Category: Guest Episode

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Episode 311 – Ian Gillan – Toolbox (Part 1)

Link to video episode on YouTube:  https://www.youtube.com/watch?v=Aj2jWGiSbHY

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Lead up to the Album:

  • Before setting about recording, Ian debuted his new live band in Russia, arriving in Moscow on June 27th. Just a handful of gigs to warm them up, done as a four piece. Ian, Steve Morris, plus new bassist Brett Bloomfield (from Starship), and drummer Leonard Haze from Y&T. In Augist, Gillan, as they now seem to be calling themselves, played a long standing engagement in Denmark; festivals in Odense on the 10th and Skanderborg the next day.
  • Rasmus Heide was at the shows – “It was a beautiful day, with the sun shining. Ian loved it but Steve wasn’t fond of playing outdoors in the daylight. Out of a set just over an hour long, they only did four old numbers, including ‘Maybe I’m A Leo’. While they were a little rough after just one rehearsal they sounded good. The bass player was a real livewire and Steve has grown immensely since the last tour, without keyboards or rhythm guitar he is working really hard and it sounds much better. At the second show Ian sensed the crowd were largely unresponsive, so they opened with ‘Smoke On The Water’ to get them going. ‘Black Night’ was also added.”
  • “Toolbox”was recorded in 1991 in Battery Studios in Willesden, with production by Grammy-nominated
  • Album released October 14, 1991

Core Band:

Technical:

Album Art & Booklet Review

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Album Tracks:

All tracks by Ian Gillan and Steve Morris except where noted. Notes from Ian Gillan’s Wordography where available.

  1. Hang Me Out to Dry (Gillan, Leslie West)
    • Leslie West
    • https://en.wikipedia.org/wiki/Leslie_West
    • I’d always admired the sound Leslie West got from his guitar; witness ‘Mississippi Queen’ by Mountain. So I invited him over to stay with me and do some work. This was the result. Another bout of lyrical introspection; however I feel comfortable with the words, even though I can’t remember exactly what inspired them (and it would be unfair to guess).
    • We recorded the tracks in London before Leslie had to go home. For some reason (technical if I remember rightly) there was a problem with the solo. Consequently it was replaced by a Steve Morris solo, and everyone was happy with the result. Everybody except Leslie that is, who went bonkers when I next saw him in Sweden and accidentally made my nose bleed when he gave me a friendly hug whilst screaming at the top of his voice….’what happened to my f…..g solo?’
    • It’s still a cool track in my book.
  2. Toolbox
  3. Dirty Dog
  4. Candy Horizon
  5. Don’t Hold Me Back
  6. Pictures of Hell

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Episode 307 – Blackmore’s Night – Under a Violet Moon (Part 2)

Link to video episode on YouTube: https://www.youtube.com/watch?v=c3TFZKqHRJ4

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Postcards From The Edge . . . OF CONNECTICUT!

  • Using the Way Back Machine I got a snapshot of Blackmore’s Night’s website from mid 2000, shortly after their third album was released and just after the website launched.
Extremely 1999 animated GIF from the archived Blackmore’s Night website.

Album Tracks:

All tracks written by Blackmore, Night unless noted. Instrumentals written by Blackmore.

  1. Beyond the Sunset (Instrumental)
  2. March the Heroes Home
  3. Spanish Nights (I Remember it Well)
  4. Catherine Howard’s Fate
  5. Fool’s Gold
  6. Durch den Wald zum Bach Haus (Instrumental)
    • Producer – Jeff Glixman
    • Merlijn: Durch Den Wald Zum Bach Haus is based on one of Bachs Fuga’s. It tells the story of Ritchie visiting Bachs house in Eisenach and being chased by a dog! As told many times on stage as introduction to this song (also by RB himself!)
  7. Now and Then
  8. Self Portrait (Blackmore, Dio)

