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The personnel on all selections except Spectrum & Le Lis is Billy Coham,, percussion; Tommy Bolinm guitar; Jan Hammer, Electric piano, acoustic piano & Moog synthesizer; Leland Sklar, fender bass. There is no acoustic piano on Red Baron.
Moog synthesizer drum, Moog sample and hold devices were used on drum solos on Straus and Snoopy’s Search.
The personnel on Spectrum & Les Lis is Billy Cobham, percussion; Joe Farrell, flute & soprano sax on Spetrucm and alto on Le Lis; Jimmy POwens, fugelhorn on Spetctrum and flugelhorn & trumpet on Le Lis; John Tropea, guitar on Le Lis; Jan Hamer, electric piano & Moog synthesizer; Ron Carter, acoustic bass; Ray Barrelo, congas.
What is life but a spectrum and what is music but life itself. Billy Cobham, Jr.
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.
Disclaimer: The video used on YouTube is a byproduct of producing our audio podcast. We post it merely as a convenience to those who prefer the YouTube format. Please subscribe using one of the links below if you’d prefer a superior audio experience.
Perfect Strangers jacket that Ian Paice gave me back in 1993, went to a family birthday party and he sent me back home with this!
Shaun Macguire on Twitter
The best musical experience of my life was sitting 10metres from Ian doing a drum workshop,he played the intro to fireball and the room shook,it was so surreal,I got to meet him after and you wouldn’t meet a nicer bloke,so humble and gracious,this is the poster he signed
Sí, los has contado bien, 26, veintiseis discos como veintiseis soles. Sí, todos de Deep Purple y sí, todos en directo.
Efectivamente hay uno repetido, el Made in Japan, pero no cuenta como repe, la edición de la carátula negra no sólo es remasterizada sino que tiene otro disco adicional.
Posiblemente el Made in Europe (que todavía anda por casa en formato vinilo) sea también un recopliatorio de los conciertos que dieron los Purple en Europa, obviamente, entre el 74 y el 75… sí, ya estaba Coverdale, claro. Si te conoces bien la historia púrpura sabrás como yo que a Gillan lo echaron en el 73. Luego volvió, pero bueno, el Made in Europe lo grabó Coverdale …¿cómo dices? ¿que también cantaba Glenn Hughes? Listo, que eres un listo, pues no sigas leyendo, Glenn quería echar a Coverdale y quedarse con el puesto de único cantante, y además convertir a Deep Purple en un grupo funky. Y claro, Blackmore se fue. El bueno de Ritchie jamás habría grabado Come taste the band.
Enterramos el hacha de guerra, venga. Bueno, pues sí 26 dicos en directo de la banda que inventó el Heavy Metal (aquí debería comenzar otra discusión, pero la dejamos para otro día). Te iba a decir que no soy particularmente un friki de este grupo, pero creo que más que posiblemente te estaría mintiendo. Pero sí que hay algo de cierto en que no soy un "picao" de Purple. O sea, me encantan, pero lo que más me gusta de estos británicos son sus discos en directo, ahí sí que entramos en el terreno del fanatismo. Concretamente los de la época de Blackmore. Ojo, sin desmerecer a Steve Morse, que es un tocado de la mano de Dios. Pero es que el hijoputa de Ritchie, el cabrón no tocaba igual dos temas, quiero decir, que los interpretaba de una forma completemente distinta. Y no me refiero sólo al solo…je je je, si eres lector de mis pajas mentales rockeras, habrás leído esta expresión más de una vez, me mola, la voy a patentar «sólo el solo». Bueno, que me lío, Ritchie es ese tipo de guitarrista de los años setenta que le gustaba alargar el tema, llevarlo a terrenos insondados, improvisar, y al fin y al cabo darle el follón a la banda que le acompañaba, ya fueran los Purple o sus Rainbow, para ver si podían seguirle, y vaya si le seguían, como que les iba el puesto en ello.
Si me conoces bien, sabrás que soy más de Rainbow que de los Deep Purple, y de hecho tengo también como seis discos de Rainbow en directo (todos de la misma gira del 76) donde nuevamente Ritchie hace gala de su genio musical, que va de la mano de su mal genio personal, dotando a cada canción de un toquecito personal que la hacía distinta de la que había interpretado en día anterior en otra ciudad. Y esa manía de no tocar dos veces igual un mismo tema ya comenzó en la época de los Púrpura Profunda.
Pero eso es fabuloso, al menos para mí, puedes escuchar un tema, pongamos el Mistreated, en varios de sus discos de las giras europeas (sí, con Coverdale, y gracias a Dios sin Hughes) y descubrir un pequeño matiz en cada una de las versiones. Igual para tí es un aburrimiento, pero a mi me encanta.
El bueno de David Coverdale también hizo algo parecido con sus Whitesnake, y te remito a un post antiguo mío donde disertaba sobre las glorias de la primera formación de la Serpiente Albina (Serpens Albus, Papá) frente a la miseria comercial del WS del 87. Whitesnake, como decía, tiene precisamente dos versiones radicalmente opuestas del Mistreated que cada una vale su peso en oro. Y no quiero decir que una sea más fiel a la original y la otra la toque con ritmo de reagge, sino que la parte instrumental de ambas versiones no tiene que ver una con la otra melódicamente hablando, ni en duración ni en quien ni como toca un solo o quien hace la intro. Concretamente, si te pica el gusanito porque eres un forofo de este Mistreated, te recomiendo que lo busques en youtube, creo que no existe en disco, creo, aunque lo investigaré. Además en la guitarra no estaba mi idolatrado Bernie Marsden, sino Mel Galley. Vale te doy más datos, la que cantaron en Donnington en el 83, ya con Cozy Powell a la batería. Bueno, pues esa versión la comparas con la que tocan en el Live in the heart of the city. ¿Algo que ver? Nada ¿verdad? Maravilloso quillo. Músicos ingleses ¿qué más podemos añadir?
