Category: Guest Episode

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Our Guest

• Check out Jonatan’s great podcasts: Maiden A-Z and So Far, So Pod… So What!

New Patron/Patron Upgrades:

• Purple Swede joins us at the $3.33 Halfway to Evil Tier
  • I discovered Deep Purple as many years ago as Elvis Presley was in this life and there are not many bands in the world that are close to have the same amount of skills as Deep Purple has and has had. 
  • I discovered the show really when you started and I very much appreciate the work you are and have been laying down…. 
  • Hopefully this text makes sense gramatically and so on 😉 ….
  • (PurpleSwede)

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  • http://www.satriani.com/road/
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• April 18, 2024

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

Album Art & Booklet Review

• Art Direction – John Pasche
  • https://www.johnpasche.com/
  • Rolling Stones Sticky Fingers and Goat’s Head Soup
• Design – Shoot That Tiger!
  • Designed a lot of album covers Whitesnake Live in HEart of the City
• Photography By [Front Cover And Liner Photos] – Brian Griffin (3)
  • https://www.briangriffin.co.uk/
  • Did covers for Joe Jackson, Depeche Mode
• Producer, Engineer – Martin (P. C.) Birch*
• Written-By – B. Marsden*, Don Airey (tracks: B4)

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Album Tracks:

Side One:

1. You’re The One
   • Backing Vocals – Alan Carvell
   • Backing Vocals – Bernie Marsden
   • Backing Vocals – Stuart Calver
   • Backing Vocals – Tony Rivers
   • Bass Guitar – Jack Bruce
   • Drums – Ian Paice
   • Guitar, Vocals – Bernie Marsden
   • Piano [Acoustic], Synthesizer [Moog] – Don Airey
2. Song For Fran
   • Bass Guitar – Jack Bruce
   • Drums – Simon Phillips
   • Electric Piano [Fender Rhodes], Synthesizer [Yamaha CS 80] – Don Airey
   • Guitar – Bernie Marsden
3. Love Made A Fool Of Me
   • Backing Vocals – Alan Carvell, Bernie Marsden, Stuart Calver, Tony Rivers
   • Bass Guitar – Neil Murray
   • Drums – Cozy Powell
   • Guitar, Vocals – Bernie Marsden
   • Piano [Acoustic], Synthesizer [Moog] – Don Airey
4. Here We Go Again
   • Backing Vocals – Doreen Chanter
     • https://en.wikipedia.org/wiki/Doreen_Chanter
     • ½ of Chanter Sisters
     • Session vocalist
     • Brian Ferry, Rod Stewary, Manfred Mann
   • Backing Vocals – Irene Chanter
     • ½ of Chanter Sisters
   • Bass Guitar – Jack Bruce
   • Drums – Simon Phillips
   • Guitar, Vocals – Bernie Marsden
   • Piano [Acoustic], Synthesizer [Yamaha CS 80, Moog] – Don Airey
5. Still The Same
   • Bass Guitar – Neil Murray
   • Drums – Cozy Powell
   • Guitar, Vocals – Bernie Marsden
   • Piano [Acoustic], Organ [Hammond], Synthesizer [Moog] – Don Airey

Side Two:

1. Sad Clown
   • Backing Vocals – Alan Carvell, Bernie Marsden, Stuart Calver, Tony Rivers
   • Bass Guitar – Jack Bruce
   • Drums – Simon Phillips
   • Guitar, Vocals – Bernie Marsden
   • Organ [Hammond] – Jon Lord
2. Brief Encounter
   • Bass Guitar – Jack Bruce
   • Drums – Ian Paice
   • Guitar – Bernie Marsden
   • Organ [Hammond] – Jon Lord
   • Synthesizer [Yamaha CS 80] – Don Airey
3. Are You Ready
   • Backing Vocals – Doreen Chanter, Irene Chanter
   • Bass Guitar – Jack Bruce
   • Drums – Ian Paice
   • Guitar, Vocals – Bernie Marsden
   • Piano [Acoustic], Organ [Hammond], Clavinet – Jon Lord
4. Head The Ball
   • Bass Guitar – Jack Bruce
   • Drums – Simon Phillips
   • Guitar – Bernie Marsden
   • Synthesizer [Yamaha CS 80, Moog] – Don Airey

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Bustin’ Out The Spreadsheet

For Further Information:

• https://www.discogs.com/release/2246812-Bernie-Marsden-And-About-Time-Too
• https://www.45worlds.com/vinyl/album/1c06464361

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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How To Support Our Show:

The Deep Purple Podcast is 100% listener supported and ad-free! If you receive value from our show please consider supporting us!