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Bustin’ Out The Spreadsheet

Reviews

Under A Violet Moon – Album Review
BLACKMORE’S NIGHT UNDER A VIOLET MOON Cold Harbour Recording Co PCCY 01377 : UK : June 1999Few people seemed prepared to venture out on this one, but one of our members who listens to recordings of a lot of early tudor music decided to try and elaborate on the music for us.”Following the usual appalled silence when friends find out that I have quite a collection of early Renaissance music, I quickly deploy my standard defence, i.e. I use it when I teach my ‘A’ Level class about Henry VIII. This usually satisfies them, and hides darker secret – I actually like the stuff. So it was with an interested ear that I sat down to listen to the new Blackmore’s Night offering. I thought it was a very brave decision by Blackmore to try and put across a style of music that in it’s original form is far different to modern sounds. Renaissance music tends to follow very different pathways tonally and is also quite formal. A lot of the music was originally written to facilitate structured courtly dances, incorporating rhythms and tempo changes which seem very awkward to modern ears. I guess that Blackmore had to choose between two routes, either recreate the sound as well as he could – as his been done by ensembles like Red Byrd, a group of modern musicians who aim to present original early music as it was written – or he could modernise the sound of the music. This approach has been well worn by groups like Clannad, Fairport Convention and even Jethro Tull. Unfortunately Blackmore also chose to go this way, laying himself open to the inherent dangers of both cliche and Blackadder style parody (the title song from the second Blackadder series is actually a clever parody of the lute songs of Thomas Campion, who lived from 1567 – 1620).In the end much of “Violet Moon” tips its hat toward the Galliards of the Tudor court, albeit far more up tempo, and also to Irish folk music. Some of the songs, particularly “Catherine Howard’s Fate”, “Fools Gold” and the title track itself would be so much better without any vocals. Not because of any weaknesses in Candice’s voice (which I actually like), but because most early music in that style didn’t have vocals. For myself these tracks were really going somewhere before the vocals came in. The one really convincing Renaissance song “Beyond The Sunset” is actually a Tudor keyboard piece converted to the guitar. The album is overall very frustrating to listen to for me because of the modernisation of the sound. The title track ends up sounding like Clannad during their “Robin Of Sherwood” phase, while “Castles And Dreams” is pure Stevie Nicks and Fleetwood Mac. Other songs conjure up entirely inappropriate images. “Gone With The Wind” starts off like “The Final Countdown” by Europe, and “Wind In The Willows” sounds like an entry for the Eurovision song contest. When Blackmore looks elsewhere for inspiration, he sadly ends up in “Riverdances” rather large foot-print. “Morning Star” and “Spanish Nights” suffer most from this, even with the Beethoven steal in the latter. My favourite tracks are those which suffer least from this attempt at modernisation. “Possum Goes To Prague”, “Beyond The Sunset” and “Durch…”, as well as the very pretty “Now And Then”.I really wish Blackmore had been brave enough to take the music back to something more like its original state, right down to using Tudor vocal inflections, and made the majority of the songs instrumental, taking something like the Red Byrd approach but writing his own material. As it currently stands I’m afraid the album is largely a weak pastiche of early music and other bands working in this area, most noticably Clannad. The lyrics themselves are absolutely banal when sung in modern English, but might have been acceptable using the vocal approach of the Tudor times. For all the faults though, the road Blackmore has chosen is a brave one given that most rock fans are pretty unforgiving of other musical genres.” Roy Watson Davies

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Episode 306 – Ozzy Osbourne – Speak of the Devil

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Lead up to the Album:

  • Ozzy’s management decided to record this album in February of 1982.
  • Sabbath’s publishing deal had just expired so all the songwriters would not benefit by re-recording these songs with new publishing royalties.
  • Sabbath was planning on releasing a live album (“Live Evil”) at the same time.
  • Geezer: “We couldn’t afford not to release Live Evil and Ozzy was forced into making Speak of the Devil.”
  • Randy Rhoads and Tommy Aldridge refused to do the album feeling that they’d established themselves as something separate from Black Sabbath.
  • While Sarzo wasn’t as upset about it he stood with the other two and told Sharon that they didn’t want to do it.
  • Sharon was not upset but it was reported that Ozzy was very upset and descended into what Rudy Sarzo called one of “the worst drinking binges I had ever witnessed.
  • It was during this binge that Ozzy was famously arrested for peeing on the Alamo.
  • In a drunken stupor he fired everyone in the band but later had no memory that he had done it.
  • It’s reported that Ozzy had confronted Randy on the tour bus telling him that he would replace him with Frank Zappa or Gary Moore for the live album.
  • Rhoads agreed to do this album and one more studio album to fulfill his contractual obligation to Jet Records but would leave the band after the next tour.
  • Originally it was planned to be “the greatest rock spectacle ever” according to Sharon Osbourne.  The show was planned to be video taped as well as recorded.
  • Everything changed a few weeks later when Randy died in a plane crash.
  • Bernie Torme took over guitar duties in the band for a short time until both parties decided to part ways.
  • Vito Bratta was the next guitarist considered as he was playing in a New York Black Sabbath cover band at the time.  However, he and Sharon did not get along.
  • Brad Gillis met with Rudy Sarzo to learn the songs as he was completely unfamiliar with Black Sabbath.  During his audition he nailed Rhoads’ parts and got the job.
  • On April 12, Gillis played his first show ith the band.  It’s said that Torme stayed on during these first few shows to help through the transition in case he was needed.  Gillis had traveled with them and learned the songs by watching Torme.
  • The band got together in September of 1982 to rehearse the songs but Ozzy was not around for the rehearsals.  Sharon had told them that he would not be around much.
  • The record company told Sharon that they planned to include previous live recordings of Rhoads doing “Iron Man,” “Children of the Grave”, and “Paranoid.”  Sharon told the band not to bother with those songs.
  • During this time morale was very poor and Sarzo was secretly recording the Metal Health album with Quiet Riot then finally made the decision to leave Ozzy’s band after this recording.
  • They only really saw Ozzy when he showed up for sound check on September 26, 1982.
  • Ozzy didn’t seem to remember the lyrics and during the shows he put a notebook with a lamp on a chair so he could read them during the concerts.
  • The audience at the was under 1,000 people at The Ritz.  Sarzo described the crowd as “rowdy.”
  • The Ritz had a smaller stage than they were used to and they weren’t able to use the same monitor setup leading to Gillis and Sarzo spending most of the shows directly in front of Aldridge so they could hear.
  • They used a mobile studio parked outside to record the show.
  • They were all dressed casually. Ozzy, showed up bald having shaved his head a few days before the gig.
  • The shows ended with “Iron Man” “Children of the Grave” and “Paranoid” and the band played a little looser, not keeping it as tight as they’d been informed that these performances wouldn’t be used.

Core Band:

Technical:

  • Producer, Engineer – Max Norman
  • Technician [Live Sound] – Chuck Weisner
    • Only other credit on Discogs is Van Halen’s “Live Without a Net.”
  • Mastered By – Joe Brescio

Album Art & Booklet Review

  • Design [Cover], Artwork – Steve Joule
    • https://krusher.co.uk/
    • Designed the cover for Diary of a Madman, Bark at the Moon and Black Sabbath’s Born Again.
    • Was art director for Kerrang!
  • Photography By – Neal Preston
  • The gatefold features a picture of John Edward Allen, Ozzy’s crew member who provided entertainment and comic relief on stage, as well as getting Ozzy drinks. Allen was also an actor appearing in Buck Rodgers and the film Bladerunner among many other stage performances. John also played one of the seven dwarves at the White House for President Jimmy Carter.
  • UK release was called “Talk of the Devil” as that is the more common phrase there.
  • There was also a Laserdisc release in Japan called “Speak of the Devil” which was a video of this band performing during the Diary of a Madman tour in June of 1982.

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The Venue:

Setlist

  1. Symptom of the Universe
  2. Snowblind
  3. Black Sabbath
  4. Fairies Wear Boots
  5. War Pigs
  6. The Wizard
  7. N.I.B.
  8. Sweet Leaf
    • This song was not included on the original CD release but was added back to the 1995 re-release.
  9. Never Say Die
  10. Sabbath Bloody Sabbath
    • Confirmed by Max Norman to be one of potentially three songs performed the afternoon prior to one of the shows in an empty venue. Crowd noise would have been added in post production.
  11. Iron Man / Children of the Grave
  12. Paranoid

Japanese Release Featured Two Bonus Tracks recorded at Irvine Meadows Amphitheatre on June 12, 1982 with the same lineup. Released as “Speak of the Devil” in Japan on Laserdisc.

Full video here: https://www.youtube.com/watch?v=TDy0B8sbVNc

Bonus tracks included on the Japanese release:

  1. Mr. Crowley
  2. I Don’t Know

Bootlegs of Shows Pre-Production:

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Speak of the Devil Laserdisc release from later in the 1982 tour.

Reception and Charts:

  • Sarzo and Gillis departed shortly after these recordings with Sarzo returning to Quiet Riot and Gillis returning to Night Ranger.
  • Ozzy was very upset with Sarzo and even assaulted him backstage at the US Festival in 1983.
  • Producer Max Norman said in an interview that due to budget constraints  the band had performed an entire extra show with no audience before the show on either the 26th or the 27th.  This was recorded as a safety.
  • Norman said that the final album contains three songs from that performance but does not remember which three.
  • Sabbath Bloody Sabbath was believed to have been from this performance as it isn’t listed on the set list of either show at The Ritz.
  • The live versions of the three songs with Rhoads eventually found their release on the 1987 album Tribute.
  • Osbourne was critical of the album. It filled a contractual obligation but he was not a big fan of the project.