Pero claro, todo éso lo comenzó Ritchie Blackmore, claramente en la onda de los músicos que había en los setenta, bendita década. Y yo te animo a oír pausadamente esos temas, a desgranar esos directos y descubrir los matices de cada canción, sabes, ese "lick" que mete Ritchie en tal tema, o esa intro distinta que hace para este otro, y de esa forma puedes decidir cual es tu versión favorita.
Dejo para el siguiente «post», otra disertación acerca de Purple con Blackmore y Purple con Morse. No, no se trata de decir qué banda es mejor, ni de pelearnos, tú sabes que yo no sería imparcial, considero a Ritchie como el mejor guitarrista de rock de todos los tiempos y soy sinceramente un apasionado de su forma de tocar y componer…ojo Y componer, que igual estás hasta los cataplines del riff de Smoke on the water, pero seguro que ni tú ni muchos otros "mejores guitarristas" habéis sido capaces de componerlo. No, no van por ahí los tiros, sino del tema Pictures of home, pero eso tengo que estudiarlo tranquilamente y ver los repertorios de los veintiseis discos…veintiseis discos en directo, ahí es nada. Un abrazo
English Translation (through Google):
Yes, you counted them well, 26, twenty-six discs like twenty-six soles. Yes, all of Deep Purple and yes, all live.
Indeed there is one repeated, the Made in Japan, but it does not count as repe, the edition of the black cover is not only remastered but it has another additional album.
Possibly the Made in Europe (which is still at home in vinyl format) is also a compilation of the concerts given by the Purple in Europe, obviously, between 74 and 75 … yes, Coverdale was there, of course. If you know the purple story well you will know like me that Gillan was thrown out in ’73. Then he came back, but hey, the Made in Europe was recorded by Coverdale … how do you say? What was Glenn Hughes singing too? Done, you’re smart, don’t read on, Glenn wanted to kick Coverdale out and keep the position of sole singer, and also turn Deep Purple into a funky band. And of course, Blackmore left. The good guy Ritchie would never have recorded Come taste the band.
We buried the hatchet, come on. Well, yes, there are 26 live bands from the band that invented Heavy Metal (another discussion should start here, but we leave it for another day). I was going to tell you that I’m not particularly a geek in this group, but I think more than possibly I would be lying to you. But there is some truth in that I am not a “picao” from Purple. In other words, I love them, but what I like most about these British people is their live records, there we do enter the field of fanaticism. Specifically those from the Blackmore era. Be careful, without detracting from Steve Morse, who is a headdress from the hand of God. But the thing is that Ritchie’s motherfucker, the bastard didn’t play two songs the same way, I mean, he interpreted them in a completely different way. And I’m not just talking about the solo … hehe heh, if you are a reader of my mental rock straws, you will have read this expression more than once, I am cool, I will patent it “only the solo”. Well, what a mess, Ritchie is that type of guitarist from the seventies who liked to lengthen the song, take it to unfathomable terrain, improvise, and at the end of the day give the band that accompanied him, whether it be the Purple or his Rainbows, to see if they could follow him, and boy, did they follow him, like they were in charge of it.
If you know me well, you will know that I am more of Rainbow than of Deep Purple, and in fact I also have about six live Rainbow records (all from the same tour of ’76) where Ritchie once again shows off his musical genius, which is by the hand of his personal bad temper, giving each song a personal touch that made it different from the one he had performed the previous day in another city. And that mania of not playing the same theme twice has already started in the Deep Purple era.
But that’s fabulous, at least for me, you can listen to a theme, let’s put the Mistreated, on several of his European tour records (yes, with Coverdale, and thank God without Hughes) and discover a little nuance in each of the versions. Same for you is a bore, but I love it.
The good of David Coverdale also did something similar with his Whitesnake, and I refer you to an old post of mine where he lectured on the glories of the first formation of the Albino Serpent (Serpens Albus, Dad) against the commercial misery of the ’87 WS. Whitesnake, as I was saying, has precisely two radically opposite versions of the Mistreated that each is worth its weight in gold. And I do not mean that one is more faithful to the original and the other is played with a rhythm of reagge, but rather that the instrumental part of both versions does not have to do with each other melodically speaking, neither in duration nor in who or how it plays a solo or who does the intro. Specifically, if you get bitten by the worm because you are a fan of this Mistreated, I recommend that you look for it on YouTube, I think it does not exist on disk, I think, although I will investigate it. Also on guitar was not my idol Bernie Marsden, but Mel Galley. Ok I give you more information, the one they sang in Donnington in 83, already with Cozy Powell on drums. Well, you compare that version with the one they play at Live in the heart of the city. Something to see? Nothing right? Wonderful keel. English musicians what more can we add?
But of course, all that started Ritchie Blackmore, clearly in the vein of the musicians that were in the seventies, blessed decade. And I encourage you to listen slowly to those songs, to reel in those live shows and discover the nuances of each song, you know, that “lick” What does Ritchie put in such a theme, or that different intro that he does for this other one, and that way you can decide which is your favorite version.
I leave for the next «post», another dissertation about Purple with Blackmore and Purple with Morse. No, it is not about saying which band is better, or fighting, you know that I would not be impartial, I consider Ritchie as the best rock guitarist of all time and I am sincerely passionate about his way of playing and composing. ..eye And compose, that you are still up to the riff catapults of Smoke on the water, but surely neither you nor many other “better guitarists” you have been able to compose it. No, the shots do not go there, but rather the Pictures of home theme, but I have to study it calmly and see the repertoires of the twenty-six albums … twenty-six albums live, there is nothing. A hug
Marcelo Soares on Twitter:
1. Poster from Ian Gillan’s gig in Porto Alegre (Brazil), may of 1992
1. Gillan poster pic (attached) – this is from 1992, the first time when he sang in my original city, Porto Alegre. Deep Purple had visited for the first time in the year before (I have that poster also).
But this one is much more special, as the cats can attest. It was pasted to a wall on the street I used to walk to go to school and back. I was 15 and studied at night. It rained a lot in Porto Alegre in April, so the water eased the glue. At 11pm, no one bothered a hairy kid who wanted to take a street poster home. The only problem is we had no money for me to attend the gig. So, I got there early, to listen to the soundcheck. Araújo Vianna was open on the top back then, and everyone could listen to everything.
