Author: Nathan Beaudry

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Ian Gillan’s Styles Over The Years

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Ian Gillan’s Styles Over The Years (CONTINUED)

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THE SECOND STUDIO REPORT 1997 (actually the third)

Studio work is in pause mode.

Twelve songs are on the wing.

The backing tracks are shut up in coardboard boxers and stacked on a shelf somewhere, patiently awaiting completion.

There are several album titles.

More than that I cannot add other than stating that the gigs we just played in Atlanta, Orlando, Pompano Beach, Myrtle Beach, New Orleans, and Chicago (where Steve Married JAcqui on stage congratulations!) were more fun than should be allowed.

Two new songs were debate; Any Fule Kno That and Seventh Heaven.

The former needs more work, and was dropped, but is promising.

The latter has turned into a live song that is just a treat to play.

My family let me back in the house, accidentally I think.

Thank you for all your support, it would all be for nothing if you weren’t there.

HArk, I hear the sound of bells.

That time of the year again.

Good luck and merry be.

RG

1. Jack Ruby
   • Originally titled “Poughkeepsie Jam” and was something they’d worked on during the House of Blue Light sessions.
2. She Was
   • Originally titled “Dirty Water.”
   • Glover also mentions that he can’t remember if they changed the title to “She Was” or “Untouchable.”
   • Glover toyed around with playing slap bass on this track.
   • Glover says after recording bass for this song on November 14, 1997 he starts to ge the first idea of what the finished album might be like.
3. Watsername
   • Working title of “F# Trudge.”
   • Glover recorded the bass tracks for this on November 5, 1997. Glover works with Darren for the computer edit at the beginning of Almost Human. He also receives “the Episode Six CD” and says it sounds brilliant considering it was recorded straight off the radio and it brings back a lot of memories.
   • Based on the timeline he is likely referring to this live release: Episode Six – The Radio One Club Sessions Live 1968/69
   • According to Glover Morse put extra effects on Whatsername by hitting his guitar with bass drum beaters, strange bits of metal, and other objects.
4. 69
   • Originally titled “Freight Train.”
   • Steve Morse brought this in as one of the first songs they worked on in September of 1997.
   • While working on the song in the form of Freight Train the band goes to check out Joe Satriani who is playing nearby.  Steve Morse gets up on stage and jams with him.  This is during the G3 tour.
   • From Satriani’s site: http://www.satriani.com/G3/1997/tour_notes-usa.html
     • After that it was time to move on to Florida for three nights – St. Petersberg, Orlando at the new House of Blues and Ft. Lauderdale. At the House of Blues, Ian Gillan, Roger Glover, Ian Paice and Steve Morse joined the party and Steve Morse jammed with Joe, Steve, Kenny and Robert for a superb night of guitars.
   • During tracking for the organ Lord’s Leslie breaks down.  They get replacement parts delivered.  The new parts emit an RF signal which makes it impossible to place a microphone anywhere near them.  By the time they get the organ working again it’s too late to get a good track.  Glover and Darren work on computer work.
5. Evil Louie
   • Had a tough time with this one. At one point Glover considered using the demo for the album.
   • February 16, Roger works on bass.Keith starts engineering for vocals. Gillan has a cold but Glover says he does a nice job on Evil Louie.
   • January 17, Evil Louie starts to come together. Glover goes to see Titanic.  “Over three hours, the production is huge. Not surprising of $200,000,000.”
6. Bludsucker (Gillan, Blackmore, Glover, Lord, Paice)

Some of the ideas that come out in the first group of sessions include: Wah Wah, Seventh Heaven, Oh Darlin’ Blues, Evil Louie, Talk Radio, Last Jam, and a few others.

Talk Radio – Glover and Gillan  both didn’t like it. Lord played clav on it!

The Stallion

THE THIRD STUDIO REPORT (Actually the fourth)

The album is done. Sort of. It’s not really done until it’s in your sweaty hands of course, when there’s not a chance in Hell we can fiddle with it some more, at least not with current technology.

I suspect that at least some of it is palatable if not downright edible.

Once again, partially single-handedly, Darren Schneider did an heroic job., As did our families for putting up with us. A big thank you to them.

There are several titles for the album, all of which turn out to be ABANDON.

As of this writing I cannot confirm how many tracks there are except to say it’s more or less than one and two together. A Month the song titles are Seventh Heaven, Any Fule Kno That, Almost Human, Watching thew Sky, JAck Ruby, Fingers To The Bone an dDoes Your Chewing Cum Lose Its Flavour On The Bed Post Overnight? (One of those is a red herring, put in for no other reason than to confuse me).

As with most albums around which I’ve been revolved this one has had its share of snakes and ladders in between the pinnacles.

