their observations and reactions the beginning of the grunge era.
Ozzy left the band after reportedly being frustrated with the experimental direction they were going with the last two albums.
Osbourne was involved with early writing for the album before he left.
Sharon Arden introduced Dio to Tony Iommi.
Initially Dio and Iommi immediately clicked and toyed with the idea of forming a new band.
They played briefly with Dio on bass/vocals as Geezer was going through a divorce.
Craig Gruber also played with them on bass for a brief time. Gruber has made many claims over the years including that he co-wrote most of the songs on the album and that they reached a financial settlement.
Iommi says in his biography that Gruber recorded all of the bass parts but they were re-recorded by Butler who hadn’t heard them.
In 2009 Gruber admitted he only helped write “Die Young.”
Bill Ward considered this to be the start of a new band rather than a turning point for Black Sabbath.
The album was recorded in Criteria Studios in Miami, Florida.
It was Dio who recommended they use Martin Birch who he’s worked with in Rainbow.
It was the band’s first outside producer since Rodger Bain who produced “Master of Reality” in 1971. Iommi had produced the band’s albums since 1971.
Looking back at the addition of Dio, Butler says it wasn’t really adding Dio to the band because the band as everyone knew it “Barely existed” as a band during this time.
It seems it could have gone either way with Tony doing a solo album with Dio or Dio joining sabbath.
Core Band:
Bass, Written-By [Music], Arranged By – Geezer Butler
Drums, Written-By [Music], Arranged By – Bill Ward
Guitar, Written-By [Music], Arranged By – Tony Iommi
“MASQUE was a series of paintings with people in costumes. the SMOKING ANGELS was specifically inspired by a photo of some people backstage at a small town Christmas pageant. The painting was cropped a little on the right for the album cover. You can see the full painting in the ARCHIVE segment of www.curleeart.com.”
“They were in a jam,” recalls Curlee. “Black Sabbath were releasing the new album Heaven and Hell. The original cover-art plan was not working out, I received a call to ask if I had anything they might be able to use, since the timing was getting short.” Lynn Curlee sent them a photo of Smoking Angels; Warner Bros. sent a check!
Only credit – he drew the back cover illustration.
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Album Tracks:
All songs written by Iommi, Butler, Ward with lyrics by Dio.
Side One:
Neon Knights
Children of the Sea
Iommi claims he has a demo version of this with Ozzy singing a completely different melody and set of lyrics.
Lady Evil
Heaven and Hell
Side Two:
Wishing Well
Die Young
Walk Away
Lonely Is the Word
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Bustin’ Out The Spreadsheet
Reception and Charts:
The album was the band’s highest charting album since “Sabotage” reaching No. 9 in the UK and No. 28 in the US).
Dio on the differences between working with Iommi and Blackmore from a 1982 intervew: “The difference really is that Tony is an all-around player. Ritchie is a brilliant, brilliant player. And he always will be. He has very good musical ideas. But to my way of thinking, he is not a member of a band. I’ve always been a band-oriented musician. Tony is a team player. Tony caares about me, he cares about Vinny, he cares about Billy, and we all feel the same way. Ritchie really only cares about himself. I’m trying not to make this a derogatory statement. The man hasn’t said any bad things about me and it’s not in my constitution to use the press to say anything bad about Ritchie. I had a good relationship with him; he’s a fine player and I wish him all the success in the world.
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