Ian arrived in a burgundy-coloured Volkswagen Santana, after giving an interview to the local radio. I was the first one in the queue to greet him. When the door opened and that towering man left the car, it took as long as it took for the Joker to draw his gun in the 1989 Batman movie (that was my exact reference at that moment). Speechless, I shook his hand and said: “mr. Gillan, you’re the best”. He answered: “I know”. I stayed there for the gig, but could not enter. Other tens of people had the same idea. When Black Night began, I was near the door and people went crazy. Police stormed in to spoil the fun – but it made it even more exciting, because I never thought I could be considered a public risk. At 15, that’s exactly what you need. Then I went to the front of the venue, where there was a green mound.
People who had no money for the ticket gathered there to have a drink and listen to the music. I didn’t really drink, but I met a female colleague who was from the volleyball team in my school, a stunning girl. And she asked me if I wanted a sip of caipirinha. Of course I did. Then three inconsequent guys went in to kick the brick wall at the right side of the door. They took rounds kicking it. And they tore it open. Girls screaming: it was the ladies’ room. One got in. Two got in. The third one was clobbered by the police before he could enter. A policeman stood there guarding the hole on the wall every day for the next week or so, before they fixed it. Anyway, I was sipping caipirinha with the gorgeous volley girl who I would hardly ever talk to otherwise, and my favorite singer was just there, singing, and I was singing along, and… all that caipirinha made me tipsy. So, after the gig ended, I stayed there for some time talking to my friends and watching the consequences of the wall attack, and I may have laid my head on the colleague’s breasts, but all I know is she never talked to me again.
I have a bootleg of that concert, and it’s even nicer than I remember.
(I told Gillan that story some two decades after it happened. He laughed a lot and told me the story from the Greek concert where there were people climbing the ceiling and the police stormed in – one of those famous “oy, oy” moments.)
2. Poster from Deep Purple’s first Brazilian tour (1991)
3. DVD with botched recording moments in an interview I did with Jon Lord for MTV Brazil in 2009. He also signed my list of questions.
At 13:57, my attempts at recording my opening and closing remarks for the interview. The great part of it is we can listen to some of the rehearsal. That was the first time when Jon played Soldier of Fortune in his Concerto tour. At 17:02 I begin singing along before recording my remarks. Jon let me stay to watch the rehearsal, and I ended up going to a rock store gallery nearby with Steve Balsamo and Kasia Laska to buy baby clothes with a Deep Purple logo for Jon’s recently born grandson.
Check Jon’s face at 24:20 – 24:55.
Plus, he autographed my question list:
4. Napkin from the pub where Deep Purple drank themselves under the table before recording Black Night. I wrote the lyrics to the song in it after the third pint, ten years ago.
2. Napkin with “Black Night” lyrics on it. In 2010, I was a politics reporter at MTV Brazil and went to Brussels for a World Bank event on corruption. On my way back, I stopped in London for a couple of days and I decided to make a special feature for the 40 years of Black Night. MTV Brazil had that usual clip, so I could tell the story as it happened. I went to Holborn by tube and looked at where De Lane Lea studios (then Kingsway Studios) was located. It was now a drugstore. Then I stopped by a cafe to check on a Deep Purple biography what it said about where exactly was the bar where they got pissed off. Found out it was the Newton Arms, just around the block. So I went there with a camera.
It was about 3PM, so I could have a drink. After the first pint, I talked to the oldest waiter there and asked him if he was present that night. It was a long shot, of course. And he wasn’t there in 1970 anyway, but he worked there in the early 80s when Gillan owned the studio. So I turned the camera on and he regaled me with tales about how musicians drank there and how they went back to the studio at Kingsway. The pub is in fact located on the antipod of the block in relation to the drugstore front, but he assured me there was an entrance on Newton St, through the parking lot. Then he poured light and bitter beer just like he said Gillan liked. “That man is a solid beer drinker”, he said.
Then I asked for another light and bitter pint and looked for the biggest table, where five would fit, and sat there with the beer, listening to Black Night on my phones and trying to see myself among them that night.
When I found a napkin. And I turned the camera on while I wrote the lyrics to Black Night on it, at a table that seemed big enough to sit my five favorite musicians. I could imagine how great the special report on Black Night at 40 would be.
Of course, only when I was back at the TV station I found out the videotape was not rolling. Never drink at work, kids.
Bonus track – my interview with Jon Lord for MTV Brazil in May of 2009, with all the errors.
Mhenry on Twitter:
This is my copy of Machine Head. Purchased in Geneva in 1973. Our high school band went to Switzerland that summer.
Waited all year to buy it until I was in Switzerland. Didn’t stop in Montreaux so bought it in Geneva.
Best souvenir of all time!
Peder on Instagram:
Ritchie autographed leather jacket from 1996.
It was before the show. I watched him play football pre-show. After the game he exited the pitch on the opposite side and I walked towards him. I asked him if I could have his autograph and he said no problems. He told me he couldn’t stop and chat because he wanted to avoid the crowd that was walking towards him. So me and my mate was the only two getting thigns signed that day. Short meeting but he was kind and friends.
Scott Haskin via email:
I may have shared these pics (well, not THESE pics, I just took them and 2 of are a pic but the same one) but I saw your post so I thought I would send them over. All from the night in Denver on 8-26-1998 when I sat next to Steve’s cousins at the show and almost met him but did meet Roger where fate either did or did not take place inthe form of Fools. Good times!
Oh! I didn’t even think about these from NAMM this year.
My Masterclass with Steve is on 7-17. Can’t wait!
Steve Hunt on Facebook:
This I actually paid for.Saw it on the wall of a ticket brokerage and snagged it.Cant remember what I paid,but I’m guessing $250.
An autographed show schedule from Rainbow at The Galaxy Theater in Santa Ana CA 1997.This was handed to me by Doogie White as the band were returning for the encores.I was right up front by Blackmore for this show.In fact,Ritchie kept handing me beers all night.Signatures are RB top left,DW top right,Paul Morris center,Greg Smith bottom left,Candice Night bottom right.Only the drummer,Jon Micelli didn’t sign it.