There have been inversions, diversions, new versions, delays, rallies, volleys, objections, inspections, rejections, thin skins, thick skins, drum skins, milliseconds, second hands, second thoughts, picnics, nit-picks, worn picks, rages, cages, mazes, tears or joy, tears of defeat, tears of trousers, successes, excesses, big messes, lost keys, Hammond keys, wrong keys, first takes, mistakes, high stakes, battles, kettles, bottles, delusions, exclusions, tea infusions, spare parts, private parts, extra parts, sore fingers, sore throats, seesaws, headaches, headphones, head games, and all the usual fun of the fair.

I get to have the special jacket removed soon.

Good luck. 😉      RG

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Bustin’ Out The Spreadsheet

Reviews:

• Darker Than Blue Issue 51  May 1999
  • http://www.deep-purple.net/DPASmags/dtb51/dtb51.html#1
  • I loved “Purpendicular”. Not all the tracks worked, but overall there was such a spirit of unleashed creativity and freedom that you couldn’t help but be swept along by it all. Deep down I wasn’t hugely convinced by “Abandon” to begin with. It seemed powerful, well performed and hugely energetic, but lacked some of the sense of fun and freedom which had been a hallmark of “Purpendicular”. What I’d missed on those early listens was just how well the loose, almost free-form structures on which tracks like “Rosa’s” and “Ted” had been built have now been tightened and developed into a whole new charging rock and roll beast upon which much of “Abandon” tries to ride. In some ways perhaps I’m not even sure the band themselves have worked out how to harness what they’ve let loose, and there are times when a few awkward or just plain cliched bars creep in to spoilt the effect – and it was these which stuck out like a sore thumb on the first few plays.
  • It finally dawned on me that Deep Purple were at times he pushing rock to boundaries which hitherto I felt were only being challenged by some of the best of the industrial tracks I’ve been into for a few years now by outfits like Nine Inch Nails, Ministry and Skinny Puppy. That same loud finely distilled adrenaline rush is also present in several places on “Abandon”. “Any Fule No That” sets the tone, with a grungey keyboard and guitar which provides a dense layer of power augmented by the swing of drummer Ian Paice. Over all this Gillan’s vocals cut through like a knife: stick your finger in your ear – indeed. But take it out at only 4 minutes 20 seconds? Chicken. Too short. They try a similar approach on “Almost Human” but the mix lets it down a little, particularly on the drums which don’t come through clearly enough. The track came totally into focus at the live shows, and as a result the studio cut now seems little more than a blueprint.
  • It’s on “Seventh Heaven” that they really begin to piss on just about every other band in town. The first thirty seconds or so form a Concerto all of their own (hint), then they turn on the heat and roast your eardrums as the track explodes out of the speakers. Ian Paice goes totally absolutely bonkers beserk, clobbering everything within reach, though almost never in the order you expect or could predict. They cool it a touch to mellow into some bass’n drums, and Steve Morse is brought fully into the frame, meshing immaculately with the underlying work, and going with the flow as they build the energy level back up to an awesome peak, leaving you gasping as they crash back into the verse. I’ve been gently kissing the ground they walk on (off and on) for thirty years now, and see no reason to stop while they can deliver tracks like this.
  • “Watching The Sky” delivers some spine tingling treated vocals over an off the wall riff, then they push everything up to ten for one of the best blasts Purple have ever committed to record. Breathtaking stuff, and I’ll even forgive them the cliched “luggage at the station” break, although frankly they ought to know better. At around 4.10 the band suddenly peak in a moment of sublime energy which defies description. “She Was” is my Deep Purple. On the face of it simple beyond belief, don’t you try even explaining it. You can’t. No other band on the planet can do this. Gillan is one hell of a lucky guy, and revels in the situation. There’s a totally unexpected middle eight and once more Lord and Morse gel, bending notes together and letting the atmosphere build majestically before the hypnotic beat returns, and disappears as suddenly as it arrived. I definitely concur with many people’s opinions that it isn’t an easy album to get into, nor it is so instantly memorable as the previous offering – relying more on sheer energy than hook lines to win you over. It takes patience, and a lot of volume. That alone will limit it somewhat. It’s by no means perfect, but I’m glad I gave it more time before trying to gather my thoughts as I’m sure the review wouldn’t have been so positive if I hadn’t.
• AllMusic.com – Abandon Review by Stephen Thomas Erlewine
  • Deep Purple continued cranking out new albums into the late ’90s, despite diminished audiences and little attention from the media. But as long as they continued to satisfy their hardcore fans, those factors didn’t matter; Abandon should satisfy those fans. Granted, the band isn’t as young and energetic as they once were, but they are willing to try new material, which can’t be said about other aging hard rockers from the ’70s. The addition of guitarist Steve Morse has revitalized the band and he sounds more a part of the band here than he did on his debut, Purpendicular. Abandon is a harder-rocking album than its predecessor, but there’s a number of layers to their rock, as they occasionally stretch into challenging neo-prog territory. But the main thing about the album is that it hits hard and heavy — harder than any Deep Purple album in recent memory and that makes a welcome revelation for hardcore followers.
  • *** out of 5
• https://www.albumoftheyear.org/genre/58-hard-rock/1998/
  • #10 of 16
  • 60 Critic Score (based on AllMusic), 44 User Score

Merch, Etc.