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Brendan Ashbrook – Logo Designer

Thanks to Our Executive Level Patrons:

• The “In Memorium” Tier
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Upcoming Shows:

• Glenn Hughes live at the Arcada in St. Charles, IL – The Pickle Capital of the World!
  • https://www.stcmuseum.org/history-news/2017/9/9/pickle-capital-of-the-world
  • Playing with Enuff Z’Nuff and Bad Marriage.
  • February 10, 2024 (John’s Birthday!) – Doors at 6:30pm
  • VIP TBD
  • Tickets available here
• Vai Satriani Tour!
  • http://www.satriani.com/road/
  • Chicago Theatre in Chicago, IL
• Tickets for Chicago Show here: https://www.ticketmaster.com/event/07005F6785B91507
• April 18, 2024

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:

• Moore had been in a band called Skid Row. It was in that band he met Phil Lynott and they formed a friendship. They shared an apartment in Ballsbridge, a neighborhood in Dublin at the time.
• The band was not related to the American band of the same name but there have been refuted claims that Gary Moore sold the name to Sebastian Bach, a claim others deny.
• Phil left the band to start Thin Lizzy. In 1974 when guitarist Eric Bell left the band Gary Moore joined briefly, recording a few songs.  He left after a few months.
• Moore went on to work on many other projects but rejoined Thin Lizzy in 1977 when Brian injured his hand in a bar fight. He recorded the album Black Rose: A Rock Legend with Thin Lizzy before leaving again, declining an offer to join permanently.
• In 1978 Gary got a deal to do a solo album, his second after his 1973 album “Grinding Stone” billed as The Gary Moore Band.  At the same time he was recording with Phil on his solo album “Solo in Soho.”

Core Band:

• Bass – John Mole (tracks: A2, A3, A4)
  • Worked with Colosseum II
• Bass, Vocals – Phil Lynott (tracks: B1, B2, B3, B4)
• Drums – Brian Downey (tracks: B1, B2, B3, B4)
• Simon Phillips (tracks: A1, A2, A3, A4)
  • Tsangarides: “Gary asked me if I knew any drummers so I got Simon Phillilps in, who was only a young kid at the time, but who I had worked with on a Jack Bruce album, and we did the bulk of the album in a week, all jazz instrumentals. Then Gary came in with this ghetto blaster and played me a song done with a drum machine, keyboards and a guitar solo. ‘What do you think of this?’”
  • The track he played was “Parisienne Walkways,” and he said Phil and Brian were coming to the studio to record it.
• Guitar, Vocals – Gary Moore
• Keyboards, Organ, Piano – Don Airey (tracks: A1, A2 A3, A4)

Technical:

• Engineer – Chris Tsangarides
  • Started his career at Morgan Studios.
  • https://en.wikipedia.org/wiki/Chris_Tsangarides
  • Worked with  Thin Lizzy, Judas Priest, Helloween, Anvil, Angra, Anthem, Yngwie Malmsteen, and Tygers of Pan Tang.
  • Tsangarides worked with many pop and alternative artists as well, including Depeche Mode, Tom Jones, Concrete Blonde, and The Tragically Hip.
• Engineer [Assist] – Andrew (Supertype) Warwick*
  • A lot of the same credits as Tsangarides.
• Engineer [Assist] – Mark (T.R.S.) Freguard*
• Engineer [Assist] – Mike (Victim) Dutton*
• Engineer [Assist] – Mike (Copper Bolt) Hedges*
• Engineer [Assist] – Perry (Peewee) Morgan*
• Engineer [Assist] – Simon (Reverend) Wakefield*
• Producer – Chris Tsangarides, Gary Moore
  • Tsagarides had worked as an engineer at Morgan Studios, working as a tap operator for the final two Colosseum II albums. Tsangarides said, “So, when it came time to do Gary’s album I said, ‘I’d like to do that,’ and it was okay because they weren’t looking for a ‘big noise’ producer and, anyway, producers were not in the same league as they became in the 1980s and 1990s, plus I was cheap!”

Album Art & Booklet Review

• Design [Sleeve] – Cream (7)
  • Huge design firm based in Amsterdam. Did album covers for The Bay City Rollers, Gentle Giant, Black Sabbath, Jimi Hendrix, Queen, Deep Purple (Made in Europe), Uriah Heep, David Coverdale, and many, many more.
• Photography By – Chalkie Davies
  • https://www.chalkiedavies.com/
  • Worked with Thin Lizzy, The Pretenders, Mike Oldfield, The Stray Cats, and many more.

Thanks to Our Core Level Patrons:

• The $7.77 KeepItWarmRat Tier
  • Michael Vader
• The $6.99 “New Nice Price” Tier
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  • Sugar T
• The Episode $6.66 Tier
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  • Arthur Smith
  • Anton Glaving
  • Charles Meadows
• The $6.65 “Almost Evil” Tier
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  • Michael Bagford
  • Richie Sucksmith
• $5.99 The “Nice Price” Tier
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Album Tracks:

All songs written by Gary Moore except where noted.

