Category: Guest Episode

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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.

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Lead up to the Album:

• After leaving Deep Purple which Ritchie referred to as “the monster machine” he said he figured he’d put Rainbow back together.  Ritchie says “it was an easy get out” but that his heart was not into it.
• Ritchie was working at Longview Farm and Ritchie said he was going to fly in a professional lyric writer.  He called Candice and said that before he did that he wanted Candice to put down some lyrics as she traveled up to see him.
• Candice got to 14 verses and gave them to Ritchie and Pat and they circled the ones they liked and put the song together.
• Ritchie and Candice started writing acoustic songs at home for themselves and had no intention to release them.
• Ritchie said that it was so fun because there was no pressure and it was very freeing.
• Pat Regan says that the Blackmore’s Night thing came together when at the end of a day of recording they’d get together and jam.  Regan had a record label and thought to bring them together to do a recording of this with the intention of it being a one off thing.
• Ritchie says in doing this project he was putting together melodies that were similar to what he was doing with Rainbow without being hard rock.  He had a lot of faith that fans would follow it.
• Ritchie saw a band at a castle in Germany playing renaissance music with authentic instruments and he said that’s what he wanted to do. He even asked them if they wanted a guitar player.  Ritchie called it “a fantastic underground world.” He said that playing in front of very large rock crowds wasn’t as meaningful.
• Candice said she never had any real intention to be a singer or in a band but it sort of evolved this way. She was very self-conscious and considered herself a “closet singer.”
• Candice said they met in 1989, Ritchie says they met in 1889.
• The story goes that he met her after a soccer match and told her “you’re a very beautiful girl.” He then sent his roadies to get her information and ask her if she wanted to meet up for a drink at a pub and they talked for hours.
• Ritchie asked her what she could do, because he would always ask people to “give something” of themselves: singing, dancing, juggling, etc.
• Ritchie says that there doesn’t seem to be anyone else “doing what we do. There’s probably a good reason for that.”
• On this album Ritchie was using an Alvarez acoustic and sometimes a Taylor.  “Taylors sound a bit rough in the studio. The amp was a Crate and was picked up via a microphone. I also used an ENGL amp from time to time.

Core Band:

• Band [The Minstrel Hall Consort], Cello – Tom Brown (6)
• Band [The Minstrel Hall Consort], Recorder, Trumpet, French Horn – Gerald Flashman
• Band [The Minstrel Hall Consort], Viola, Violin – Lady Green
• Band, Electric Guitar, Acoustic Guitar, Bass, Mandolin, Drum, Tambourine – Ritchie Blackmore
• Band, Keyboards – Pat Regan
• Band, Lead Vocals, Backing Vocals – Candice Night
• Performer – The Minstrel Hall Consort
• Ian Anderson – flute on “Play, Minstrel, Play”
• Scott Hazell – backing vocals on “Play, Minstrel, Play”

Technical:

• Producer – Pat Regan, Ritchie Blackmore
• Engineer, Mixed By – Pat Regan
  • Produced Kiss, Quiet Riot, Weird Al, Stranger In Us All
• Mastered By – Brad Vance

Album Art & Booklet Review

• Photography By [Inside And Back Cover] – Michael Keel
  • Background is mostly with Blackmore’s Night albums.
• Cover [Art Work] – Johanna Pieterman
  • Also did the artwork for Blackmore’s Night “Ghost of a Rose” album.

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Album Tracks:

1. Shadow of the Moon (Blackmore, Night)
2. The Clock Ticks On (trad. By Tielman Susato, Blackmore, Night)
   • Composed By [Traditional Composition] – T. Susato*
     1. https://en.wikipedia.org/wiki/Tielman_Susato
   • Candice says they have a “Blackmorizing Machine” where he hears old songs, puts them through this “machine” and they come out something entirely different.
3. Be Mine Tonight (Blackmore, Night)
4. Play Minstrel Play (trad. By Pierre Attaignant, Blackmore, Night)
   • Backing Vocals – Scott Hazell
   • Only credit is this and a song on Under a Violet Moon
   • Served as guitar tech for Ritchie Blackmore from 1995 through 1997 as well as some background vocals for Rainbow.
   • Guest, Flute – Ian Anderson
   • Songwriter [Traditional Song] – P. Attaingnant*
     1. https://en.wikipedia.org/wiki/Pierre_Attaingnant
   • RB: On this song we played together for the first time. I sent him the tape, and he played his part and sent the tape back. That was it. I’ve admired Ian for a very long time; we’ve known each other for over 25 years.
5. Ocean Gypsy (Renaissance Cover) (Dunford, Thatcher)
   • Written-By – B. Thatcher*, M. Dunford*
   • https://en.wikipedia.org/wiki/Betty_Thatcher
   • https://www.discogs.com/artist/571852-Michael-Dunford
   • RB: We did not write that song. That’s a song that was written back in 1975 by another group called Renaissance. We’ve always loved that track. We used to play it around the house just for fun. Most of these songs that are only the LP, CD, we played in the beginning for fun, which is the best way I think of approaching music. It wasn’t hard work. It was very easy to make this CD … because we knew these songs, we played them to our friends, we had good fun playing them. And “Ocean Gypsy” was one of our favourite songs.
   • RB: With Deep Purple every song had to be composed by the band. Just for the credits! Bullshit! You play a song because you like it and not because you have written it yourself.
   • CN: “”Ocean Cypsy was a song that was given to us on a tape by Annie Halslam who used to sing for Renaissance, and Ritchie went to see here with a friend of his one night in a club which she was performing. And he brought home all these little tapes that she had given him, and we played them when we were livin gin Connecticut …. We don’t live there anly more. We were sitting outside one day, just listening to the tpea, and Ocean Gypsy was one song that stitch in my mind. And then we moved, and we packed the tapes, and we didn’t see those tapes for years. And I always remembered Oveam Cyptsey was always in my head. Then one day I just started hummin it around the kitchen and ritchie picked up laying it, and we had to go and find the tape and rummage through all our tapes so we could find out what the words were, and what the rest of the chords were. But that was just one of those haunting melodies that sticks in your head.
6. Minstrel Hall (Instrumental) (Blackmore)
7. Magical World (Trad Wassail, Blackmore, Night)
   • Composed By [Traditional Composition] – Wassail
8. Writing on the Wall (trad. By Pyotr Ilyich Tchaikovsky, Blackmore, Night)
   • Composed By [Traditional Composition] – P. Tchaikovsky*
   • https://www.discogs.com/artist/999914-Pyotr-Ilyich-Tchaikovsky
   • On this song Ritchie plays a strat.  “I wanted to surprised people at first. First they hear medieval music and suddenly the thing turns into a disco beat.