• Some promo materials sent by Jeff and Rich
• Promo singles

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For Further Information:

• https://en.wikipedia.org/wiki/Abandon_(album)
• https://www.discogs.com/release/1015525-Deep-Purple-Abandon
• https://www.45worlds.com/cdalbum/cd/724349530621
• Darker Than Blue Issue 50  February 1998
• Darker Than Blue Issue 51  May 1999
• https://www.allmusic.com/album/abandon-mw0000037810
• https://www.thehighwaystar.com/interviews/paice/ip199812xx.html
• https://www.thehighwaystar.com/interviews/gillan/ig19980514.html
• https://www.thehighwaystar.com/reviews/static/us97-98/dp_reviews6a46.html
• https://www.thehighwaystar.com/abandon/andi.html
• https://www.albumoftheyear.org/genre/58-hard-rock/1998/
• https://www.albumoftheyear.org/album/78731-deep-purple-abandon.php
• https://www.thehighwaystar.com/abandon/trond.html
• https://www.thehighwaystar.com/abandon/garry.html
• https://www.thehighwaystar.com/abandon/sounds.html
• https://www.thehighwaystar.com/abandon/dave.html
• https://www.thehighwaystar.com/abandon/brad.html
• https://www.thehighwaystar.com/abandon/ed.html
• https://www.thehighwaystar.com/abandon/nigel.html
• https://www.thehighwaystar.com/abandon/stathis.html
• Deep Purple Abandon Audio Press Kit
• https://www.discogs.com/release/7649987-Deep-Purple-Interview-CD-Abandon
• https://www.thehighwaystar.com/interviews/paice/ip199812xx.html
• https://www.thehighwaystar.com/interviews/gillan/ig19980514.html

Extra Thanks To:

• Øyvind Fjeldbu for kindly sending over scans of his Abandon tour booklet!
• Thanks to Jeff Breis for sending over items from his collection.
• Thank you to Steve Clowes for sharing bootleg recordings of early versions of “Any Fule Kno That” and “Seventh Heaven.”
• Rich Shailor for sending over some Abandon swag!

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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Glenn Hughes Show in September!

• The Deep Purple Podcast will be there!
• Glenn Hughes Performs Classic Deep Purple
• September 19, 2023 – with Yngwie Malmsteen
• The Palladium – Worcester, MA
• Let us know if you’re going for a potential Deep Purple Podcast meetup!
• Buy Tickets

New Patron/Patron Upgrades:

• Steve “Down To Earth” Koeller writes in:
  • Hi everyone. Glad to have joined the DPP community. Been listening for about a year and have been a huge Rainbow fan since 1979. This show has introduced me to so much music and taught me so much about Deep Purple and all the offshoots.
• Charles Meadows writes in:
  • Nate and John
  • Sorry for late response I hardly ever check gmail. I don’t really have anything to add other than I’ve loved Deep Purple and all their incarnations and family tree pretty much forever. I discovered the podcast about 6 months ago and I’m looking forward to future shows as well as catching up with ones I’ve missed
  • Charles

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• The “Hughes-O-Ween by 2033” Tier
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• The “In Memorium” Tier
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Deep Dive Podcast Network:

Check out our website to find other like-minded shows taking deep dives into individual songs, bands, and albums.

• Deep Dive Podcast Network

Lead up to the Album:

• Øyvind Fjeldbu turned us on to the tour book and sent us a scan. I immediately purchased my own copy.

First Studio report from Roger Glover

We have completed a brief stay in Orlando, at the same location where _|_ was recorded. No title has yet been decided, although there are several on the table, one or two under the table, a few beneath the cushion of a cheap chair, one caught on the horn of a suspicious looking ram on a remote ranch in New Zealand (no idea how it got there!), four were inadvertently washed in some jeans, and US Customs seized seven. That leaves several.

We have some brilliant ideas for songs, I can’t tell you how many but let’s just say it is between 7 and 9, roughly. They are all really bad. However, with a little improvement they could be worse. (Excuse my difficulty with this sarcasm thing).