Adrian Hernandez on Facebook:
Hey guys! Here is my ticket for when I went to go see Ian Gillan’s solo tour for his Gillan’s Inn tour back in 2006. He was in town in Phoenix (Scottsdale to be exact) and it was a small venue in which I was up front. Ian was nice enough to stick around after the show and shake hands. He shook my hand and even autographed my ticket. Here it is in a frame. It was an awesome experience!!
Steve Hunt on Facebook:
Got these signed by JLT after a solo show around 2006 or so.
Graham Bonnet signed this after an Alcatrazz gig in 2012.
Stewart smith on Twitter:
Autograph in Deep Purple Book.
I have Glenn’s signature in the same book, signed at Bradford Rio’s on his first gigs with half of Europe as his band.Gillan signature was from Nottingham. I have a photo with him. Jon Ian and Roger signed the book in Newcastle after a City Hall gig. I think Jon’s final tour.
Unsermanninflorida on Instagram:
I was in Nürnberg-Germany at one of the Reunion-Concerts. Look at the crowd! Greetings, Lutz from Berlin
It’s 1982 or so, I remember hearing the news that the Mark 2 lineup was reforming, that an album was in the works. I was super excited as I saw them twice back in the 70s (mark2, also saw mark 3 and mark 4). At the time I was living in NH, but not able to steal away to Stowe, VT in hopes of seeing them…
Anyway, Perfect Strangers was released, and I was really happy, thought it was an excellent album (still my favorite of the reformation years). Then I heard of the upcoming tour. Got tickets to see them at the Worcester Centrum in MA (I mention this as you guys are from RI and would know where this is). On the drive down, I was wondering what song would they open the show with? I figured it would be Highway Star. And they did! It was a blistering kick ass version. I knew it was going to be a super concert.
Next they played SKOW and when they did the bit from JCS, my thought was, these boys are on fire. They then did several songs from PS, Nobody’s Home, Under the Gun – Ritchie smoking the frets, giving a clinic on how to really shred. They played PS, CIT, Beethoven with Jon taking his solo spot where he played snippets of Burntwood and Rhapsody in Blue which I can attest to as a technically demanding piece to play. Next was Knocking at your back door, then Gypsy’s Kiss. Loved watching Jon and Ritchie playing off of each other. Lazy, Space Truckin followed to close out the show. Speed King and SOTW were the encores. It was great watching Jon and Ritchie duel it out during Speed King. Great fabulous concert! The photo of the concert program comes from this concert. (It is in the size of an album) They played 5 songs off PS – good mix of new and old material.
Lights go up. I stayed in my seat absorbing what I just saw and heard, namely the best band ever. I finally left the centrum. I am walking to my vehicle when I see a purple limo with dark windows leave – obviously, the lads being driven back to the hotel or something. I waved and gave 2 thumbs up)) This was in 1985.
1987 – HOBL tour. I already had tickets to see them at the Worcester centrum again when someone from where I was working at the time (plumbing wholesale warehouse) said he had ticket for Purple at the Cumberland County Civic Center in Portland ME. He gave ticket to me. At CCCC, opened with Highway Star again, followed by SKOW. Then a bunch of songs from the new album including Bad Attitude, Unwritten Law which then morphed into solo by Paicey, Black Night, CIT, PS, Beethoven with Jon’s solo all followed. Knocking was next, Mitzi Dupree, Hard Loving Woman. Next was Dead Or Alive which saw amazing dueling between Jon and Ritchie, closed out with Space Truckin. SOTW was the encore except Roger was standing on the stage where Ritchie usually is because He had Ritchie’s strat and was playing SOTW! Ritchie had Roger’s bass and was standing next to Jon (Roger was playing a stick bass on this tour). So, that was an interesting twist. I distinctly remember Ritchie going right to the front of the stage during his solo on Highway Star and really letting it rip. Those in the front rows got a treat. My seat was up a bit to the left of the stage. I was looking right down at Jon. I had a great view of watching the maestro play all night)) The photos of the program comes from that night.
The set at the Centrum was the same except that Lazy was dropped in and Mitzi Dupree not played. Ritchie played SOTW. This was the last concert I have ever seen as within 2 weeks, I was traveling across the continent to Alaska to start graduate school. Been here ever since.
Anyway, those are my recollections of several wonderful nights in my life. (I already told you guys about meeting Ritchie, him giving me backstage pass during the Rising tour and meeting the lads in Rainbow – the other great night of my life).
Cheers))
Janne Puska on Twitter:
Battle Rages On tour shirt from Helsinki 93
Frank Theilgaard-Mortensen
Signed copy of “Play Me Out” by Glenn Hughes
Joe Lynn Turner – Oh and this one! Dont know why I took a red pen to the concert
Joe was standing in the corner backstage and looking kinda mad. I went over to him and his first response was “wow someone who knows me… All the other ones are talking to Glenn” 😂 it was a Hughes Turner Project concert.
Arthur Smith on Twitter
I’ve kept this for years for no known reason, also have a couple of fanzines from that era if of interest. Additionally I’ve many programmes and tickets if that’s the sort of thing you’re interested in.
I’ve kept this for years for no known reason, also have a couple of fanzines from that era if of interest. Additionally I’ve many programmes and tickets if that’s the sort of thing you’re interested in.
ARthur Smith via email:
Hi,
Thought I’d stop cluttering up twitter and send via email. The Knebworth festival programme was just the world tour programme which was a missed opportunity to have something with all the bands in it. I’ve tweeted my ticket before.
The Battle Rages On arrived in Birmingham in Nov 93, I can’t recall whether I knew Ritchie was leaving but the onstage stuff is all captured on the video that came out. The programme is cobbled together of pictures from Perfect Strangers era. I was high above the stage on Ritchie’s side so could see backstage. Candice was around and all sorts of weird things were going on that I can’t recall in detail, he would wander off stage when bored. Not a great gig but memorable for other reasons.
I went to the second night announced of the Concerto which was I think the day before the one that was filmed. Only time I ever saw Dio sing live to be honest, huge voice obviously.