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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

Listener Mail/Comments

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Brendan Ashbrook – Logo Designer

New Patron/Patron Upgrades:

• Fielding Fowler, 
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  • The good news is that Spike and Sugar T have agreed to share my former New Nice Price Tier at 6.99. And I will be in my new tier, the “Hughes-O-Ween By 2033” Tier. The only catch is you must produce a Hughes O Ween Episode near Halloween in a year before 2033. You have 10 years, make it happen.
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Apple Podcasts Reviews:

• Knut from Hell, Norway – 5 Stars!
• Highly recommended!
• If you are in favour of enjoyable rock anecdotes, this podcast wil be the seasoning that Purple-infects your brain. Even connoisseurs of the DP family can be impressed by the research that these gentlemen present in the presentation interesting analyses of the various tunes and themes. The Deep Purple Podcast maintains a standard worthy of the best band in the world. 5/5 Rock On! Knut from Hell, Norway

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:

• Previous album was “Trilogy” which seems to get more critical acclaim.  The Johansson brothers were on that as well with singer Mark Boals.
• He got into a bad car accident leading up to recording this album. He describes the accident in ana interview here:https://metalheadzone.com/yngwie-malmsteen-recalls-his-horrible-car-crash/
  • “My car crash of 1987 was a horrible thing. But worse things happened to me at the same time. First, I had that car accident. Then my mother died. Then I was ripped off for all my money. It was just a horrible time, you know? But when you’ve been struck down that hard, you either come back stronger – or you don’t. If you put an obstacle in front of me, I will crush it, and I will go forward. I am impossible to stop. I cannot be stopped.”

Core Band:

• Bass Guitar – Bob Daisley (tracks: 1, 2, 8, 9), Yngwie J. Malmsteen* (tracks: 3 to 7, 10 to 12)
• Drums – Anders Johansson
  • https://sv.wikipedia.org/wiki/Anders_Johansson_(trumslagare)
  • Swedish drummer and percussionist. Son of jazz pianist Jan Johansson, brother of Jens Johansson.
  • In bands Silver Mountain and Hammerfall.
• Electric Guitar, Acoustic Guitar – Yngwie J. Malmsteen*
  • https://www.yngwiemalmsteen.com/
  • https://en.wikipedia.org/wiki/Yngwie_Malmsteen
  • Previously in band Alcatrazz.
  • Born Lars Johan Yngve Lannerbäck. At age 12, he took his mother’s maiden name Malmsten as his surname, then slightly changed it to Malmsteen and altered his third given name Yngve to “Yngwie”.
• Keyboards [All] – Jens Johansson
  • http://www.panix.com/~jens/
  • https://en.wikipedia.org/wiki/Jens_Johansson
  • Swedish pianist.
  • Was in jazz fusion band Slem and also Silver Mountain.
  • Currently in the Finnish power metal band Stradovarius and in Ritchie Blackmore’s Rainbow.
• Vocals – Joe Lynn Turner

Technical:

• Producer [Produced By] – Jeff “Björn” Glixman*, Yngwie J. Malmsteen*
• Engineer – Jeff Glixman
  • https://en.wikipedia.org/wiki/Jeff_Glixman
  • Produced Kansas, Kiss Paul Stanley solo album, Gary Moore, Black Sabbath’s “Seventh Star” album, 
• Engineer [@ House Of Music] – John Rollo
  • Worked at Konk studio.
  • Worked on production for Bonnie Tyler, Joe Cocker.
• Executive-Producer – Jim Lewis
  • http://www.notc.com/Content/Spotlights/1987/PolyGram_A-R-4-87.pdf
  • JIM LEWIS, VP of A&R Jim has been a member of the PolyGram A&R staff since early 1n 1986. He is responsible for signing established acts such as The Moody Blues and Emerson, Lake And Powell; as well as newcomers Yngwie J. Malmsteen and TNT. Prior to working in A&R, he worked for six years as V.P. of Marketing and International Repertoire where he worked with PolyGram International originating acts such as Def Leppard, Tears For Fears, ABC, Big Country, Bananarama and many more. J im began his musical career playing in bands and major orchestras in the Metropolitan area. He 1s a graduate of the Jullliard School and holds an MBA 1n Marketing from Columbia University’s Graduate School of Business.
  • Signed Bon Jovi, Prior to working in A&R worked on acts like Def Leppard and Tears for Fears.
• Mixed By [@ Bearsville Studios, Assisted By] – George Cowan
  • http://www.georgecowan.me/
  • Chief Engineer at Bearsville Studios.
• Mixed By [@ Bearsville Studios] – Mike Barbiero*
  • Produced the soundtrack for “Serpico” in 1973.
• Mixed By [@ Bearsville Studios] – Steve Thompson
  • https://www.stevethompsonproductions.com/
  • Worked with Madonna, Whitney Houston (“I Wanna Dance With Somebody”), as well as many other clients including Red Hot Chili Peppers, Metallica, John Lennon, and The Rolling Stones.
• Management – Larry Mazer
  • Manager of Cinderella and The Steve Morse Band. Also worked with Kiss on the “Revenge” album.
• Management [Agency Representative] – Phil Ernst
  • Booking agent for Cinderella, Molly Hatchet.
• Management [Agency] – ICM (2), Phil Ernst
• Management [Associate] – Roni Jane Feldman
  • Also worked with Cinderella.
• Management [Business Management] – Bruce Kolbrenner
  • Worked with Bon Jovi.
• Recorded By [@ Cherokee Studios, Assisted By], Mixed By [@ Cherokee Studios, Assisted By] – Scott Gordon
  • Founded Triad Music which does scores for films and TV.

Album Art & Booklet Review

• Art Direction – Michael Bays
  • Graphic designer who worked with a number of artists in the late 80s including James Brown, Bar-Kays, Kurtis Blow.
• Art Direction – Pat Drosins*
  • Art director who worked with Tony! Toni! Tone! And Gorky Park.
• Photography By – Mark “Weissguy” Weiss*
  • http://markweissgallery.com/
  • https://www.weissguygallery.com/
  • Did visual work for many bands including Twisted Sister, W.A.S.P., Dio, Ratt, Dokken, Ozzy, and many more.
• Design – Chris Thompson (18)
  • Worked with may of the same people as Michael Bays and Pat Drosins.

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Album Tracks:

All lyrics are written by Joe Lynn Turner; all music is composed by Yngwie Malmsteen.

1. Rising Force
2. Hold On
3. Heaven Tonight
   • Single release
4. Dreaming (Tell Me)
5. Bite the Bullet (instrumenttal)
6. Riot in the Dungeons
   • B-side to Heaven Tonight

1. Deja Vu
2. Crystal Ball
3. Now Is The Time
4. Faster than the Speed of Light
5. Krakatau (instrumental)
6. Memories (instrumental)

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Bustin’ Out The Spreadsheet

Reception and Charts:

• Overall this was Yngwie’s best charting album reaching #7 in the Swedish charts, and #40 in the US charts, #19 in Japan and #27 in the UK. Later albums would chart much better in Japan but he never reached these heights again in the US or UK charts.