JL has been tied up making an [sic] solo album and although he was planning on herring, decided that it would be in everyone’s best interest to finnish [sic – humor] his danish first. When asked if he was going to, he mysteriously replied, Norway, man!” and left it at that.

I must apologize for that last paragraph, JL had nothing whatsoever to do with it, and as far as anyone can tell has not been seen anywhere near Scandinavia recently. Actually, JL is finishing work already in progress and so therefore we are all meeting up again alarmingly soonish after the Summer gig things to complete the writing and recording, not to mention the strudel.

SM ve continues es to play ay with th his is echo ho unit.

IanPaiceisveryverytogether.

Aye yam learning knew thyngs very day.

Ian Gillan likes to dance all over the place.

Confused? Quite rightly.

Good luck and look good, RG

• The band plays a few shows in the summer including as the tour book states:”Layr, Beirut, Zurich” and “Calgury, Canada.”  Not sure about the seemingly intentionally misspelling here.
• In September they return to work on the album, arriving back in Orlando on September 9.
• On September 15th Dawk (John Stillwell) and his son, John, are in the studio where they have to work repairing Jon’s organ that had been damaged when too much power was sent through them at their show in Calgary.
• On september 16, the band get together for some UK radio interviews, talking about the 25th anniversary of Machine Head.  Dawk continues some work on Roger’s basses.
• September 18, Ian Paice and Steve Morse jam on an idea for a song with an acoustic and they put down a rough guide on tape.
• September 19th was the first day they were all in the studio together.

They play in Atlanta, Orlando, Pompano Beach, Myrtle Beach, New Orleans, and Chicago to round out the year.

Band plays shows in LA, Phoenix, Mexico City, Monterrey, Costa Rica.

• February 22, bad wind and thunder storms.
• February 23, Lesley (Roger’s wife at the time https://www.indiatoday.in/magazine/eyecatchers/story/19950430-deep-purple-bass-guitarist-roger-glover-retakes-his-marriage-vows-in-vedic-tradition-807198-1995-04-29 ) calls early in the morning to see if Glover was still alive as it’s being reported that 27 people were killed in tornadoes in the previous night’s weather.

Core Band:

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

Technical:

• Engineer – Darren Schneider
  • Started working with Deep Purple on The Battle Rages on. Also worked on Purpendicular as well as doing the mixing for Live at the Olympia ‘96.
  • Additionally worked with Steve Morse Band and Vixen. Also worked with Living Loud, Hoochie Coochie Men, and Porcupine Tree.
• Engineer [Additional] – Keith Andrews
  • Had some credits before this but not many after.
• Engineer [Assistant] – Kent Huffnagle
  • Worked with Mandy Moore, Destiny’s Child, Mike Kenneally
• Engineer [Assistant] – Shannon Brady
  • Not many other credits. Worked with a band called Pissing Razors.
• Mastered By – Greg Calbi
• Mixed By – Darren Schneider
• Producer – Deep Purple, Roger Glover
• Production Manager – Charlie Lewis (4)
  • Worked with Roger Glover solo, Rainbow, Dream Theater.

Album Art & Booklet Review

• Art Direction, Artwork [Digital Art] – Ioannis (2)
  • https://dangerousage.com/
  • http://www.vividimagesdesign.com/
  • Did covers for Johnny Winter, Voivod, Dream Theater, Extreme, Sepultura
• Design – Rob Andreoli
  • Also did design for Yngwie Malmsteen Live.

Management & Crew:

• Management – Thames Talent*
• Management [Financial Manager] – Barbara Fucigna
• Management [Manager] – Bruce Payne
• Management [Travel Manager] – Diane Murphy
• Booking – The Agency*
• Booking [Agent] – Neil Warnock
• Crew [The Road Crew] – Matt Schieferstein*, Mickey Lee Soule, Mike “Spike” Ager*, Moray McMillan*, Rick Taylor (17), Rob Hodgkinson*, Scott “Porno” Porterfield*, Warren “Scoots” Lyndon*
• Tour Manager – Colin Hart (2)

Recorded at Greg Rike Studios, Altamonte Springs, Florida, 1997/98.

Mixed at Platinum Post Studios, Orlando.

Mastered at Masterdisk, New York.

Made in Holland

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Album Tracks:

All songs written by Gillan, Glover, Lord, Morse, Paice except where listed below.