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Episode 305 – Blackmore’s Night – Under a Violet Moon (Part 1)

Link to video episode on YouTube: https://www.youtube.com/watch?v=MVAvSnCHB8E

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.

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Core Band:

  • Band [Blackmore’s Night Is], Guitar, Mandolin, Bass, Drum [Renaissance Drum], Tambourine – Ritchie Blackmore
  • Band [Blackmore’s Night Is], Vocals, Tin Whistle [Pennywhistle] – Candice Night

Additional Musicians:

Technical:

Album Art & Booklet Review

  • Artwork – Peter Pracownik
    • In the band “Mouse & Twink: Fairies”
    • Also did album art for Hawkwind
  • Photography By – Michael Keel
    • https://www.keelphoto.com/
    • New York photographer who does a lot of photo work
    • In music Keel has worked on photography primarily for Blackmore’s Night and Candice Night
Street in Rothenburg ob der Tauber (Bavaria, Germany) that the album cover is based on.

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Album Tracks:

All tracks written by Blackmore, Night unless noted. Instrumentals written by Blackmore.

  1. Under a Violet Moon
    • Backing Vocals – John Ford (2)
    • Bass – Peter Rooth
      • Credited on 4 Yngwie albums as his guitar tech
    • Merlijn writes: Ritchie did write some lyrics for this tune. And the melody is based on an tune from the Renaissance by Franco Flemish composer Ivo di Vento. 
  2. Castles and Dreams
  3. Past Time with Good Company
    • Arranged By – Blackmore*
    • Drums [Military] – Mike “Metal” Goldberg*
      • In 2015 won a grammy for best blues album for his album “Step Back” at the 57th Grammy Awards.
      • Engineer on the Baha Men album “Doong Spank” two albums before their breakout hit “Who Let The Dogs Out”:
    • Written-By – Traditional by Henry VIII*
    • Producer – Jeff Glixman
  4. Morning Star
  5. Avalon
    • Arranged By – Blackmore*
    • Written-By – Traditional
    • Producer – Ritchie Blackmore, Roy McDonald
    • Merlijn writes: Avalon: The Hunt is Up – English Hunting Song Main melody is copied. “The Hunt is Up” originally titled “The Huntes upp” is a 16th century ballad attributed to William Gray. The hunt is up was commonly associated to any song that would be sung in the morning. Shakespeare employs it as such in Romeo and Juliet (act iii, sc. 5).
  6. Possum Goes to Prague (Instrumental)
  7. Wind in the Willows
    • Drum Programming – Peter Rooth
    • Vocals, Bass – John Ford (2)
    • Producer – Jeff Glixman
    • Merlijn writes: The Wind in The Willows is originally called: Bread And Fishes, by Graham Bell. Ritchie heard it being perfomed by The Strawbs and liked it:Bread And Fishes
  8. Gone with the Wind

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Posted on

Episode #285 – Deep Purple – In Concert with the London Symphony Orchestra (Part 2)

Video episode was banned by YouTube this week. Please see below for a superior audio experience.

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

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Setlist

  1. Concerto for Group and Orchestra Mov. 1 (Lord)
  2. Concerto for Group and Orchestra Mov. 2 (Gillan, Lord)
  3. Concerto for Group and Orchestra Mov. 3 (Lord)
  4. Ted the Mechanic (Gillan, Morse, Glover, Lord, Paice)
  5. Watching the Sky (Gillan, Morse, Glover, Lord, Paice)
    • Swapped with Sometimes on programme
  6. Sometimes I Feel Like Screaming (Gillan, Morse, Glover, Lord, Paice)
  7. Pictures of Home (Gillan, Blackmore, Glover, Lord, Paice)
  8. Smoke on the Water (Gillan, Blackmore, Glover, Lord, Paice)

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Posted on

Episode #284 – Deep Purple – In Concert with the London Symphony Orchestra (Part 1)

This week’s episode is BANNED on YouTube. Please see below for a superior audio experience.