Reviews:

• Steve Huey from AllMusic
• https://www.allmusic.com/album/odyssey-mw0000651948
• Odyssey is a more subdued, polished collection seemingly designed for mainstream radio airplay. Vocalist Joe Lynn Turner gives the set a smooth, professional feel, and Yngwie Malmsteen’s playing is more mellow, due partly to the fact that he was still recovering from his near-fatal car accident when the album was recorded. However, all of this works to the detriment of the music: the mellowness of Malmsteen’s guitar work makes him sound constrained and passionless, and the album shows little difference in approach from his previous output, lending credence to critics’ charges that Malmsteen plays with mindless technique at the expense of substance, fire, and emotion.
• Kerrang review by Mick Wall:

For Further Information:

• https://en.wikipedia.org/wiki/Odyssey_(Yngwie_Malmsteen_album)
• https://www.discogs.com/release/1242071-Yngwie-J-Malmsteens-Rising-Force-Odyssey
• https://www.allmusic.com/album/odyssey-mw0000651948
• https://metalheadzone.com/yngwie-malmsteen-recalls-his-horrible-car-crash/

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

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Brendan Ashbrook – Logo Designer

Our Guest This Week:

• This week we are joined by Ry of Sabbath Blood Podcast.
• Check out his podcast “Sabbath Bloody Podcast” Here: https://twitter.com/sabbathbloodypc
• https://podcasts.apple.com/ie/podcast/sabbath-bloody-podcast/id1344032555?ign-mpt=uo%3D4&mt=2
• Check out Ry’s original episode on this album here: X: Mob Rules

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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:

• Bill Ward felt strongly that Sabbath without Ozzy wasn’t Sabbath.
• While he like Dio and Gillan personally he just couldn’t see himself in the band, even though he would briefly return to record his only sober record with the group, “Born Again.”
• Vinny Appice’s first album was with Rick Derringer’s Derringer band. He had also played with John Lennon.
• Dio says they chose Appice because he had a similar style to Bill Ward.
• With Appice in the band Dio said: “We had Vinny and Tony and myself and Geezer – three Italians and Geezer Butler! In fact, Geezer used to call us Geezer and the Italians!”
• Iommi says Heaven and Hell had been partially written prior to Dio joining and on this album there was a bit more collaboration with Iommi and Dio working songs out together.
• Heaven and Hell had been their last record for their deal with Warner Bros.  As it was the last it didn’t get great promotion until it started selling well.
• Dio describes Geezer as being a very negative person and that this writing process for this album was difficult.  He says Geezer hated America and just wanted to be at home in England.
• Geezer said in interviews that Ronnie assumed a lot of the credit for Heaven and Hell’s success.  Geezer perceived it as Ronnie coming in and saving Black Sabbath.
• Geezer said a tension grew between him and Tony and Dio and Appice and they’d go into the studio separately.
• Dio had been bothered that the whole band was credited on the previous album where it was he and Tony who wrote it.
• This time it was credited to everyone by Appice.  He said he didn’t care even though a lot of the songs came out in jams because he was just happy to be in Black Sabbath.
• They bought a mixing board thinking they could save some money by recording at Tony’s house in LA.
• They ended up deciding that wouldn’t work and recorded most of the album at The Record Plant.
• They began recording at Tittenhurst (John Lennon’s home) and Dio recalls bumping into David Coverdale there because they were just finishing up recording there.  They recorded E5150 and the movie version of “The Mob Rules” there.
• Dio said they learned of John Lennon’s death on thei flight over to England.  Dio was slated to stay in John Lennon’s room and he didn’t want to stay in there because he was scared.

Core Band:

• Bass – Geezer Butler
• Drums – Vinny Appice
  • Previously played with Derringer.
• Guitar – Tony Iommi
• Keyboards [All Keyboards By] – Geoff Nicholls
• Vocals – Ronnie James Dio

Technical:

• Producer [Produced By], Engineer [Engineered By] – Martin Birch
  • The promotional material for the album refers to Martin Birch as “the fifth Sab.”
• Technician [Personal Technicians To Black Sabbath] – Ian Ferguson
  • Previously worked as an engineer on Deep Purple’s “Made in Japan” and Rainbow’s “Down to Earth.”
• Technician [Personal Technicians To Black Sabbath] – Les Martin
  • Previously worked with Black Sabbath on “Sabbath Bloody Sabbath” “Sabotage” “Never Say Die” “Technical Ecstasy.”
• Technician [Personal Technicians To Black Sabbath] – Michael Howse
  • Only credits are Mob Rules and Live Evil.
• Technician [Personal Technicians To Black Sabbath] – Peter Resty*
  • Worked with Black Sabbath and Manowar.
• Engineer [First Assistant Engineer] – Eddie DeLena
  • Previously worked with Ronnie Wood.
  • Went on to work with Tom Petty, Devo, Twisted Sister, Chicago, Queen.
• Engineer [Second Assistant Engineer] – Angelo Arcuri
  • Went on to work with Dio.

Album Art & Booklet Review

• Art Direction – Richard Seireeni
  • Did album covers for Diana Ross, Kansas, Alice Cooper, Rod Stewart, Chaka Kahn.
• Artwork [Art], Coordinator [Album Coordination] – Paul Clark (9)
  • Also did artwork for Live Evil. Went on to work with Steve Hacket. Listed as “management” on Born Again.
• Illustration – Greg Hildebrandt
  • https://en.wikipedia.org/wiki/Brothers_Hildebrandt
  • He and his brother Tim worked together known as “The Brothers Hildebrandt” and worked on sci-fi and fantasy artwork together.
  • Also did artwork for Trans-Siberian Orchestra.
  • The brothers may be best known for their “Style B” poster for the UK release of “Star Wars.”

• Rumor is that the words “Kill Ozzy” are written underneath by the artist’s signature on the painting.
• In reality the painting had been done in 1971 entitled “Dream 1: The Crucifiers” and was licensed by Black Sabbath.
• One label rep claimed that Black Sabbath had requested this be added to the painting but there doesn’t seem to be anything to back this up.
• The painting’s original title was “Mob Dream.”
• The canvas stretched out in the center was supposed to be the stretched skin of a person with the face left intact.

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Album Tracks:

All songs were written by Robbie James Dio, Tony Iommi, and Geezer Butler. All lyrics were written by Ronnie James Dio.