Side One:

1. Back on the Streets (Moore)
   • Backing Vocals, Handclaps [And Things] – Gary Moore, Phil Lynott
   • Drums – Simon Phillips
   • Keyboards – Don Airey
   • Lead Vocals, Bass, Guitar – Gary Moore
   • Written-By – Campbell*, Moore*
2. Don’t Believe a Word (Lynott)
   • Drums – Brian Downey
   • Lead Vocals, Bass – Phil Lynott
   • Lead Vocals, Guitar – Gary Moore
   • Written-By – Lynott*
   • This song was a bit of an issue in Thin Lizzy. It was originally a 12-bar blues song and Brian Downey and Robertson did not like it and added a bit more to the song.  On this version it is simplified and Chris said in Sound on Sound, “I loved the simplicity and emptiness of it . . . it was a sort of Peter Green/Santana “Black Magic Woman”-type vibe.”
3. Fanatical Fascists (Lynott)
   • Acoustic Guitar, Bass, Backing Vocals – Phil Lynott
   • Drums – Brian Downey
   • Guitar, Lead Vocals, Backing Vocals – Gary Moore
   • Written-By – Lynott*
4. Flight of the Snow Moose (Instrumental) (Moore)
   • Bass – John Mole
   • Drums – Simon Phillips
   • Guitar – Gary Moore
   • Keyboards – Don Airey
   • Written-By – Campbell*, Moore*

Side Two:

1. Hurricane (Instrumental) (Moore)
   • Bass – John Mole
   • Drums – Simon Phillips
   • Guitar – Gary Moore
   • Keyboards – Don Airey
   • Written-By – Campbell*, Moore*
2. Song for Donna (Moore)
   • Bass – John Mole
   • Drums – Simon Phillips
   • Keyboards – Don Airey
   • Lead Vocals, Guitar – Gary Moore
   • Written-By – Campbell*, Moore*
   • Donna Campbell was Gary Moore’s girlfriend of about five years. Also romantically linked to Mick Jagger. Jimmy Phantom of the Stray Cats, and even pre-Sharon Ozzy Osbourne. Was even once paid £1,000 to give a lap dance to Sylvester Stallone.
   • https://www.bridgwatermercury.co.uk/news/10638845.former-bridgwater-girl-was-model-muse-and-partied-with-mick-jagger-now-she-turns-60/
   • During the mixing of the track Tsangarides said he was at the desk and Ozzy Osbourne walked in with Bill Ward and Geezer Butler.  They were really interested in the track and asked him to play parts back to him.  He said Bill Ward then threw up in the garbage can and Ozzy pulled his pants down and chasing the tape op, Vic, around the room then ran straight into a wall. He went off to the hospital and Tony Iommi called asking what they’d done to Ozzy.  Apparently Ozzy had done so much cocaine that he couldn’t feel anything. He ended up showing back up at the studio later and while Tsangarides was trying to mix the song Ozzy tapped him on the shoulder and when Chris looked over Ozzy’s dick was on it. Tsangarides said that this was a “famous Ozzy trick.”
3. What Would You Rather Bee or a Wasp (Instrumental) (Moore)
   • Bass – John Mole
   • Drums – Simon Phillips
   • Guitar – Gary Moore
   • Keyboards – Don Airey
   • Written-By – Campbell*, Moore*
4. Parisienne Walkways (Lynott, Moore)
   • Double Bass, Bass, Lead Vocals – Phil Lynott
   • Drums – Brian Downey
   • Guitar, Guitar Synthesizer, Mandolin, Accordion, Backing Vocals – Gary Moore
   • Written-By – Lynott*
   • This song had been something Don Airey and Moore had worked on in Colosseum II called “Biscayne Blues” which had been based on a Kenny Dorham song called “Blue Bossa.” a bossa nova style song.
   • The song had been intended to be an instrumental.
   • Tsangarides brought the demo of this to Phil’s house to play for him. Phil said it sounded “really French” and then began writing lyrics to it.
   • The opening line is “I remember Paris in ‘49.” Phil’s father’s name was Parris and Phil was born in 1949.
   • The whole track was recorded live in just a few takes. There was no click track and Gary played the solo in perfect time.  Phil overdubbed an accordion and the upright bass.Gary played a Solina string synth and a 12-string guitar on this track.

Bustin’ Out The Spreadsheet

Reception and Charts:

• https://www.45worlds.com/vinyl/album/mcf2853
  • kimbozw
    • For what the information may be worth, it charted in the UK on 03 Feb 1979 for one week at the princely position of No. 70. His highest album charter was the No. 4 peaked AFTER HOURS from 1992. This is according to the Virgin Books issued HIT ALBUMS covering the period 1956 to 2008 which I acquired on 13 June 2011 on a visit to London Town. The book cost me 6 quid which was a promotional price reduced from the previously priced 16 quid.
  • MicSmith
    • Although this album is given a 1978 release date I believe it was released in January 1979, with the Back in the Streets single (a faded version of the album track) issued in December 1978.
    • The single was originally to appear in October 1978 as per its listing on the 45cat page but I believe it was delayed until the December release.(See Martin C. Strong The Great Rock Discography).
    • I was a big GM fan at this point and was eagerly awaiting the appearance of this record after the dissolution of Colosseum II and my strong recollection of knowing about the release of the album was seeing Gary and his Thin Lizzy friends appear on OGWT early in 1979. My brother bought the album on the back of this appearance and I taped it from his vinyl shortly after but before Parisienne Walkways was issued as a single. Also full page adverts for the album didn’t start to appear in the UK music papers until January 1979 another indication that it appeared that month.
  • Tsangarides says of the album: “It was a strange album . . . Colosseum II, Thin Lizzy and a bit of punk coming in because Paul Cook and Steve Jones shipped up and we did a few songs with them, which never came out.”