The last time I saw Purple was at Ipswich, I see the ticket is for March 2002 but it was deferred to September by which time Don was in the band but Jon was fulfilling his contract and played half the gig, very emotional as it turned out to be his last gig with the band and, indeed, I’ve not been to see them since either.
Also all my Rainbow tickets, bit of a gap between 1983 and 2016…
Hope of interest, I’m more of a Whitesnake and Rainbow fan these days. Whitesnake are still astonishing live and I’ve an unused ticket from May this year, it may never happen in that scale again ☹️.
Cheers
Arthur
Mike Healy via email:
Here’s a funny one. Way back in 4th grade for me, in the fall of 1985, I won a Deep Purple prize at some sort of game booth. I can’t remember what the game was, but I won, and was told to pick a prize. I remember that the walls of the booth were covered with these little cardboard frames that held small, glassy replicas of popular albums of the day. The only one that really stood out for me was the one for “Perfect Strangers”, so I chose that one, and held onto it. And it’s still on one of the walls of my house, all these years later.
The small glass replica is about 5.5″ square, with the album cover graphics printed on the underside.
A couple of years ago, I took it down to dust off the frame, and clean off the glass on the inside. As I slid the glass cover out into my hand, something funny hit me: I thought, “Jeez, If I didn’t know any better, I would swear that this is something you’d see at a party, where people are passing it around, with a few lines of coke on it!”.
Then I thought, “Wait…wait a damn minute…is this what that was all along, and I had no idea???”
There were things like that which were popular back in the late ’70s. I remember seeing a picture of a promotional gimmick that Polydor made for a Pat Travers album which was a “coke mirror” that looked like a dollar bill with his image in the middle, and some little trough-lines cut into the glass for easy dispensation.
Wow, times were different then, weren’t they!
Regardless of it being a suspected piece of drug-intended paraphernalia, I still look at it fondly on the wall.
Rich Shailor via Facebook:
My favorite picture…….. right after my daughter was born I was backstage doing the proud dad thing and showed him a picture of the newly minted Shailor. He looked at me and said “what do you want me to do, kiss the baby?” So I doubled down and said “yes, as a matter of fact I do!” So he did Thirteen years later she returned the favor at her first Deep Purple show
Peter Gardow via email:
Nate, this is kind of lame, but the best memorabilia I have. Back on Tuesday, May 15, 2007 Heaven & Hell were playing the Mohegan Sun Arena. Those of us that were going had all seen Sabbath at the Bushnell in Hartford on the Dehumanizer tour in 1992, two of the guys saw Sabbath & BOC on the Black & Blue tour in 1981. Between the Dehumanizer tour and 2007, me and my buddy Jim saw Dio at the Webster Theater in Hartford after an afternoon gig at the amphitheater in Hartford of Pat Travers, Fog Hat, BOC & Steppenwolf – one of the best rock and roll days ever. So as I was awaiting the boys to show up at my house, I pulled out my Holy Diver LP and cranked it up, only to find out that I had stored it wrong and the LP was totally warped and unplayable. I was so bummed and not happy with myself – so I warmed up the oven, and made a chip bowl out of my ruined LP. A few years later I got another LP chip bowl from one of my sisters – Dionne Warwick – any DP connections with her? By the way, H&H was totally awesome that evening.
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.
Disclaimer: The video used on YouTube is a byproduct of producing our audio podcast. We post it merely as a convenience to those who prefer the YouTube format. Please subscribe using one of the links below if you’d prefer a superior audio experience.
Will consider doing a follow up in a few weeks (or months) to revisit after a little time with the album.
Personnel
Covered in part 1!
Album Art & Booklet Review
Title of the album – remember when people were outraged about the title “Whoosh!” for like 3 days?
Technical:
Covered in part 1!
Album Tracks:
7 -What the What
8 – The Long Way Round
9 – The Power of the Moon
10 – Remission Possible
11 – Man Alive
12 – And the Address
13 – Dancing in My Sleep
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.
Disclaimer: The video used on YouTube is a byproduct of producing our audio podcast. We post it merely as a convenience to those who prefer the YouTube format. Please subscribe using one of the links below if you’d prefer a superior audio experience.
Originally intended for June 12 release. Delayed because of COVID-19.
Lineup of band – debatable based on how you count.
Rich Shailor pointed out this is the most albums by any lineup with five.
Mark 2 release five with the Concerto so it’s debatable.
Longest lineup to stay together at 18 years and counting!
Personnel
You know the lineup!
Album Art & Booklet Review
Review of the cover.
Technical:
Producer – Bob Ezrin
Album Tracks:
Throw My bones
Drop the Weapon
We’re All the Same in the Dark
Nothing at All
No Need to Shout
Step by Step
What the What
The Long Way Round
The Power of the Moon
Remission Possible
Man Alive
And the Address
Dancing in My Sleep
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.
Disclaimer: The video used on YouTube is a byproduct of producing our audio podcast. We post it merely as a convenience to those who prefer the YouTube format. Please subscribe using one of the links below if you’d prefer a superior audio experience.
I have been listening to you guys for a while now and I feel like I am lucky to have found people who are even bigger fans than me who are also fun to listen to. In a strange way I think my favorite episode was on Captain Beyond because I always just assumed that they were a lame joke. Thanks for showing me that I was wrong!
$3 Nobody’s Perfect Tier
Peter Gardow
Ian Desrosiers
Mark Roback
Anton Glaving
$1 Made Up Name Tier
Ells Murders
Spacey Noodles
The “Hair-Raising” Leaky Mausoleum
Michael Vader
Thanks to our Brothers at the Deep Dive Podcast Network:
Apple Podcasts Review – Dopefish , 07/05/2020 – 5 STARS!
Lots of detail, fun listen!
Glad to find a podcast that gives a crap about the fiddly detail about a band I like in the same way I do. Great listen if you’re at all into Deep Purple beyond Smoke on the Water!