Side One:

1. Turn Up the Night
   • Ronnie said he was never a fan of this song and that it was just “all right.”
   • It was issued as a single with the B-Side “Lonely Is The Night” and made it to #37 in the British charts.
   • The song starts off the comparisons many make to “Heaven and Hell” with people saying it’s just a weaker version of “Neon Knights.”
2. Voodoo
   • Ronnie said he always really liked this song.
   • The band only played it a few times live.
3. The Sign of the Southern Cross
   • Ronnie said he named this after a song he used to play when he played Trumpet called “The Southern Cross.”
4. E5150 (instrumental)
   • They would use this to open concerts during the tour.
   • 5, 1, and 50 in Roman numerals spell “VIL” so they put an E in front of it.
   • Ronnie said this one was written for the Heavy Metal movie along with “The Mob Rules.”
   • This was the beginning of “The Mob Rules” where evil forces were trying to attack the city.
   • Dio said it was supposed to be a backing track and intro for The Mob Rules.
   • Dio said they used a Taurus pedal and different effects and it’s the only thing on the album that’s from a different recording session.
5. The Mob Rules
   • They had recorded this song for the “Heavy Metal” soundtrack but recorded it again for the album. They felt the one they’d recorded for the movie was a bit of rush job as they’d just come back from tour.
   • The title notably adds “the” to the album title.
   • It was used in the soundtrack for “Heavy Metal.”
   • It was written before they had the album.
   • It’s a song Dio continued to do.
   • This song was recorded at John Lennon’s house.
   • They chose this song to do for the film. Dio said when they saw the original cut of the film it was like a porn movie and they had to edit it back to avoid getting a XXX rating.
   • The single didn’t chart in the US but reached #46 in the UK.

Side Two:

1. Country Girl
   • Dio mentioned that everyone liked this track except for Bill Ward.
   • Dio wrote it for Wendy at The Record Plant in New York.
   • Iommi said he brought up that he didn’t think the lyrics really went with the sound of the song but they ended up keeping it.
2. Slipping Away
   • Dio says they wrote this one in England at Goldrock Road where they ended up mixing the album.
   • He says they wrote it very quickly, Geezer liked it, and Tony suggested making it a little funkier.
3. Falling Off the Edge of the World
   • The title was inspired by a song written by George Young and Harry Vanda with the same title.  Dio said he always liked the title.
4. Over and Over

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Reception and Charts:

• Made it to #12 in the UK album charts and #29 in the Billboard top 200.

Reviews:

• AllMusic – 4 / 5
  • https://www.allmusic.com/album/mob-rules-mw0000194116
  • After a steady decline in both inspiration, mental stability, and commercial appeal throughout the second half of the ’70s, metal icons Black Sabbath were reborn with 1980’s Heaven and Hell. The album would be their first with new vocalist Ronnie James Dio, whose passionate, controlled wail broke new ground for the band and helped drive a comeback. 1981’s Mob Rules was a quick follow-up to Heaven and Hell, continuing the momentum of that record’s energy as well as its shift away from dark metal to more commercial hard rock. Tony Iommi‘s signature guitar playing takes on new forms throughout the album, with Zeppelin-esque riffing on “Slipping Away,” slithering bluesy rock playing on “Voodoo,” and a strikingly different approach to soloing, shifting from the laser-focused slow burn of early Sabbath albums to a more frenetic, technically showy style on some tracks. Speedy album opener “Turn Up the Night” is one of the more spirited and pop-friendly moments of any Sabbath record, with a hooky and melodic chorus and Iommi running through fast-paced leads and trills that were no doubt taking notes from Eddie Van Halen, who was perhaps the most celebrated guitarist in the world in 1981. Mob Rules delved more into experimentation with keyboards and synthesizers, with auxiliary player Geoff Nicholls adding cinematic synth bedding to the epic churn of “The Sign of the Southern Cross” and spacy atmosphere to “Falling Off the Edge of the World,” among other synth contributions. New drummer Vinny Appice replaced original Sabbath drummer Bill Ward, pushing the sound even further from the band’s original sludgy approach. These changes, along with Dio‘s fantasy-based lyrics and a red-lined mix by producer Martin Birch put Mob Rules closer in line with the emerging New Wave of British Heavy Metal than the druggy devil-worshiping doom metal Black Sabbath first built their name on. While it was a solid album, Mob Rules might have followed the template established on Heaven and Hell a little too closely. The pacing and flow of the record was almost identical to its predecessor, from the chuggy opener of “Turn Up the Night” mirroring Heaven and Hell‘s “Neon Nights” straight through to final track “Over and Over” feeling like a continuation of “Lonely Is the Word,” the searching, midtempo finale of the previous album. It didn’t sell quite as well as Heaven and Hell, and Dio and Appice left the band soon afterward, (though Dio‘s relationship with Sabbath would be complex and sprawling) leaving Black Sabbath to reconfigure throughout the ’80s with mixed results. Mob Rules and Heaven and Hell work well as each other’s companion pieces, making the first round of Dio-fronted Sabbath material a bright spot surrounded by relatively grim efforts on either side.
• Classic Rock – 4 /5
  • https://www.loudersound.com/reviews/album-of-the-week-club-black-sabbath-mob-rules
• Martin Popoff 10/10
  • In “The Collector’s Guide to Heavy Metal: Volume 2, The Eighties”
• Rolling Stone – 1/5
  • https://www.rollingstone.com/music/music-album-reviews/mob-rules-255457
  • BY J.D. CONSIDINE/
  • AFTER 1980’S HARDER and faster Heaven and Hell, there was reason to believe that singer Ronnie James Dio might pull Black Sabbath off the heavy-metal scrapheap. Didn’t happen. Mob Rules finds the band as dull-witted and flatulent as ever.
  • It isn’t easy to figure out exactly who deserves the blame for this sludgefest. Dio’s lyrics are insipid and clichéd, but since the vocals are usually buried in the mix, that’s only a minor annoyance. His bass rumbling like an overloaded truck, Geezer Butler is busy, busy, busy. But not quite as busy as guitarist Tony Iommi, who uses the album as an opportunity to demonstrate how swiftly he can play. (In case you’re wondering, he’s quicker than Mark Farner, not as quick as Johnny Ramone.) As for the new kid on the block, drummer Vinnie Appice, his thumping is so leaden and uninspired you have to listen twice to notice him.
  • The reason that Mob Rules is terrible is teamwork — not just thinking up lame riffs and dumb lyrics but also performing them as poorly as possible.