Reviews

• https://www.allmusic.com/album/back-on-the-streets-mw0000654670
  • Back on the Streets Review by Eduardo Rivadavia
  • 1979 was a busy year for Irish guitarist Gary Moore, who after years of seemingly aimless wandering across the musical landscape (including a flirtation with jazz-rock fusion while fronting G-Force) simultaneously re-launched his long-dormant solo career and became a full-time member of Thin Lizzy. Moore had originally agreed to help his old partner in crime Phil Lynott only temporarily, while longtime Lizzy guitarist Brian Robertson recovered from a broken hand incurred in a barroom brawl. But due to Robbo’s increasing unreliability, Moore was persuaded to stay on and record Lizzy’s Black Rose album in exchange for Lynott‘s help in shaping his own solo effort, Back on the Streets. And a good trade it was, too, as with the exception of the title track’s gutsy hard rock, Lynott‘s singing and songwriting contributions wound up providing the album with its most coherent and satisfying moments. These included the highly amusing “Fanatical Fascists,” a mellow reworking of Lizzy’s “Don’t Believe a Word,” a whimsical acoustic ballad called “Spanish Guitar,” and the simply exquisite Moore tour de force “Parisienne Walkways.” Unfortunately, these are rudely interrupted by a number of misplaced instrumental fusion workouts (no doubt G-Force leftovers) and a terribly saccharine ballad called “Song for Donna.” Half winner, half dud, the album would at least serve notice of Moore’s rebirth as a solo artist, and he would show marked improvement on his next album, Corridors of Power.

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  • Zwopper The Electric Alchemist
  • Anders Engstrom
  • Ashely { Still I hear, “Burn” } Rose
  • I see DC

For Further Information:

• Gary Moore: The Official Biography by Harry Shapiro
• https://en.wikipedia.org/wiki/Back_on_the_Streets_(Gary_Moore_album)
• https://www.discogs.com/release/1901630-Gary-Moore-Back-On-The-Streets
• https://www.45worlds.com/vinyl/album/mcf2853

Listener Mail/Comments

• Comments about the show? Things you’d like us to cover?  We’d love to hear from you. Send us an email at info@deeppurplepodcast.com or @ us on Twitter, Facebook, or Instagram.

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

How To Support Our Show:

The Deep Purple Podcast is 100% listener supported and ad-free! If you receive value from our show please consider supporting us!

• Support Our Show

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

Thanks to Our Executive Level Patrons:

• The “In Memorium” Tier
  • Gerald “Jerry” Kelly & Family
• The $25 “Uncommon Man” Tier
  • Ovais Naqvi
  • Purple Maniac
• The £15 “”Fifteen Squid” Tier
  • Alan “Ain’t Too Proud To” Begg
• The £10 “Good Doctor” Tier
  • Dr. Mike Kattan
• The Turn it up to $11 Tier
  • Clay Wombacher
  • Frank Theilgaard-Mortensen
  • Mikkel Steen
  • Will Porter, PhDPP
• $10 “Some One Came” Tier
  • Ryan M
  • Jeff Breis
  • Victor Campos
  • “Better Call” Saul Evans
  • Peter from Illinois
• The “Hughes-O-Ween by 2033” Tier
  • Fielding Fowler

Upcoming Shows:

• Glenn Hughes live at the Arcada in St. Charles, IL – The Pickle Capital of the World!
  • https://www.stcmuseum.org/history-news/2017/9/9/pickle-capital-of-the-world
  • Playing with Enuff Z’Nuff and Bad Marriage.
  • February 10, 2024 (John’s Birthday!) – Doors at 6:30pm
  • VIP TBD
  • Tickets available here
• Vai Satriani Tour!
  • http://www.satriani.com/road/
  • Chicago Theatre in Chicago, IL
• Tickets for Chicago Show here: https://www.ticketmaster.com/event/07005F6785B91507
• April 18, 2024

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:

• Jon Hiseman had previously been in a band called Tempest. The band released two albums before breaking up. Out of its ashes arose Colosseum II.
  • https://en.wikipedia.org/wiki/Tempest_(UK_band)
• Hiseman had previously had a band named Colosseum from 1968 to 1971. Colosseum II was intended to be more jazz-fusion based and as of the breakup of Tempest only Gary Moore was named as a member.
• Gary had seen Tempest play at the end of April in 1974 at one of their last gigs at the Marquee. He went backstage and suggested that he and Hiseman form a band.
• They hadn’t solidified working together or a project but met again at the recording of the rock version of Peter and The Wolf that JAck Lancaster and Robin Lumley were working on.
• There they decided to form a band and they went to Germany to play with the United Jazz and Rock Ensemble (UJRE). This was a group of very highly trained musicians. Gary was nervous about playing with them as he would have been one of the only ones that didn’t read music.
• Hiseman called Moore a “modern player” rather than a blues player and ranked him higher than Clapton for that reason.  Hiseman defined him as a true original.
• Gary said in an interview in Sounds magazine: “The first time I played with Jon, I alwmost fell through the floor. He played everything I’ve always heard in my head, everything that I thought a drummer should play and a lot more besides. It was just astonishing.”
• The goal was to fuse strong songs and vocals with technical jazz rock.  Gary stated that there were bands that had a great jazz-fusion background and bands with great vocalists but no one that was doing both.
• They got a loan for 7,000 as they didn’t have any gigs or a manager and used that to pay Gary 10 a week.
• They rehearsed in a studio underneath railway arches in London.  Mark Clarke and Graham Bell were brought in. Mark left shortly thereafter to join Uriah Heep’s keyboardist Ken Hensley and Graham Bell left softly thereafter. Andy Pyle also played with them briefly.
• Eventually they found a singer, Mike Starrs but they struggled to find a keyboard player.
• Gary dealt with a lot of fear and anxiety and used alcohol to cope with it.  During this time Gary and his girlfriend donna went to a bar and ran into one of Donna’s ex boyfriends.  They got into an altercation and Gary got his face smashed with a bottle which lead to his signature chin scar.  They went to the hospital but Gary wouldn’t even let the doctor finish stitching it up.
• In April or May of 1975 Jon and Gary found Don Airey. Airey had been in Cozy Powell’s Hammer with Neil Murray. Neil had been auditioning for bands but had a short scale bass and thought he wasn’t getting gigs because he didn’t look professional.  He said that he was able to get a Precision Bass before auditioning for Colosseum II and that’s what got him the job.
• Gary said that he and Don didn’t see eye to eye on the composition. Gary would do things on piano and Don would tell him that you couldn’t do that.  They eventually figured out a way to work together and create music and Gary would do a very good job of communicating what he wanted to hear to Don.
• Mike Starrs said that they music was “completely alien” to him.
• Hiseman went to Gerry Bron who had financed Tempest to get support for the new project.
• Up until this point the band was being called Ghosts and Bron said that had to change.  He urged Jon to reprise the name fo Colosseum and they changed their name.  They entered Gerry Bron’s Roundhouse studios to record the album in August of 1975. According to Harry Shapiro in the official Gary Moore biography. It was recorded between August and January.
• Wikipedia states the album was recorded in the winter of 1975-1976 at Roundhouse Studios.
  • London based recording studio, properly titled “Roundhouse Recording Studios”, established in 1975 by Gerry Bron. It was the studio arm of Bronze Records. Bron formed this studio after producing Uriah Heep’s debut album “Very ‘Eavy Very ‘Umble.”
  • https://en.wikipedia.org/wiki/Gerry_Bron
• Jon said Gary never really understood players like John McLaughlin or Larry Coryell. When it finally flicked and he could understand what they were doing is when his playing really took off. Jon had a jazz background and got Gary listening to Coltrane and Roland Kirk.
• Don Airey said that it was at this time that Gary’s playing reached a peak. Don Airey compared Gary’s peak and how he maintained it to Oscar Peterson.

Core Band:

• Bass – Neil Murray
• Drums, Recorded By, Producer, Directed By – Jon Hiseman
• Electric Piano [Fender Rhodes], Grand Piano [Steinway], Synthesizer [Arp Odyssey, Mini-moog, Arp Solina], Organ [Hammond], Clavinet – Don Airey
• Guitar, Vocals – Gary Moore
• Plated By – EG*
• Tour Manager – Alan Hewitt (9)
• Vocals – Mike Starrs
  • https://en.wikipedia.org/wiki/Mike_Starrs
  • Had a solo album called “Electric Garden.” Went on to be in Lucifer’s Friend.

Technical:

• Engineer – Ashley Howe
  • Worked with Uriah Heep, Snafu, Spencer Davis Group, Babe Ruth, Ken Hensley, David Byron, 
• Engineer [Assistant] – John Gallen
  • http://www.johngallen.com/
  • Worked with Uriah Heep, BAbe Ruth, Billy Ocean, and many more.
• Engineer [Assistant] – Trevor Hallesy
  • Also worked with a lot of the same artists as well as Peter Frampton.

Album Art & Booklet Review

• Design – Ian Emes
  • Did album covers for Roger Waters, Duran Duran, Mike Oldfield, Pink Floyd, Manfred Mann, 

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Album Tracks:

Side One:

1. Dark Side of the Moog (Airey/Moore)
   • Track is in 13/8 and features the piano, organ, and synthesizers.
2. Down to You (Joni Mitchell)
   • The album’s title was taken from one of the lyrics in the Joni Mitchell song. Gary was a huge Joni Mitchell fan. Hiseman said, “I get shivers listening to this . . . we took the melody and did it in different ways. From where the piano comes in, it is all arranged by Don and we have used Joni’s song as a piece of musical theatre . . . it develops in an orchestral way and I feel lucky to have the musicians who can play this.”
3. Gemini and Leo (Moore/Hiseman)

Side Two:

1. Secret Places (Moore/Hiseman)
2. On Second Thoughts (Moore)
3. Winds (Moore/Hiseman)

Bustin’ Out The Spreadsheet

Reception and Charts:

• The album was released in April of 1976 but did not chart.