1. Any Fule Kno That
   • Through Glover’s Journal this is probably the song that gets talked about the most. It seems to have given them the most trouble through re-writing and re-recording but also seems to be one of the songs they seemed to like the most.
   • After deciding he didn’t like a song they were working on called “Talk Radio,” Glover returns to his apartment and starts work on a song called “Any Fule Kno That.”
   • They seem to have done this twice live before the album came out. One of two tracks done prior to the album release.
   • December 5, 1997 – House of Blues in Atlanta, GA
     • https://www.setlist.fm/setlist/deep-purple/1997/house-of-blues-atlanta-ga-23de34b3.html
   • December 6, 1997 – House of Blues, Buena Vista, FL
     • https://www.setlist.fm/setlist/deep-purple/1997/house-of-blues-lake-buena-vista-fl-23de34b7.html
   • Glover got the phrase he got form a Mojo magazine article about Radiohead.
     • https://citizeninsane.eu/media/uk/mojo/03/pt_1997-09_mojo.htm
     • Thom E. Yorke (as he was billed early on) was born October 7, 1968. By the time he arrived at Abingdon public school he was already the veteran of a pre-pubescent art-pop duo (Thom on guitar, friend demolishing televisions). At a sagely 14, Yorke, who says he spent most of his free time secreted in the school’s soundproofed music rooms, began singing (“because no-one else would”) in the school punk band TNT, where his contemporary Colin Greenwood also threw a few shapes.
     • When TNT imploded, Thom offered Colin the chance to play bass in a band he was forming with the tall, handsome chap in the year above who looked a bit like Morrissey: Ed O’Brien. A sixth-former, who looked nothing like Morrissey but had a drum kit, was also asked to join. Thom’s first words to Phil Selway were momentous: “Can’t you play a bit faster?”
     • Colin’s brother Jonny wanted in too. The kind of musical genius who can get a tune out of a cheese roll, he was still only a third year. And an oik from the third can crimp a fourth-former’s cool, as any fule kno. So it was a four and a half man line-up of On A Friday which debuted at Oxford’s Jericho Tavern as early as 1987. (Jonny hanging about with his harmonica just in case.) But any serious tilt at stardom was to be forestalled by largely unenthusiastic parents and the call of further education.
   • The band acknowledges that the song does not quite work live so they do some more work on the song before completing it for the album.
   • Glover shows Talk Radio and Any Fule Kno That to Gillan. Gillan also does not like “Talk Radio” but does like “Any Fule Kno That.”
2. Almost Human
   • Working title of “Last Jam.”
   • January 26, Jon Lord does the solo for the end of Almost Human. Glover says, “Typical of him it is a first take.” Glover feels the session is over and relaxes with some TV following the news story about the Presidential crisis being reported that Monica Lewinsky and Bill Clinton allegedly had an affair in the White House.
3. Don’t Make Me Happy
   • Originally titled “Oh Darlin’ Blues.”
   • “Don’t make me happy,” was a quote from one of their crew members, Ton.
   • November 13, Glover says that Gillan does a great job on Don’t Make Me Happy and writes: “He is like a dog with two dicks.”
4. Seventh Heaven
   • Glover writed that Lord did the solo for this song on Glover’s birthday, November 30, 1997, Glover is exhausted. He is thankful many don’t know it’s his birthday.  “So I don’t enlighten them.” Lord works on Seventh Heaven but can’t complete because Morse had made some subtle changes to his part.  Glover says he gets a much better idea of what they album is going to look and feel like and says that’s the best birthday present.
   • The other track they attempted live in advance of the album being finished.
5. Watching the Sky
   • Working title of “Wah Wah.”
   • Retitled to “Moth to the Flame.”
   • While finalizing the arrangement for this song they went out 
   • September 25 they finalize an arrangement for “Wah Wah.” Ian Paice and Roger Glover drive to see a shuttle launch from Cape Canaveral.  “… but it is still impressive, lighting up the night sky. Amazing to think of those courageous souls sitting on top of that tower of flame, being blasted off the planet. A bit like one of our gigs.”
     • Video of the shuttle launch here: https://www.c-span.org/video/?91753-1/space-shuttle-atlantis-launch
     • http://www.cnn.com/TECH/9709/25/shuttle.mir/
     • https://en.wikipedia.org/wiki/Space_Shuttle_Atlantis
     • https://www.spaceline.org/united-states-manned-space-flight/space-shuttle-mission-program-fact-sheets/sts-86/
6. Fingers to the Bone
   • When recording this song they had to build a booth around Gillan’s microphone to shield it from picking up ambient noises echoing through the studio due to the power of his singing.
   • Piano solo by Lord was done on Thanksgiving Day, November 27, 1997.

THE OCTOBER STUDIO REPORT

IG arrived in Orlando first, on 7th September 1997, and the rest of us arrived in dribs and drabs. I dribbed in a few days later on the 9th Sept to write with IG, IP drabbed in a few days after that, and JL dribbed and SM drabbed in about a week later. Anyway, the upshot of all this dribbing and drabbing is that the actual recording session started on the 19th September 1997 (at noon, for all you punctualists).