For Further Information:

• https://en.wikipedia.org/wiki/Mob_Rules_(album)
• https://www.discogs.com/release/380418-Black-Sabbath-Mob-Rules
• https://www.black-sabbath.com/discography/blacksabbath/mobrules/
• Born Again! Black Sabbath in the Eighties and Nineties by Martin Popoff
• Ronnie James Dio: A biography of a heavy metal Icon by James Curl
• Rainbow in the Dark: The Autobiography by Ronnie James Dio
• https://www.rollingstone.com/music/music-album-reviews/mob-rules-255457/

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Deep Purple Trip:

Thursday, 2/9

• Nate’s embarrassing flight
• 3 Monkeys in Philly

• 

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Friday, 2/10

• Liberty Bell breakfast and our scary watiress
• Philly record shopping
• South Street sex shop tour
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• 

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https://www.setlist.fm/setlist/deep-purple/2023/xcite-center-parx-casino-bensalem-pa-1bbd6178.html

Setlist:

1. Highway Star
2. Pictures of Home
3. No Need to Shout
4. Nothing at All
5. Uncommon Man
6. Lazy
7. When a Blind Man Cries
8. Anya
9. Keyboard Solo
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12. Smoke on the Water

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1. Hush
2. Bass Solo
3. Black Night

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• 

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• Back stage with Roger and Don
• Don – story about meeting Simon doing festival in village and seeing him at PRS
• Parking lot accident

Saturday, 2/11

• Drive to New Jersey
• Deep Purple at State Theatre

• 

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https://www.setlist.fm/setlist/deep-purple/2023/state-theatre-new-brunswick-nj-1bbd594c.html

Setlist:

1. Highway Star
2. Pictures of Home
3. No Need to Shout
4. Nothing at All
5. Guitar Solo
6. Uncommon Man
7. Lazy
8. When a Blind Man Cries
9. Anya
10. Keyboard Solo
11. Perfect Strangers
12. Space Truckin’
13. Smoke on the Water

Encore:

1. Hush
2. Bass Solo
3. Black Night

• 

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• Tavern for drinks

Sunday 2/12

• The journey home

Bustin’ Out The Spreadsheet

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Postcards From The Edge . . . OF CONNECTICUT!

Deep Dive Podcast Network:

• Deep Dive Podcast Network
• Sabbath Bloody Podcast
• Skynyrd Reconsydyrd
• The Deep Purple Podcast
• T-Bone’s Prime Cuts On The Other Side
• In The Lap Of The Pods
• The Magician’s Podcast
• Hawk Binge
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• Diary of the Madmen
• Universally Speaking: The Red Hot Chili Peppers Podcast
• Metal Gods Podcast
• The Podcast Will Rock
• Back Tracks: Aerosmith Revisited
• So Far, So Pod . . . So What!
• The Tom Petty Project

Highlights, Timeline & Questions From “Nasty Piece of Work”

• March of 1992: Lord intends to hit the road performing music from The Concerto, Gemini Suite, etc. (Page 13)
• August of 1992: JLT is fired by Bruce Payne. (page 16)
• October of 1992 (six weeks after JLT is fired): In an interview with Mike Eriksson, Turner is very critical of Deep Purple, particularly Jon Lord. (page 17)
• November of 1992: Gillan writes a letter to fans about Deep Purple but doesn’t refer to it as a reunion but rather a “celebration.” (page 20)
• April 1993: North American tour is announced from July 27th through August 29th (page 23-24)
• Gillan suggests after the tour that Blackmore would reform Rainbow but Blackmore denies it and rather suggests that he would work on another band project, coming back to DeepPurple every couple of years.
• June 1993: Blackmore blows off the “silver clef Awards ceremony (page 28)
• July 1993: In July it’s announced that the US tour is canceled/postponed – no explanation is given as to why. (page 29).
• July 1992: Ian Gillan’s interview where he addresses his famous quote: “I would rather slit by throat than ever sing with these guys again.”
• Jon Lord open letter saying he’s excited about the direction the album was taking with Ian. What was the deal between JL and JLT? (page 34)
• Rehearsals and travel
• Nine Weeks of shows —-
• The Band agreed to have rehearsals recorded and every show was bootlegged as well as being recorded off the soundboard. (page 39)
• The feeling was that this was the end of the band.
• Friday, September 24, 1993 – Rome – 1st show
• Anyone’s Daughter being performed live, with Ian Paice sitting on a stool (and later the drum riser) with a tambourine and Ian Gillan referring to him as “Elton John.” (page 40).
• Early shows a little shaky with some shorter solos and Gillan forgetting words (page 45)
• When they reach Germany Ritchie seems quite happy to be back and with his new girlfriend Candice (page 50).
• About a third of the tour/shows are played in Germany. (page 51)
• By Mid October of 1993 Jerry Bloom joins the band for as many shows as possible (page 70)
• At your first show it was evident Gillan and Blackmore, Gillan singing over Blackmore  Blackmore had his roadie, Rob fodder to tape a lyrics sheet to Gillan’s mic stand because he was tired of Gillan forgetting the lyrics. (page 71)
• Ritchie had a tape of the “One Man’s Meat” demo “”Stroke of Midnight” with JLT singing and contemplated having it played before the show. (page 73)
• Bloom asks Glover about Ritchie’s little Goatee: “It’s his alter ego. He thinks he was born in 1549.”  Bloom says Ritchie did not leave his dressing room but he could hear Abba blasting from his room. (page 72)
• 16 October 1993: Stuttgart, Bloom says it’s the best show he’s ever seen by Deep Purple (page 80) 
• France, October 18: Ritchie throws in Jesus Christ Superstar but Gillan does not sing it. Was this a peace offering by Ritchie? (Page 86)
• Ritchie throwing in snippets of Rainbow and MK3 songs like “All Night Long” and “Burn” as well as “Long Live Rock ‘n’ Roll.” Gillan singing “cliched French Dialogue”(Page 87)
• October 22nd: Ritchie tells Colin Hart he’s not doing the two shows in Spain and that they were added without his approval – they’d been there from the beginning. (page 94)
• 30 October: Show in Prague, Candice does backing vocals on Beethoven’s Ninth. Unclear if the rest of the band consented. After the show he let Rob Fodder know he was leaving the band. Later he gives Colin Hart a letter to read to the rest of the band. He claimed he’d paly through Helsinki but did not know that the Japan gigs were booked. (page 99)
• Ritchie makes it very clear that Gillan is the reason he’s leaving citing his “clownish” attire and stage moves.
• Ritchie was expecting the band to be upset the following morning but it was business as usual. (page 103)
• 3 November: Ritchie hears that Mr. Udo, the Japanese tour manager is expecting Ritchie to play Japan so Ritchie destroys his Japanese work visa.(page 106)
• Ritchie seems to go through a lot of trouble trying to get a reaction out of the management and the rest of the band.
• 8 Nov, Ritchie performs an amazing show with the band in London at Brixton Academy. Tony Ahston and Mel Galley were in attendance. (page 109)
• 9 Nov: NEC Birmingham. Final UK gig. They were advised to cancel due to Ritchie’s ankle injury. (page 111)
• The whole drama with the camera man, Ritchie’s second most famous camera man altercation.  Roger’s anger. Lots of stories. Who ultimately got the brunt of the water soaking? Between Highway Star and Black Night Ritchie soaks the cameraman with beer behind the amps.
• 13 November: Stockholm, Sweden, Glenn Hughes is a backstage guest. He and Gillan toy with the idea of doing an album together. They hang out after the show. Blackmore was told Glenn was there and responds, “Glenn who?” (page 116)
• 14 November: It’s publicly announced Blackmore is leaving the band on the BBC (page 117)
• 15 November: Glenn Hughes is backstage again in Oslo, Norway, and a promoter had booked him a small show at a 300 capacity show.  Glover and Paice go to see his show. (page 118)
• 17 November: Helsinki, Finland. Ritchie makes demand that Bruce Payne be at his hotel door before the show or he won’t go on. He doesn’t know that Colin Hart had already discussed with Payne and he would be there.  Ritchie was again upset that chaos had not erupted. (page 119)