Reviews

• Chris Welch called the album “an imaginative and exuberant debut.”
• Gary and Jon were not thrilled with the album. They referred to it as a studio performance and called it “dead.”

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For Further Information:

• https://en.wikipedia.org/wiki/Colosseum_II
• https://www.discogs.com/release/1345034-Colosseum-II-Strange-New-Flesh
• https://www.45worlds.com/vinyl/album/ilps9356

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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  • Hi Guys – my card expired. Time for an upgrade! Best Wishes, Peter from Illinois 

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Apple Podcasts Reviews:

• Shamley, London, UK – 5 Stars
• Outstanding
• This is a great podcast. Deep Purple have always had a rich blend of genius and flaws, so the basic material is inherently fascinating. The two presenters are genuine fans and treat the band and its many offshoots and tentacles with humour and good judgement. I particularly appreciate that they give the Mark 4 lineup the respect it deserves. The main diet is album reviews; everyone has their own personal opinions on music but I find they are pretty much on the money. There is much more though, such as the brilliant episode about the bizarre ‘New Deep Purple’ in 1980, and their sonic archaeology that allowed us to hear Bolin’s last show properly. (Maybe they could do the same job on the last Mark 4 show in Liverpool?) Thanks for all your work Nathan and John – looking forward to what you will make of some of the other byways of the DP family tree – the Phenomena albums, Glenn’s time with the KLF, MGM or even Sam Brown’s ‘Stop!’ Album …

Upcoming Shows:

• Glenn Hughes live at the Arcada in St. Charles, IL
• Playing with Enuff Z’Nuff and Bad Marriage.
• February 10, 2024 (John’s Birthday!) – Doors at 6:30pm
• VIP TBD
• Tickets available here

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

• Deep Dive Podcast Network

What Would Our Lives Be Without Deep Purple?

• Nate & John
• Podcast Guests:
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Horrible “Deep Purple Christmas” AI Art Gallery

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Lead up to the Album:

• See Episode #199 – Before They Were Purple – Steve Morse for background on Steve Morse’s history and the lead up to forming the band.

Core Band:

• Bass – Andy West
  • https://en.wikipedia.org/wiki/Andy_West
  • Went on to work with Mike Kenneally, Vinnie Moore.
• Drums, Percussion – Rod Morgenstein
  • https://en.wikipedia.org/wiki/Rod_Morgenstein
  • http://www.rodmorgenstein.com/
  • Went on to play with Winger, Jordan Rudess.
• Electric Violin, Viola, Strings – Allen Sloan
  • Primarily worked with Dixie Dregs. Also played with Steve Walsh.
• Guitar, Guitar Synthesizer, Banjo – Steve Morse
• Synthesizer, Keyboards – Steve Davidowski
  • Only credit is with Dixie Dregs.

Technical:

• Engineer, Mixed By – Rik Pekkonen
  • http://www.studioexpresso.com/profiles
  • Many credits including Neil Young, Booker T and the M.G.’s, Seals and Crofts, Ted Neeley, B.B. King, and many more.
• Management – John Curtis (2)
  • Manager for Dixie Dregs and Later Steve Morse Band
• Management [Road Manager] – Twiggs Lyndon
  • Tour manager for the Allman Brothers.
  • Brother of Warren “Skoots” Lyndon, who would end up becoming Steve Morse’s long time guitar tech.
• Producer – Stewart Levine
  • http://www.stewartlevine.com/
  • https://en.wikipedia.org/wiki/Stewart_Levine
  • Huge resume including  Lionel Richie, Dr. John, B.B. King, Huey Lewis and the News, Patti Labelle, Sly Stone, Boy George, Joe Cocker, Lamont Dozier, Aaron Neville, The Marshall Tucker Band, and many more.
• Producer [Associate] – Rik Pekkonen
• Mastered By – Bernie Grundman
• Technician [Sound Man] – John Phillips (11)
  • Only credits are Dixie Dregs albums.
• Recorded At – Hollywood Sound Recorders

Album Art & Booklet Review

• Art Direction – Diana Kaylan*
  • Art director who worked for Capricorn records between 1975 and 1980.
  • Did covers for Marshall Tucker Band, Black Oak Arkansas, The Allman Brothers.
• Design Concept, Design – John Kehe
  • Worked on albums for ELO, the Allman Bros. Band, The Jacksons, and many more as well as a lot of additional graphic design.
• Photography By – Bob Seidemann
  • https://www.bobseidemann.com/
  • https://en.wikipedia.org/wiki/Bob_Seidemann
  • Seidemann was known for his iconic photography of Janis Joplin and the Grateful Dead. He also took the photograph for the controversial Blind Faith album cover. The photo was called “Blind Faith” and inspired the name for the band.