A Word from Our Sponsor:
Joe Lynn Turner & Back in the Saddle Again
John & Nate’s Collection Over the Years:
In this episode we go through some of the Deep Purple items we’ve collected over the years. Very little of this has any value to us other than emotional. If you’re looking for an impressive collection of one of a kind items, this episode is not for you. If you’re looking to see some items we collected as teenagers getting into Deep Purple then check it out!
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.
Disclaimer: The video used on YouTube is a byproduct of producing our audio podcast. We post it merely as a convenience to those who prefer the YouTube format. Please subscribe using one of the links below if you’d prefer a superior audio experience.
In this bonus episode we recap our album rankings for Coverdale • Page and dive into the video for “Take Me For a Little While” as well as Page live with Plant.
Disclaimer: The video used on YouTube is a byproduct of producing our audio podcast. We post it merely as a convenience to those who prefer the YouTube format. Please subscribe using one of the links below if you’d prefer a superior audio experience.
This week we’re joined by Scott Begin of the band Badfish and the podcast Intermission!
Badfish is a Sublime tribute band which has been playing and touring internationally since 2001. Welcome to Intermission. Scott Begin – drummer and founding member of Sublime tribute band Badfish – spends time speaking with fellow musicians and entertainment industry folk to discuss their lives, history in the business, and how the Covid-19 pandemic is affecting them. Here are this episode’s hosts celebrating Nate’s birthday in 1994. Who is that mysterious man in the Jesus Christ Superstar Shirt?
A lot of information out there is incorrect about the getting together of the two. See Jörg’s timeline below.
In interviews at the time, Plant expressed some derision at the guitarist’s collaboration with Coverdale, referring to the project as “David Cover-version”.
“David was really good to work with,” Page noted. “It was very short-lived, but I enjoyed working with him, believe it or not.”
Timeline (by Jörg Planer):
It was Rod McSween and not John Kalodner (as Wikipedia suggests) who brought them together.
March 1991: first meeting of DC and Jimmy in New York
Late March/April 1991: Sessions Incline Village/Lake Tahoe
First day of collaboration…two-track demos…’Absolution Blues’ written the first day
Second day of collaboration…’Feeling Hot’ written the second day; both considered it a great opener for their live show
Collaboration continues…typically from 10am-3pm daily…eight additional songs written and later recorded…Jimmy suggested they continue writing and recording together in Barbados
14 May 1991: Jimmy jam with Poison in Reno, Nevada
Summer 1991: Bass player Ricky Phillips (Bad English) and drummer Danny Carmassi (Heart, Montrose) join David and Jimmy
The collaboration continued while vacationing in Barbados…’Pride And Joy’ written…it’s working title was ‘Barbados Boogie’
Summer 1991: It seems that Adrian Vandenberg around this time still had the impression, that Jimmy Page would be the replacement for Steve Vai in Whitesnake
October 1991: David and Jimmy start the recordings for the new album at Little Mountain Studio in Vancouver
October/December 1991: The working conditions there in Vancouver were not the best for DC and Jimmy, the studio was sold a number of times and both got ill…
Spring 1992: David and Jimmy move to Criteria Studios in Miami, FL. Duiring that session Jorge Casas (Miami Sound Machine) replaces most of the bass tracks recorded by Phillips.
Spring 1992: Around that time the projects also gets a name – LEGENDS
October / November 1992: Final recordings and mastering of the album at Abbey Road Studios in London, UK
February 1993: Pride & Joy (Radio promo only single) went straight to No. 1 in the Billboard Album Rock Tracks in the week ending February 27th 1993 and stayed there 6 weeks in a row…
March 11 1993: World premiere broadcast of the album at the Album Network
March 15 1993: The Coverdale / Page album is released in Europe. The North American release date is March 16, the Japanese one March 18.
In the UK the album reached No. 4 in the charts on March 27
In the United States it entered the Billboard 200 on April 3rd at No. 5…
The album sold less copies than expected. It needed 2 years in the US to get a Platinum certification for 1 Million sold units.
In Canada it reached Platinum (100.000 units) within two weeks.
“Shake My Tree” was the second promo from the Coverdale / Page album. The intro of “Shake My Tree” is based on a riff from Led Zeppelin days…
According to DC Coverdale / Page recorded 5 or 6 songs that didn’t make it on the album. Some were mentioned in the press, three were shared by DC on his website and North C Radio more than 15 years ago (Saccharin, Good Love Bad Love, Southern Comfort)
Played keyboard on a number of Rush studio tracks.
Also did many covers for Rush albums as well as Toronto, Sammy Hagar, and Whitesnake (the 1987 album).
According to Coverdale, the traffic sign shown on the cover of the album signified “two roads joining to one road. Try to express unification or joining together.”
April 1993: A 45 dates US Summer tour with Extreme as support is announced
April 1993: Some of these tourdates made it into the press, the earliest one was Milwaukee July 2nd, the last one Denver Aug 17th. All were re-scheduled.
June 1993: The tour is now announced for an October start.
June 1993: UK single “Take Me For A Little While” (Japan July 29 and slightly different on December 2)
July 1993: Jimmy and David start rehearsals in London, UK
August 1993: The first October dates were announced, among them 3 in Florida. All of them were cancelled a month later.
August 1993: UK single “Take A Look At Yourself”
Late September 1993: The first shows of the Japanese tour are announced
In November they returned to Nomis Studio and began rehearsals for their upcoming 7-date Japanese tour the following month. Final rehearsals were held in L.A. in late Nov ’93 and on into early Dec ’93.
1993-12-14 Tokyo – First show of the tour
1993-12-15 Tokyo – The second Tokyo show
1993-12-17 Tokyo
1993-12-18 Tokyo – During the last Tokyo show they play “Rock’n’Roll” twice
1993-12-20 Osaka
1993-12-21 Osaka – The second show in Osaka
1993-12-22 Nagoya – The last show. A bit of “Whole Lotta Love” is included in “Shake My Tree”.