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For Further Information:

• Deep Purple – Nasty Piece of Work by Jerry Bloom
• https://en.wikipedia.org/wiki/Come_Hell_or_High_Water
• https://www.discogs.com/release/1034806-Deep-Purple-Come-Hell-Or-High-Water
• https://www.discogs.com/release/4775022-Deep-Purple-Come-Hell-Or-High-Water
• https://www.discogs.com/release/1861155-Deep-Purple-Live-In-Europe-1993
• https://www.thehighwaystar.com/specials/CHoHW/
• https://www.thehighwaystar.com/specials/CHoHW/story.html
• https://www.thehighwaystar.com/specials/CHoHW/dougm.html
• https://www.thehighwaystar.com/specials/CHoHW/palamara.html
• https://www.thehighwaystar.com/specials/CHoHW/franzman.html
•  

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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• T-Bone’s Prime Cuts On The Other Side
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• Maiden A-Z
• Diary of the Madmen
• Universally Speaking: The Red Hot Chili Peppers Podcast
• Metal Gods Podcast
• The Podcast Will Rock
• Back Tracks: Aerosmith Revisited
• So Far, So Pod . . . So What!
• The Tom Petty Project

A Note About Ozzy and Diary’s Connection to Deep Purple:

• Bob Daisley’s time and songwriting in Rainbow, with Gary Moore, and with Jon Lord in The Hoochie Coochie Men
• Don Airey in Ozzy’s touring band, though absent from this album
• Living Loud with Steve Morse, Don Airey, Lee Kerslake, Bob Daisley, and Jimmy Barnes
• Most importantly – the doors this opened for us in our journey and fandom of hard rock and this style of music

Core Band:

• Bass – Rudy Sarzo
  • Bob Daisley plays on the album but is uncredited.
  • Robert Trujillo – bass on 2002 reissue
• Drums – Tommy Aldridge
  • Lee Kerslake plays on the album but is uncredited.
  • Mike Bordin – drums on 2002 reissue
• Guitar – Randy Rhoads
• Vocals – Ozzy Osbourne
• Keyboards – Don Airey (credited on initial release)
  • Johnny Cook – keyboards (uncredited)
  • https://www.discogs.com/artist/572985-John-Cook-2
  • Also played with Cozy Powell and Graham Bonnet, and Bernie Marsden.

Technical:

• Engineer – Max Norman
• Lacquer Cut By – TimTom*
• Producer – Max Norman, Ozzy Osbourne, Randy Rhoads

Album Art & Booklet Review

• Other [Make Up] – Cheryl Hubbard
• Photography By – Fin Costello
  • Legendary rock photographer over the years.
• Photography By – Tony Harrison (6)
  • Mostly Ozzy credits on Discogs
• Set Designer [Set] – Denise Richardson
  • Also credited on Bark at the Moon
• Set Designer [Set] – Ernie Spruces
  • Only credit on Discogs
• Design – Steve “Skull” Joule*
  • Art Director at Kerrang!
  • Did many Ozzy designs during this period
  • Also famously did the Born Again album cover
  • In interview with heavymusicartwork.com: “But I guess the one I’m proudest of and really is the full package is Ozzy’s, 1981, ‘Diary Of A Madman’, the great set , brilliantly built by photographer Fin Costello’s work pixies, the ridiculous props, magic alphabets, the hand lettering, Ozzy being as drunk as a skunk at the shoot, Ozzy’s son Louis biting the head off the stuffed dove on the cover, just like daddy and of course becoming ‘THE HAND OF SATAN!!! Haaaaaaaargh!!! Yeah, I love that cover and it definitely sums up the early ’80’s.”

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Album Tracks:

Side One:

1. Over the Mountain (Daisley, Osbourne, Kerslake, Rhoads)
   • Bob Daisley: Title and lyrics were mine. To be fair, Ozzy’s melodies and scat singing before lyrics were written sometimes influenced what I wrote, the lyrics were written to fit his phrasing on most songs.
   • Daisley said Rhoads wrote the riff using eight notes but Daisley suggested going with sixteenth notes.
   • Daisley stated that over the years Frank Banali had been credited as coming up with the opening drums but he said there is no basis to these rumors.
   • Lyrics were written right before Ozzy recorded the vocal.
2. Flying High Again (Daisley, Osbourne, Kerslake, Rhoads)
   • Bob Daisley: The title and lyrics were mine, Ozzy may have put in a word or two again. In my book, there’s a whole story about how this song came about from an experience I had as a young lad playing in bands in Australia. The title actually came from a very ‘straight’ bloke who asked me a question about drugs.
   • Started off as a song called “Mean Machine” based on the vocals Lee sang during the writing process.
3. You Can’t Kill Rock and Roll (Daisley, Osbourne, Rhoads)
   • Bob Daisley: Ozzy’s title, and a few words were his but the meat and potatoes of the lyrics were mine. I wrote it about being screwed by record companies and being lied to, a premonition me thinks…
   • In his book “For Facts Sake,” Bob Daisley writes: “One of [the new songs] had a Pink Floyd vibe so I named it “Floydian,” which later became “You Can’t Kill Rock ‘n’ Roll.”
4. Believer (Daisley, Osbourne, Rhoads)
   • Bob Daisley: My title and lyrics. I was reading about the power of belief at the time and wanted to convey a positive message. Maybe a word or two from Ozzy and some inspiration from his phrasing but all my idea.
   • Randy and Daisley would joke that this bass riff sounded like “Purple haze”

Side Two:

1. Little Dolls (Daisley, Osbourne, Kerslake, Rhoads)
   • Bob Daisley: My title and lyrics. Again, maybe a word or two here and there from Ozzy but totally my idea. A song about Voodoo without mentioning the word. Fuck knows how I came up with that one…
   • Daisley says it was based on a riff he’d written in Windowmaker for a song called “Mean What You Say” while the middle eight was taken from a song he’d layed in Mecca’s single, “Black Sally” in 1969.
2. Tonight (Daisley, Osbourne, Kerslake, Rhoads)
   • Bob Daisley: Ozzy had originally sung ‘just a kiss before we say goodnight’ to open the song but I thought that was a bit soppy so changed the idea to someone down and out on the street. I think Lee came up with the ‘tonight’ where it ended up in the chorus but I wrote almost all the lyrics.
   • Daisley says this song had the working title “Just a Kiss.”
3. S.A.T.O. (Daisley, Osbourne, Kerslake, Rhoads)
   • Allegedly stands for Sharon Arden Thelma Osbourne
   • Bob Daisley: Not my title, Ozzy and Sharon changed it from ‘Strange Voyage’ which had been mine, to ‘S.A.T.O.’ after Lee and I were ousted. I wrote the lyrics about how life can be a strange voyage and was inspired by a Buddhist text entitled ‘A Ship to Cross the Sea of Suffering’. The S.A.T.O part is explained in my book.
   • The working title was “Headbanger.”
   • Daisley says this is the only song on the album not tuned down a semitone.
   • Lyrics were inspired by Buddhism
   • Ozzy and Sharon decided to change the title from “Strange Voyage” to this because they were both having an affair.  It stood for S.A. (Sharon Adrian, her boyfriend) T. O. (Thelma Ozzy.)
4. Diary of a Madman (Daisley, Osbourne, Kerslake, Rhoads)
   • Bob Daisley: My title and lyrics. The title came from a movie of the same name which I’d seen starring Vincent price. When I told Ozzy about my idea he loved it and that became the title of the next album before we’d even started writing it. I wrote the lyrics about my own personal experience which I go into detail about in the book. When Randy, Lee and I first worked up the music for the song without Ozzy, he came in the next day, heard what we had and said, “Who the fuck do you think I am, Frank Zappa?”
   • Daisley says that at the time he wasn’t aware that some of the chord progressions weren’t entirely original.  He said it borrowed from Randy practicing “Etude Number 6” by classical guitarist Leo Brouwer.
   • Daisley says Ozzy needed a few run throughs with Lee explaining to him how the vocals fit in to get it before he was comfortable singing it.
   • Arranged By [Strings] – Louis Clark
   • https://en.wikipedia.org/wiki/Louis_Clark
   • Conductor and arranger that worked with ELO
   • Continued to work with Ozzy on “Bark at the Moon.”
   • Daisley said Clark was going for a Carl Orff type sound to give it the “Carmina Burana” treatment with the orchestra and choir.

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Bustin’ Out The Spreadsheet

Reception and Charts:

• Daisley said the whole album is tuned down semitone to give it a heavier feel and to make it easier for Ozzy to sing.

For Further Information:

• https://en.wikipedia.org/wiki/Diary_of_a_Madman_(album)
• https://www.discogs.com/release/1420181-Ozzy-Osbourne-Diary-Of-A-Madman
• For Facts Sake by Bob Daisley
• I Am Ozzy by Ozzy Osbourne
• https://www.andrewliles.com/info/diary-of-a-madman/
• https://heavymusicartwork.com/steve-krusher-joule/
• http://www.knac.com/article.asp?ArticleID=5637
• http://www.bobdaisley.com/interview/website

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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• The Tom Petty Project

Lead up to the Album:

• Ozzy left the band after reportedly being frustrated with the experimental direction they were going with the last two albums.
• Osbourne was involved with early writing for the album before he left.
• Sharon Arden introduced Dio to Tony Iommi.
• Initially Dio and Iommi immediately clicked and toyed with the idea of forming a new band.
• They played briefly with Dio on bass/vocals as Geezer was going through a divorce.
• Craig Gruber also played with them on bass for a brief time.  Gruber has made many claims over the years including that he co-wrote most of the songs on the album and that they reached a financial settlement.
• Iommi says in his biography that Gruber recorded all of the bass parts but they were re-recorded by Butler who hadn’t heard them.
• In 2009 Gruber admitted he only helped write “Die Young.”
• Bill Ward considered this to be the start of a new band rather than a turning point for Black Sabbath.
• The album was recorded in Criteria Studios in Miami, Florida.
• It was Dio who recommended they use Martin Birch who he’s worked with in Rainbow.
• It was the band’s first outside producer since Rodger Bain who produced “Master of Reality” in 1971.  Iommi had produced the band’s albums since 1971.
• Looking back at the addition of Dio, Butler says it wasn’t really adding Dio to the band because the band as everyone knew it “Barely existed” as a band during this time.
• It seems it could have gone either way with Tony doing a solo album with Dio or Dio joining sabbath.

Core Band:

• Bass, Written-By [Music], Arranged By – Geezer Butler
• Drums, Written-By [Music], Arranged By – Bill Ward
• Guitar, Written-By [Music], Arranged By – Tony Iommi
• Keyboards – Geoff Nicholls
• Vocals, Written-By [Lyrics], Written-By [Music], Arranged By – Ronnie James Dio

Technical:

• Crew [Equipment] – Graham Wright
  • Had worked on previous Sabbath records including Sabotage, Technical Ecstacy, and Never Say Die
• Crew [Equipment] – Mickey Balla
  • Only other credit is a Maynard Fergusun album from 1982.
• Engineer [Assistant] – Joe Foglia
  • Worked with bands Foxy and Outlaws in the 70s and Manowar in the 80s
• Engineer, Producer – Martin Birch

Album Art & Booklet Review

• Art Direction – Richard Seireeni
  • American art designer.
  • Designed a number of album covers for bands including Diana Ross and Dominic Troiano who Tommy Bolin replaced in The James Gang
  • Also worked on albums for the band Wet Willie and Stillwater

• Illustration [Cover] – Lynn Curlee
  • http://www.curleeart.com/
  • From interview with Joe at Black-Sabbath.com
  • “MASQUE was a series of paintings with people in costumes. the SMOKING ANGELS was specifically inspired by a photo of some people backstage at a small town Christmas pageant. The painting was cropped a little on the right for the album cover. You can see the full painting in the ARCHIVE segment of www.curleeart.com.”
  • From interview with RevolverMag.com
  • “They were in a jam,” recalls Curlee. “Black Sabbath were releasing the new album Heaven and Hell. The original cover-art plan was not working out, I received a call to ask if I had anything they might be able to use, since the timing was getting short.” Lynn Curlee sent them a photo of Smoking Angels; Warner Bros. sent a check!

• Illustration [Liner] – Harry Carmean
  • Only credit – he drew the back cover illustration.

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Album Tracks:

All songs written by Iommi, Butler, Ward with lyrics by Dio.