Our loyal and hard working recording engineer, computer operator, counselor, and fashion consultant is Darrewn Schneider, who has had the good fortune, or otherwise, to still be there since the last album.

We have taken a break in the proceedings for a week. Therefore we have been ‘hard at it’, as they say in musical scircles, for the best part of five weeks. HEads down again next week.

During that time there have been successes, failures (hardly any), jokes, laughter, practice, a lot of fiddling with wires, tuning up, listening, writing, driving, gossiping, tripping up, brain surgery, focusing, making tea, brewing coffee, thinking, looking, recording, rewinding, fast forwarding, unpacking, learning, arguing (nicely, thank you), darts, sleeping, smoking, flying, drinking, saying ‘oops’, cooking, concentrating, dialing, reading, an enormous amount of pushing buttons, filing, searching, eating, correcting, uncorking, mending, programming, looking at the sky and muttering about the price of potatoes, planning,pluggin in, complaining, sorting out, complimenting, watching, and playing tennis (IG and Clarlie narrowly beat RG and Collin 6-2, 4-6, 7-5 yesterday).

There are twelve items (so far…) on the agendum, not all of which will make the album methinks, but who knows? The general tone of the album is tough, being the result of a direct manipulation of the outermost sensory organs by means of careful voltage control, high decibel regeneration, and the redistribution of particles of human madness and logic interwoven into the subdivisions of connected sections of powerful riffage placed cunningly between the start and finish of each piece.

Of those twelve songs, five have so far been adorned with lyrics (the rest play themselves in mute abandon on the DAT player while IG and I wrestle – I know what you’re thinking and the answer is no, not yet).

Solos have been attacked on about half the tunes but are fighting back.

There is a strange dichotomy at work here: we know what we’re about but we don’t know what we’re doing. Or the other way around.

At least one live performance has been salvaged from the May writing session.

An idea born in 1987 at a rehearsal has found a new life.

One song, The STallion, didn’t make it to the last album but has made it to this, and has been, thankfully, butchered in the process. It will be called something else. No not Something Else, that was by Eddie Cochran in 19 fifty something, and in my humble onion was a very, very early example of hard rock, long before hard rock was an item, and I love it ……… but I digress.

The atmosphere in the studio is very happy, confident, and relaxed – must be the cleaning alcohol, toothpaste, and palm trees.

Working titles will not be divulged at the present time due to mostly governmental pressure. All in good time, as some unforgettable character in a famous book probably once said. Probably.

Good luck.

RG 😉

Some of the ideas that come out in the first group of sessions include: Wah Wah, Seventh Heaven, Oh Darlin’ Blues, Evil Louie, Talk Radio, Last Jam, and a few others.

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For Further Information:

• https://en.wikipedia.org/wiki/Abandon_(album)
• https://www.discogs.com/release/1015525-Deep-Purple-Abandon
• https://www.45worlds.com/cdalbum/cd/724349530621
• Darker Than Blue Issue 50  February 1998
• Darker Than Blue Issue 51  May 1999
• https://www.allmusic.com/album/abandon-mw0000037810
• https://www.thehighwaystar.com/interviews/paice/ip199812xx.html
• https://www.thehighwaystar.com/interviews/gillan/ig19980514.html
• https://www.thehighwaystar.com/reviews/static/us97-98/dp_reviews6a46.html
• https://www.thehighwaystar.com/abandon/andi.html
• https://www.albumoftheyear.org/genre/58-hard-rock/1998/
• https://www.albumoftheyear.org/album/78731-deep-purple-abandon.php
• https://www.thehighwaystar.com/abandon/trond.html
• https://www.thehighwaystar.com/abandon/garry.html
• https://www.thehighwaystar.com/abandon/sounds.html
• https://www.thehighwaystar.com/abandon/dave.html
• https://www.thehighwaystar.com/abandon/brad.html
• https://www.thehighwaystar.com/abandon/ed.html
• https://www.thehighwaystar.com/abandon/nigel.html
• https://www.thehighwaystar.com/abandon/stathis.html
• Deep Purple Abandon Audio Press Kit
• https://www.discogs.com/release/7649987-Deep-Purple-Interview-CD-Abandon

Extra Thanks To:

• Øyvind Fjeldbu for kindly sending over scans of his Abandon tour booklet!
• Thanks to Jeff Breis for sending over items from his collection.
• Thank you to Steve Clowes for sharing bootleg recordings of early versions of “Any Fule Kno That” and “Seventh Heaven.”
• Rich Shailor for sending over some Abandon swag!

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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Postcards From The Edge . . . OF CONNECTICUT!