Reception and Review
Sales were respectable, especially in the UK and US, where the album went top 5. Critical reviews were also favourable, with Rolling Stone stating that “it may not be the second coming of Led Zeppelin, but it’s close enough that only the most curmudgeonly would deny the band its due… Coverdale’s bluesy howl has never been put to better use than against Page’s guitar.” Q magazine went further saying, “Excellent… this album screams classic from start to finish.”[13]
The following review from RIP magazine, “Robert Plant is going to be seriously pissed when he hears this [album]”,[14] and the poor reception and sales of Plant’s album Fate of Nations; released around the same time, was apparently the catalyst for Page and Plant reuniting for an MTV Special, two albums and a tour.
In a March 2018 interview (which happens to be the 25th anniversary release of the album), on Eddie Trunk‘s SiriusXM radio show, Coverdale revealed plans to release a remastered box set version, with the possible inclusion of four or five previously unreleased tracks, that were written and recorded for the album, but didn’t make the final cut.
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.
Disclaimer: The video used on YouTube is a byproduct of producing our audio podcast. We post it merely as a convenience to those who prefer the YouTube format. Please subscribe using one of the links below if you’d prefer a superior audio experience.
From “Modern Keyboard” Jan ’89 by Joe Lalaina. Transcribed by David Yea
There’s been so many. I played with Kinks several times. I even played the piano on “You Really Got Me.” I was paid five pounds for it. The guitar solo was played by Jimmy Page, but the Kinks have denied it.
The Artwoods
Big City or Walk on the Wild Side – solo @ 2:40 with time change
A statement on his website said he had passed “from Darkness to Light”, and that he was “surrounded by his loving family” when he died. Last year, Lord told fans he was “fighting cancer and will therefore be taking a break from performing while getting the treatment and cure”.Jul 16, 2012
It is with deep sadness we announce the passing of Jon Lord, who suffered a fatal pulmonary embolism today, Monday 16th July at the London Clinic, after a long battle with pancreatic cancer. Jon was surrounded by his loving family.
Jon Lord, the legendary keyboard player with Deep Purple co-wrote many of the bands legendary songs including Smoke On The Water and played with many bands and musicians throughout his career.
Best known for his Orchestral work Concerto for Group & Orchestra first performed at Royal Albert Hall with Deep Purple and the Royal Philharmonic Orchestra in 1969 and conducted by the renowned Malcolm Arnold, a feat repeated in 1999 when it was again performed at the Royal Albert Hall by the London Symphony Orchestra and Deep Purple.
Jon’s solo work was universally acclaimed when he eventually retired from Deep Purple in 2002.
Jon passes from Darkness to Light.
Jon Lord 9 June 1941 – 16 July 2012.
Official Band Statement
Our beloved Jon passed away on this day Monday 16th July 2012.
We have lost a dear friend, a brother and a wonderful musician.
His dignity and graciousness touched us all. His music was an inspiration and took us to places beyond our imagination…A truly great man.
We humbly express our eternal love and great respect.
It’s unthinkable that Jon is gone. My thoughts are for his wife Vicky and all his children and family at this sad moment in their lives. I wish them all strength.
A great sadness and sense of loss hangs over me. Not only has the music world lost a fantastic musician but a gentleman of the finest order. He was a giant in my life, a great friend, a fellow traveler, a teacher, not only of music, but of life. I am devastated at his passing.
“We’ve lose a brother really, a dear friend, and someone we all looked up to. Jon was our hero really.”
Tells a story of a fan who was so exasperated upon meeting Jon and ran up to him at an airport and said, “Jon, I’m your hero.” Jon responded: “Oh, so you’re King Arthur!”
“The Godfather of Deep Purple.”
“I don’t think we’ll ever be separated from Jon because he’s touched us all and we shall carry his memory forward, and his music of course.”
Former Deep Purple guitar legend Ritchie Blackmore has issued the following statement: “Jon was not only a great musician, he was my favorite dinner companion. We are all deeply saddened. We knew he was sick but the word was that he was recovering and doing much better. This news came as a complete shock. Without Jon there would be no Deep Purple. He lives on in our hearts and memories.”
Jon just died. I’m shocked and don’t know what to do, so I’m going to try to tell you a little about Jon.
Jon was the powerhouse keyboard player that brought rock and classical directly together many times. The first was his timeless organ solo on “Highway Star”. The next was his “Concerto for Band and Orchestra”. I was able to perform with the whole band as it was played at Albert Hall before we toured extensively with it. Just weeks ago, I was able to play on a studio recording of Jon’s concerto and share some heartfelt thoughts and words with him.
Jon was the guy that would stop us from giving up on an idea in songwriting because it wasn’t immediately obvious. I remember him encouraging me in the studio to keep doing what I was doing as I played around with an idea that I was intrigued with. After writing something as amazing as his concerto, he still had the imagination to hear ideas on top of anything I suggested. He always had a regal, gentlemanly manner. Like any of us, he could get annoyed, but he would only show it with his wry and dry wit.
Mostly, he was upbeat and a pleasure for anybody to be around. His humor was right up my alley, with us exchanging ridiculous thoughts like,”If Brenda Lee married Tommy Lee, her new name would be Brenda Lee……” Or having him finish the tune when an announcement at an airport would start with several musical notes to get your attention. It’s hard to give anecdotes that convey an ease that somebody could give you, but he sure had that ability. We all love people that will pay attention to our kids, and years ago he charmed my (then) 5 year old son, Kevin with a Donald Duck imitation even while he was being hurried to get out of the dressing room and go to the green room for after show greetings.
Jon retired from the endless DP tour schedule, but continued to do appearances with original material and performances of his concerto. I knew he missed the band he helped start, but at the same time couldn’t stand the relentless travel. From time to time, we would see him on tour, and he would sit in with us. The last time we played, less than a year ago, at the Sunflower Jam at Royal Albert Hall, he had just come offstage from performing with Rick Wakeman. Later I talked with him and his wife about how strange it felt to look around at the keyboards and not see him there at Albert Hall. We promised to do something together. Soon thereafter, we all learned of his battle with Pancreatic cancer. I kept hearing hopeful, positive reports that they might be making progress, but this sudden death caught me totally unaware. I thought we would meet and do a recording project in the future when he recovered from the chemotherapy. Well, we sort of did, but I had to record it and send it to him, as we were in different countries.