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Our History With The ’99 Concerto:

Lead up to the Album:

  • Dutch composer Marco de Goiej discovered Deep Purple in his brother’s record collection. One day his brother came home with “Concerto For Group and Orchestra.” Marco was very interested in this release and decided that he wanted to track down the score but learned that it was never for sale.
  • He thought about transcribing it for a while then decided to try to track the score down.  Wrote a letter to Malcolm Arnold and reached out to The Hollywood Bowl and a few other things.
  • Finally decided to do it himself. Left a note at the reception desk with 30 pages of the most difficult bit.  Jon’s name was not on the guest list so he left it to attention to Colin Hart.
  • When he left the hotel a car pulled up and Ian Gillan and Jon Lord were getting out.  He approached Jon Lord and told him that he’d just left a note.  Jon was in a very bad mood after a rough trip from the airport and not in the mood until he heard the purpose of Marco’s visit.
  • Deep Purple played Rotterdam on October 12, 1998 on the Abandon tour.
  • He finished about 60% of the score and decided to track down Jon Lord.  Went to Rotterdam in 1998.  
  • Press Release Announcing Concerto
    • 21 September 1999
      PRESS RELEASE
      DUTCH COMPOSER REVIVES LOST CONCERTO
    • On the 25 and 26 September 1999 the London Symphony Orchestra (L.S.O) together with British rockband Deep Purple will perform the “Concerto for Group and Orchestra” in the Royal Albert Hall in London. These concerts are organised because of the 30th anniversary of the piece. It is the first performance since 30 years. Reason for this 30 years of silence: the score had disappeared.
    • Jon Lord, organist with Deep Purple, composed his “Concerto for Group and Orchestra” in 1969. Thanks to the efforts made by the Dutch composer Marco de Goeij, the “Concerto” will be performed again. De Goeij who knew that the score had been missing, decided to make a full transcription of the piece by listening to the CD. It took him two years to finish the transcription, which clocks in at a staggering 300 pages of manuscript. Jon Lord, impressed with De Goeij’s work made some revisions to the score and updated the instrumentation.
    • At the concerts, organised by the Nordoff Robbins Therapy Charity not only the revised “Concerto for Group and Orchestra will be performed, but also several old pieces from band members are planned. The hope is to close the show with a couple of Deep Purple songs featuring the band accompanied by the L.S.O..
    • Have a look at some photos showing Marco de Goeij together with Jon Lord and Ian Paice. The photos were taken recently in Pistoia, Italy.
    • © photos: Jan Willem Bakker
  • FAQ Leading Up to Performances
  • https://www.thehighwaystar.com/specials/RAH99/faq.html
  • Marco de Goeij discusses reconstructing the lost musical score for Jon Lord’s Concerto in 2011
  • Differences Between The 1969 Concerto and the 1999 Concerto:

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The Venue:

  • The Royal Albert Hall
    • https://www.royalalberthall.com/
    • https://en.wikipedia.org/wiki/Royal_Albert_Hall

Setlist

  1. Four Scottish Dances, Op. 59 (Malcolm Arnold)
  2. Pictured Within (Lord)
  3. Wait a While (Lord, Brown)
  4. Sitting in a Dream (Glover)
  5. Love is All (Glover, Hardin)
  6. Via Miami (Gillan, Glover)
    • From “Accidentally on Purpose” 1987
  7. That’s Why God Is Singing the Blues (Dave Corbett)
  8. Night Meets Light (Morse)
    • From the Dixie Dregs Album “What If” 1978
    • https://en.wikipedia.org/wiki/What_If_(Dixie_Dregs_album)
    • Paul Mann: The earliest releases of the CD contained, as was fashionable at the time, a video playable on a computer of Smoke on the Water, and in order to make space for this they had to jump through hoops with the audio order. We did try to tell them it was stupid because people would buy both formats anyway,  but they didn’t listen until they released the so called Tour Edition, the following year which restored Night Meets Light after protests from Steve and myself, and I think tried to make more sense of it.
  9. Take It Off the Top (Morse)
    • From the Dixie Dregs Album “What If” 1978
    • https://en.wikipedia.org/wiki/What_If_(Dixie_Dregs_album)
  10. Wring That Neck (Blackmore, Simper, Lord, Paice)

Paul Mann writes: I do remember though that the cd and dvd had different running orders which don’t necessarily reflect the order of the night. I would imagine that the set lists stored on places like The Highway Star website are likely to be more reliable.   I think both nights were the same, but can’t be sure about that either…!

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Posted on

Episode #280 – Deep Purple – = 1 More Time Tour Recap

Link to video episode on YouTube: https://www.youtube.com/watch?v=jxukXG2ul9U

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.

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First Night in Detroit (Thursday, August 22, 2024)

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Second Night in Chicago (August 23, 2024)

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