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Deep Dive Podcast Network:

Check out our website to find other like-minded shows taking deep dives into individual songs, bands, and albums.

• Deep Dive Podcast Network

Lead up to the Album:

• Performed and recorded on 17 June 1996 at L’Olympia in Paris, France.
  • https://en.wikipedia.org/wiki/Olympia_(Paris)
• On the subject of horns, Roger writes:
  • From: (BAsec5)
  • Newsgroups: alt.music.deep-purple
  • Subject: Re: Horn musicians on new live DP CD?
  • Date: 28 May 1997 06:25:19 GMT
  • Garry Smith (garry@caleyjag.demon.co.uk) wrote:
  • > He was 100% correct, of course – it was a
  • > fabulous show –  but I’d be curious to know
  • > all the background to it – how it was added to
  • > the tour, where the horn section came from, and
  • > how it came to be recorded.
  • At the end of the first show the promotors asked
  • us to come back for a special show and we thought
  • why not? The Olympia is a legendary place – we
  • played there in 69 or 70 – and it would be good to
  • visit it again. The idea of working with other
  • musicians is not new, we just never got around to
  • doing it. The horn players were recruited by the
  • promotor and are part of a Parisian late night chat
  • show on TV, so they were well equipped to deal with
  • our music. They were great.
  • Having said all that, how could we not record it?
  • Look good,
  • RG

Core Band:

• Bass – Roger Glover
• Drums – Ian Paice
• Guitar – Steve Morse
• Organ [Hammond], Keyboards – Jon Lord
• Vocals, Harmonica – Ian Gillan

Additional Musicians:

• Horns – Christian Fourquet
  • French trombonist.
• Horns – Eric Mula
  • French trumpet player, arranger, composer.
• Horns – Vincent Chavagnac
  • https://www.vincentchavagnac.com/
  • Multi-reed player, flutes, keyboards, composer, arranger and producer.

Technical:

• Edited By [Digital Editing] – Rory Young
• Engineer – Alain Francais*
• Management – Bruce Payne
• Management [Financial] – Barbara Fucigna
• Mastered By – Ted Jensen
• Mixed By [Premix] – Darren Schneider
• Mixed By, Edited By [Digital Editing] – Peter Deneberg*
• Recorded By – De Preference
• Stage Manager – Charles Lewis (4)
• Tour Manager – Colin Hart (2)
• Booking – Neil Warnock

Album Art & Booklet Review

• Artwork [Graffito] – Jamie Webster (2)
  • Only Discogs credit.
• Cover [Concept] – Roger Glover

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Horns featured on “Highway Star”, “Cascades: I’m Not Your Lover”, “No One Came”, “The Purpendicular Waltz”

Album Tracks:

Disc 1

1. Fireball
2. Maybe I’m a Leo
   • One of only three official live releases by Deep Purple to have this song.
   • The other two are “In Concert” and “Live at Montreux 2011”
3. Ted the Mechanic
4. Pictures of Home
5. Black Night
6. Cascades: I’m Not Your Lover
7. Sometimes I Feel LIke Screaming
8. Woman from Tokyo
9. No One Came
10. The Purpendicular Waltz

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For Further Information:

• https://en.wikipedia.org/wiki/Live_at_The_Olympia_%2796
• https://www.discogs.com/release/1034820-Deep-Purple-Live-At-The-Olympia-96
• https://www.thehighwaystar.com/lato96/
• https://www.thehighwaystar.com/lato96/hans.html
• https://www.thehighwaystar.com/lato96/daniel.html
• https://www.thehighwaystar.com/lato96/john.html
• https://www.thehighwaystar.com/lato96/hein.html
• https://www.thehighwaystar.com/lato96/fabio.html
• https://www.thehighwaystar.com/lato96/ricardo.html
• https://www.thehighwaystar.com/lato96/garry.html
• https://www.thehighwaystar.com/lato96/roger.html
• https://www.purple.de/dirk/purple/tours/1996/96-06-17.php
• https://en.wikipedia.org/wiki/Olympia_(Paris)
• https://www.allmusic.com/album/live-at-the-olympia-96-mw0000464277

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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Deep Dive Podcast Network:

Check out our website to find other like-minded shows taking deep dives into individual songs, bands, and albums.

Deep Purple’s Greatest Italian Moments:

• Deep Dive Podcast Network

• Deep Purple – Strange Kind Of Woman (Italian TV, 1971)

• Italian Deep Purple Book featuring Whitesnake on the Cover

• Recording Who Do We Think We Are
  • Confirmed recorded in Rome are “Woman From Tokyo” and “Painted Horse”
  • Remainder of the album finished in Frankfort
  • Painted Horse (Studio out Take)
  • https://destroyerofharmony.com/tag/who-do-we-think-we-are/

• How many shows have Deep Purple played in Italy?
  • According to Deep Purple Tour Page there have been 112 shows performed in Italy.  There are three more coming in June of 2023 and one in 1974 was canceled.  After 2023 they will have performed 115 times in Italy.
  • Note: Nate miscalculated on the show by saying there have been 105 shows. Simple math was never his strong suit.