If you have friends, family, especially kids, don’t ever miss a chance to do or say something special….or simply appreciate the fact that they are there. One day, they won’t be.
I am deeply saddened about the passing of Jon Lord…I am proud and humbled to have known him both personally and professionally …and blessed to share a special time with him. He was a true and gifted original…a Gentleman of the industry …and he shall be greatly missed!
My sincerest sympathies to his family and relations…and to all of us who have lost one of the great musicians of our time!…R.I.P. Jon…may God hold you in his hands.
“June and July have been very busy, but all has been brought back to base with the loss of my great friend and colleague Jon Lord on Monday 16th July. Jon Lord was to many millions of people THE keyboard player in the great days of Deep Purple, and so he was. But he was so much more than a musician.
I first met the great man in 1976; I was auditioning for a gig with his new band PAICE, ASHTON AND LORD. I had seen the demise of Purple, attending gigs with both Ritchie and Tommy Bolin, and so when I received a call from Cozy Powell regarding the new band I went for it. I went to an old cinema in West London, owned by ELP, Manticore. There I was ushered into a waiting room with about a dozen other guitar players, that story is not for this time, but is of interest.
I entered the heady world of DPO, Jon was waiting in the room, smiling, strong handshake and a grin when he said, ‘You do exist then,’ I had been rather slow in following Cozy’s instructions, ouch! Ian Paice was a few feet away, raised his hand to say hello, Tony Ashton was opposite Jon, two keyboards set up, and one was Jon Lord, now I knew this was going to be different.
I had been listening to the guitar players going in before me, all pretty much trying to be Ritchie Blackmore, and failing! I thought I was on the right track when we played “How Long” by Ace, Ian knew the groove, I sang it and Jon said to begin, after a couple of verses Jon stopped the proceedings. He came over to me and asked me to show him the changes in the bridge of the song, the great Jon Lord asking me to show him. I state this to show what a man he was, he could have worked out, probably had already, knew the changes backwards, but by asking me he instilled huge confidence in me.
I played a lot of rhythm guitar, waiting for a nod from Jon to solo, took my time and tried to be as cool as I could. Bear in mind I am playing with Jon, and Ian Paice, this was quite a definitive moment for me. We played another couple of grooves, Ian came over and introduced himself, and Ashton kissed me on the forehead!
Jon just smiled, said thank you for coming down and that I would be hearing from them. He asked me if I knew any DP songs, I thought I was about to lose the gig, I said, ‘Not really, I know a bit of ‘Dance On The Water’.’ He looked me in the eye, ”Smoke On The Water’,’ he said, ‘Sorry’ I said. They did call the next day.
Jon Lord, great musician, raconteur, writer, funny, intelligent, gifted, family man, friend for life.
Sorry its taken us so long to put this up but all my time has been spent with family following the sad passing of Jon Lord.
Jon was the husband of my twin sister Vicky. He was a father, Husband, Uncle, Brother, Brother in Law and Friend to many.
We are astounded with the incredible worldwide support and love, honouring Jon’s life and music, Thank you all so much.
In 2011, Jon’s last live performance took place at The Sunflower Jam; he was also a trustee of the charity and held this event very close to his heart.
As a tribute to Jon, we would like to share some footage of him performing with Rick Wakeman at The 2011 Sunflower Jam, the piece written by both of them, for The Sunflower Jam, titled, its not as big as it was!
We have been asked if the 2012 Sunflower Jam Event will be taking place due to our loss, to which we would like to confirm, not only will it go ahead; we are working on a tribute to Jon, in true Sunflower Style.
Disclaimer: The video used on YouTube is a byproduct of producing our audio podcast. We post it merely as a convenience to those who prefer the YouTube format. Please subscribe using one of the links below if you’d prefer a superior audio experience.
It’s funny. There’s two types of guitarists. Like Blackmore, I used to hate, because I met him once at the Rainbow with John Bonham when we were just playing clubs. You know, I grew up on him too, and I ran over and said hello, and they both just looked at me and said, “Who are you? Fuck off.” And it pissed me off. And to this day I remember that. And then just recently Rainbow played at Long Beach Arena. This is right after I won Best Guitarist [in the Guitar Player Reader’s Poll], which I’m real honoured – makes me feel good. I went down there, in a way, with a vengeance, you know. I just felt like saying, “Hey, motherfucker, remember me? About three years ago, when you treated me like shit?” But I didn’t. I just said hello, and he knew me just through records and radio, and he complimented me.
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.
Disclaimer: The video used on YouTube is a byproduct of producing our audio podcast. We post it merely as a convenience to those who prefer the YouTube format. Please subscribe using one of the links below if you’d prefer a superior audio experience.
What do Larry Hagman from ”Dallas,” Isabel Sanford from ”The Jeffersons” and Joe Lynn Turner from the rock group Deep Purple have in common?
They are all dogs. At least, they help play dogs in television commercials for the Lucky Dog Phone Company, the first brand AT&T has created in its 113-year history that does not actually mention AT&T.
There is a good reason for that. Since 1885, AT&T, the nation’s largest communications company, has built an image based on trust, reliability, convenience and a sense of community (as in ”Reach out and touch someone”).
But the Lucky Dog campaign, which supports a new calling service called 10-10-345, is based on, well, good old greed.
Every day, AT&T will give away 345 prizes to people who use the service, plus a $1 million grand prize in January. Its market research found that people who like to save money with flat-rate services like Lucky Dog (a dime a minute, a dime to connect) also like sweepstakes.
The research may also have discovered something else: that a phone call is a basic consumer product rather than a high-tech way to improve someone’s life. Maybe that is why the AT&T executive who invented Lucky Dog used to market Diet Pepsi.
For the record, Mr. Hagman is the voice of a bull mastiff, Ms. Sanford a basset hound and Mr. Turner a mutt. SETH SCHIESEL
Lead up to the Album:
This was their last album with the lineup of Hughes, Galley, Holland.
First album not produced by John Lodge of the Moody Blues who had produced the first two
Songs split evenly between Hughes solo compositions and Mel/Tom Galley compositions.
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.