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Album Tracks:

Side One:

1. Free Fall
2. Holiday
3. Hand Jig
4. Moe Down
5. Refried Funky Chicken
6. Sleep

Side Two:

1. Cruise Control
2. Cosmopolitan Traveler
3. Dig the Ditch
4. Wages of Weirdness
5. Northern Lights

Bustin’ Out The Spreadsheet

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  • I see DC

For Further Information:

• https://en.wikipedia.org/wiki/Free_Fall_(Dixie_Dregs_album)
• https://www.discogs.com/release/2333473-Dixie-Dregs-Free-Fall
• https://www.45worlds.com/vinyl/album/2429154
• https://dixiedregs.com/

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!

• This week coming to us from Sturbridge, CT!

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:

• In 2002 Ozzy re-recorded Lee Kerslake and Bob Daisley’s parts on his first two albums.
• Bob and Lee had talked about re-recording some of the songs they wrote for Ozzy for years and this sparked their interest to do so.
• In 2003 they got together and recorded their debut album in Florida.
• Living Loud – Documentary (2004) (Don Airey, Steve Morse, Bob Daisley)
• While Steve Morse and Don Airey were touring Australia with Deep Purple they played two live shows. The first was at The Metro in Melbourne (April 25, 2004), the second was at Fox Studios in Sydney (April 26, 2004).
• Big thank you to Craig Smith for sending over the DVD!

Core Band:

• Bass Guitar – Bob Daisley
• Drums – Lee Kerslake
• Guitar – Steve Morse
• Keyboards – Don Airey
• Vocals – Jimmy Barnes
  • From the DVD liner notes: “Australia’s Number 1 rock vocalist for over 20 years with a string of number 1 albums throughout his solo career and with his band Cold Chisel. Jimmy also has one of the highest selling albums by an Australian artist in history with ‘Soul Deep’, which was followed up in 2001 with the hit album ‘Soul Deeper.’ Jimmy has also recorded with numerous artists including INXS, Tina Turner, Joe Cocker and Bon Jovi to name but a few.”
  • https://en.wikipedia.org/wiki/Jimmy_Barnes
  • https://www.jimmybarnes.com/

Thanks to Our Core Level Patrons:

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The Venue:

• Sydney Fox Studios

Setlist:

• Last Chance
• I Don’t Know
• Every Moment A Lifetime
• Crazy Train
• In The Name Of God
• Flying High Again
• Pushed Me Too Hard
• Mr. Crowley
• Tonight
• Walk Away
• Over The Mountain
• Gimme Some Lovin’
• Good Times

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  • I see DC – NEW PATRON ALERT!!!!

For Further Information:

• https://www.discogs.com/release/5499766-Living-Loud-Live-Sydney-Fox-Studio-2004
• Living Loud – Documentary (2004) (Don Airey, Steve Morse, Bob Daisley)
• Bob Daisley interview discussing LIVING LOUD in 2004
• https://www.thehighwaystar.com/specials/livingloud/heidedvd.html
• https://en.wikipedia.org/wiki/Living_Loud
• https://www.livingloud.com.au/

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Setlist:

https://www.setlist.fm/setlist/glenn-hughes/2023/the-palladium-worcester-ma-4ba24f7a.html

1. Stormbringer
2. Might Just Take Your Life
3. Sail Away
4. Mistreated
5. Gettin’ Tighter
6. You Keep On Moving
7. Highway Star
8. Burn

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• https://thepalladium.net/

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Yngwie Malmsteen:

https://www.setlist.fm/setlist/yngwie-malmsteen/2023/the-palladium-worcester-ma-7ba24208.html

Nate’s Videos:

Also Discussed on Show:

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Album Tracks:

1. Renaissance Faire (trad. By Tielman Susato, Blackmore, Night)
   • Composed By [Traditional Composition] – T. Susato*
   • On this song Ritchie plays a mandolin.  “I went to the second hand guitar shop and said: “I’d like to have a mandolin and a manual on how to play it.” They had a mandolin, but did not know how to play it. So I played it as if it were a guitar.
2. Memmingen (Instrumental) (Blackmore)
   • RB: Memmingen is a medieval German city. On the city quare a kind of theater play happens every four years. Everyone is wearing antique clothes, the setting is authentic – really fascinating! I have been there once, and dedicate the song to this tradition.
3. No Second Chance (Blackmore, Night)
   •  RB: I like to play a solo on stage, otherwise I hold myself back. On the one hand, a long solo would have ruined the song, and on the other hand I did not want to sound like a guitarist from our time. Most guitarists hit a song with a solo as if it were a tank. In my opinion, the melody – so to speak an elongation of the vocals – should be up-front.
4. Mond Tanz (Instrumental) (Blackmore)
   • Mondtanz is German for moon dance.
5. Spirit of the Sea (Blackmore, Night)
6. Greensleeves (trad.)
   • Arranged By – R. Blackmore*
   • Composed By [Traditional Composition] – Anonymous
7. Wish You Were Here (Rednex Cover) (Leskela Teijo)
   • Written-By – L. Teijo*
   • https://www.discogs.com/artist/718025-Leskel%C3%A4-Teijo
   • https://en.wikipedia.org/wiki/Wish_You_Were_Here_(Rednex_song)
8. Minstrel Hall (Strings Version) (Blackmore)

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Bustin’ Out The Spreadsheet

Reviews:

• Darker Than Blue Issue #50, February 1998 http://www.deep-purple.net/DPASmags/dtb50/dtb50.html#11
• BLACKMORE’S NIGHT
  SHADOW OF THE MOON : UK : Edel 0099 022WHE : Oct 1997 CD
• “As a guitarist of 30 years pro & amateur experience, I know only too well the difficulties in reconciling your advancing years with a desire for musical progression. Off-hand, I can only think of one “elder statesman” guitarist (Beck) who still retains the fire and inventiveness of those days. Is it fair to expect any guitarist to continually expand his musical horizons whilst retaining the spark of youth in his playing? Unfortunately not; guitarists are only human after all. Will a die-hard fan still hope for that? Inevitably.
• Shadow Of The Moon – clearly a RB song -pumped up, it could be a Rainbow song, but restrained and nicely sung. No solo? Shock horror! Excellent production work – everything is clear with acoustic to the forefront as one would hope. The Clock Ticks On – yeuch: synthesised medieval instruments. Rather cliched lyrics, but they fit in with the overall theme of the record. RB has clearly applied his knowledge of medieval syncopation to write what could have been a formal dance number. Again, the singing is a bit laid back for my taste; I’m sure with more studio experience Candice will open her lungs a bit more.
• Be Mine Tonight – a pleasing 3/4 tempo, not unlike a Paul Simon song. The chorus on this one is more clearly defined & benefits from being so. The brief arpeggiated guitar section helps with the structure of the song, if rather predictably. Ocean Gypsy – a beautiful opening mood turned into a song I’ve known & loved for years. A chance to draw comparisons for the first time. I played the original & this back to back a few times without any real conclusions. Yes, I prefer the original (Annie Haslam has a voice you’d struggle to match) but Candice delivers it sympathetically, albeit lacking in any passion. The song is beautiful and delivered with sensitivity. I hoped RB would let himself go a little here & give us one of those “bringing tears to the eyes” solos, but no, restraint seems to be his watchword.
• Writing On The Wall – oh dear, I thought, more cod-classical rubbish, but what do we have here? Euro-pop??? Yes indeedy, the Man In Black reveals for perhaps the first time a wry sense of humour in his range of musical genres (previously somewhat limited). Great chorus, clipped & wonderful licks, slide guitar & a superbly cheesy drum-machine. Gawd, more spine-tingling guitar; please don’t fade, please, oh sh*t, it’s fading. Whether he had to use the classical refrain instead of an original one is debatable, but for me it works. Strange that it has been programmed into the middle of an otherwise coherent set of songs, but I’m just glad it’s there. So I say “More songs taking this kind of musical risk please!”
• So then what does this leave us with? I applaud him for breaking his self-adopted mould, taking the odd chance (viz. Europop), authentic medieval structures & playing, sympathetic production, clearly articulated acoustic work, fairly catchy melodies (in the main) and creditable singing. I mark it down on a lack of passion throughout, with RB as guilty as Candice, with far less excuses to his name. Candice should be proud of her debut but will hopefully gain in confidence as their personal & musical relationship develops.” Nick “don’t shoot me I’m only his brother” Robinson
• My thanks for all the mail, and especially to Nick for tackling this delicate task with a far more lenient hand than I could have brung to it. We played the CD (myself and Ann) at first with interest, feeling at last he’d tackled something if not radically new, then at least a little different. As the disc wore on however our frustration grew. The very flat vocal approach, almost country and western in feel, set out on one level and simply stayed there. Fine for a couple of songs but deadly dull over a whole CD. I’ve absolutely no idea where Blackmore intended to go with this record, though as he’d had total control one can but assume he did what he set out to do, but he seems ensured of a reasonable audience if he wants to pursue this avenue further. To me the CD doesn’t really satisfy on any level. It neither works emotionally, being almost totally devoid of feeling, nor does it threaten to break any boundaries anywhere, and it certainly won’t find any admirers amongst fans of true ancient music. Ann – who has tapes of that sort of music – assures me that technically, Blackmore is absolutely spot on – but at the price of losing any shred of soul in his playing – save from the odd spot of electric work here and there which show he still has what it takes to move mountains.
• A reader writes in to More Black Thank Purple printed in Issue #5: “Ritchie wanted to make an album like this for years, and it’s just a really good album, it’s very well produced. I like Candice’s singing on it. He’s playing really well . . . it’s just a really nice departure and it’s very well played. I think it’s really good; I hope he does well with it. Quite surprised, but very pleasantly surprised. (Cozy Powell, Berkshire, England)

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For Further Information:

• https://en.wikipedia.org/wiki/Shadow_of_the_Moon
• https://www.discogs.com/release/402644-Blackmores-Night-Shadow-Of-The-Moon
• 25th Anniversary Edition Booklet: https://www.discogs.com/release/26399219-Blackmores-Night-Shadow-Of-The-Moon
• http://www.deep-purple.net/tree/bnight/blackmores-night-1.htm
• http://www.deep-purple.net/DPASmags/dtb50/dtb50.html
• More Black Than Purple Issue 4, May 1997
• More Black Than Purple Issue 5, August 1997
• The Story of Shadow of the Moon DVD