• Live Performances in Italy
  • First show: 25 May 1971 – Roma (Rom), Palasport (2 shows)
    • Deep Purple 1971-05-25 Live In Italy ’71 Complete Edition (Lost And Found)
  • Most recent: 17 Oct 2022 – Assago / Milano (Mailand), Mediolanum Forum
    • Deep Purple – Forum, Assago, Milano, Italy, 17 oct 2022 – Full Video Live
  • Upcoming shows for 2023 in Italy:
    • 27 Jun 2023 – Parma, Parco Ducale, “Parma Cittadella Musica”
    • 29 Jun 2023 – Macerata, Sferisterio
    • 30 Jun 2023 – Pordenone (Portenau), Parco San Valentino, “Pordenone Blues Festival”

• Nobody’s Perfect
  • Deep Purple – Dead or Alive – Milan, September 1, 1987

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  • Raff Kaff

Deep Purple’s Greatest Italian Moments (continued)

• Ian Paice (Deep Purple) live in Sicily – Canicattì (AG) – Jon Lord Tribute

• The Maze
  • Rod Evans and Ian Paice’s band before Deep Purple performed in Italy in Milan.
  • We go over this in greater detail in Episode #161 – The Maze (M.I. Five)
  • The Maze – Aria del sud

• The Italian Deep Purple Tribute – Forever Deep (2012) featuring Ian Paice

• Strange Kind of Women – Italian Deep Purple Tribute:
  • Strange Kind Of Women – The only female tribute to Deep Purple

• Deep Purple- With Pavarotti

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Deep Dive Podcast Network:

Check out our website to find other like-minded shows taking deep dives into individual songs, bands, and albums.

• Deep Dive Podcast Network

• Bass – Mo Foster
• Drums – Simon Phillips
• Guitar – Michael Schenker
  • https://michaelschenkerhimself.com/
  • https://en.wikipedia.org/wiki/Michael_Schenker
  • Started with Scorpions, playing on their first album “Lonesome Crow.”
  • Scorpions opened for UFO and UFO asked Schenker to join them on lead guitar.
  • Played with UFO on six albums, returning as a guest on the Scorpions “Lovedrive” album in 1979.
  • Then started up his own band, Michael Schenker Group, in 1980.
• Keyboards – Don Airey
• Vocals – Gary Barden
  • https://en.wikipedia.org/wiki/Gary_Barden
  • First entry was this album on Discogs.
  • Schenker gave him the job after hearing his band Fraser Nash.
  • He went on to work with Gary Moore.

Technical:

• Producer – Roger Glover
• Engineer – Gareth “Garry” Edwards*
  • Engineer with a few credits including Focus and Procul Harum.
  • Also worked with Gordon Giltrap on the album “Visionary.”
  • Giltrap also did the album “The Peacock Party” which was based on the book that was the sequel to “The Butterfly Ball.”  John Gustafson played bass on this album.
    • https://www.discogs.com/master/434912-Gordon-Giltrap-The-Peacock-Party
• Tape Op – Jeremy Allom
  • Went on to work with XTC, Dire Straits, and The Pretenders as well as Uli Roth.
• Mastered By – CB*

Album Art & Booklet Review

• Art Direction – Peter Wagg
  • He was an art director who worked for Chrysalis records.
  • He also created Max Headroom.
  • Did writing and production for Cirque de Soleil.
• Design [Cover Design], Photography – Hipgnosis (2)
• Photography By – Rob Brimson
  • Early worker at Hipgnosis from 1975 through 1979.
  • Did photography for many album covers including Al Stewart, Brand X, Yes, Wishbone Ash, and Pink Floyd’s “Animals.”

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Album Tracks:

All songs written by Michael Schenker and Gary Barden unless otherwise noted.

Side One:

1. Armed and Ready
2. Cry for the Nations
3. Victim of Illusion
4. Bijou Pleasurette (Shenker)
5. Feels Like a Good Thing

Side Two:

1. Into the Arena (Schenker)
2. Looking Out from Nowhere
3. Tales of Mystery
4. Lost Horizons

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Bustin’ Out The Spreadsheet

For Further Information:

• https://en.wikipedia.org/wiki/The_Michael_Schenker_Group_(album)
• https://www.discogs.com/release/1065945-The-Michael-Schenker-Group-The-Michael-Schenker-Group
• 
  

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