Side One:

1. Neon Knights
2. Children of the Sea
   • Iommi claims he has a demo version of this with Ozzy singing a completely different melody and set of lyrics.
3. Lady Evil
4. Heaven and Hell

Side Two:

1. Wishing Well
2. Die Young
3. Walk Away
4. Lonely Is the Word

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Bustin’ Out The Spreadsheet

Reception and Charts:

• The album was the band’s highest charting album since “Sabotage” reaching No. 9 in the UK and No. 28 in the US).
• Dio on the differences between working with Iommi and Blackmore from a 1982 intervew: “The difference really is that Tony is an all-around player. Ritchie is a brilliant, brilliant player. And he always will be. He has very good musical ideas. But to my way of thinking, he is not a member of a band. I’ve always been a band-oriented musician. Tony is a team player. Tony caares about me, he cares about Vinny, he cares about Billy, and we all feel the same way. Ritchie really only cares about himself. I’m trying not to make this a derogatory statement. The man hasn’t said any bad things about me and it’s not in my constitution to use the press to say anything bad about Ritchie. I had a good relationship with him; he’s a fine player and I wish him all the success in the world.
• Ozzy referred to this lineup as “Black Rainbow.”

For Further Information:

• https://en.wikipedia.org/wiki/Heaven_and_Hell_(Black_Sabbath_album)
• https://www.discogs.com/release/1660926-Black-Sabbath-Heaven-And-Hell
• https://www.revolvermag.com/culture/black-sabbaths-heaven-and-hell-story-behind-cover-art
• https://www.black-sabbath.com/2008/12/lynn_curlee_interview/
• https://www.black-sabbath.com/discography/blacksabbath/heavenandhell/
• Born Again! Black Sabbath in the Eighties and Nineties by Martin Popoff

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

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Brendan Ashbrook – Logo Designer

Welcome Our Newest Patron(s):

• Michael Bagford – joining at the $5.99 “Nice Price” Tier  – NEW PATRON ALERT!
  • Hi Nathan, John, and all the podcast listeners out there. I’m Michael Bagford, and I have been binging on this show for the last couple of months. Currently, I’m up to episode #46. I discovered this show after another podcast I listen to, Rock Solid, who did an episode on Deep Purple recently. It reignited a passion to listen to the band again. I saw this podcast and was happy to know that you covered all the many bands and artists that are all part of the Purple Family Tree. I’m so happy that there are detailed episodes on the Captain Beyond discography! Anyway, keep up the great work, and I’m enjoying the podcast a lot so far.
• Jon Kines – joining at the $3 “Nobody’s Perfect” tier

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Postcards From The Edge . . . OF CONNECTICUT!

• Peter Gardow sends DPP Postcards!!

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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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  • You two provide endless enjoyment, honestly. 
  • We English pride ourselves on irreverent humour, but you gents manage to combine an emotionally deeply sincere intent with an endless sense of irony and irreverence. 
• Coming in at the $1 made up name tier . . .
  • Sugar Tits!  – NEW PATRON ALERT!
  • From Fielding Fowler: Upgrade time!! I think my girlfriend Sam is feeling left out with Spike and I being Patrons of the best Deep Purple Podcast out there so I added a buck for her.  Her made up name will be what everyone calls her…..Sugar Tits!

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Apple Podcasts Reviews:

• United States
• mike in cle – 5 stars!
• Very knowledgeable guys
• They are beyond devoted to this band. You will learn something, not just about Deep Purple, but other intersecting bands as well. By their very long friendship, these two hosts will entertain you thoroughly.

Postcards From The Edge . . . OF CONNECTICUT!

• Peter Gardow sends in a postcard from the Dali museum in St. Petersburg, Florida, right by where Deep Purple played in February.

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Welcome Jonatan Hedlin!

• Maiden A-Z
  • “An alphabetical journey through the discography of the mighty Iron Maiden, one song at a time!”
  • https://www.planetn.se/maiden-az
  • Twitter: https://twitter.com/maidenazpod
  • Hosted by Eric and Jonatan
• Gain it for Riffs
  • Podcast about riffs with Jonatan and his friend Olle
  • 52 – Gain it for World Domination /w Nate of Deep Purple Podcast
  • 39 – Captain Beyond New Year’s Special!

John’s history with Iron Maiden

Nate’s History with Iron Maiden

Influences:

• Bruce Dickinson & Deep Purple: How Ian Gillan Influenced Bruce Dickinson’s Vocals
• Guesting on The Rock Show With Johnny Walker’s “Rock God” segment aired on the BBC here, Iron Maiden frontman Bruce Dickinson named Deep Purple vocalist Ian Gillan as his personal rock god.
  • You can’t talk about Iron Maiden without first mentioning Deep Purple, a group that Dickinson first heard after accidentally stumbling upon their album In Rock: “I was walking up and down the corridor at boarding school and I heard this racket coming from behind a door,” Dickinson began. “I thought, ‘Oh my god, what is that?!’ So, I knocked on the door and this senior boy opened the door and looked at me with a big sneer on his face. I asked, ‘Who was that?’. He went, ‘Oh, it’s Deep Purple if you must know, ‘Speed King’’ and shut the door. That was that, I was hooked.”
  • Having said all that, I met Ian Gillan. Not only did I meet him, I actually went on tour with him when I was in a band called Samson.”
  • “I’m in a studio,” Dickinson continues. “We’ve done an album in Ian Gillan’s studio. We’ve all been at the pub and had a few pints, in walks my god Ian Gillan and goes, ‘Hey, what a great vocalist. Who’s the singer?’ At that moment, I felt the sudden urge to vomit. I ran out of the room, puked up for about 45 minutes in the toilet when in comes my idol, kicks the door and goes, ‘C’mon, mate, out you come. Let’s get you wiped down with a towel.’ He put me in a taxi and sent me home. I’ve never forgotten that, and he’s never let me forget it, either.”
• Adrian Smith:
  • Adrian Smith Once Quit Fishing Because of Ritchie Blackmore
  • “When I was about 14 or 15, I was kind of a clueless, your usual type of teenager and I didn’t know what I wanted to do in my life. And I sort of wandered into my older sister’s bedroom to check out her albums, which were normally soul records — THE TEMPTATIONS and [other] Motown [artists]. And then I noticed she had some new records, and one of them was a DEEP PURPLE record called ‘Machine Head’. So I put the album on a little record player, and I just couldn’t believe what I was hearing. That was it, really. It sort of changed my life. I thought, ‘Well, I’d love to be out doing that one day.’ The fishing had kind of tapered off. In those days, I couldn’t imagine my heroes, like Ritchie Blackmore from DEEP PURPLE, and people like that going fishing. So I thought, ‘Well, I’ll give it up and I’ll give all my time to try and make it as a professional musician.’ So that’s what I did.”
• The song Innocent Excile would ve worth listening to as an example of maiden at the Purplest sound.
  • Innocent Exile (2015 – Remaster)
• Paul DiAnno auditioning en with “Lady Double Dealer” (not available to hear but, anyway)
• Murders in the Rue Morgue and Lost in Hollywood drum resemblance. Clive’s and Nicko’s influence from Cozy and Paicey. Gangland another song example for this.
• Iron Maiden – Murders in the Rue Morgue *HD*
• Gangland (2015 – Remaster)
• Interviews with members from both band must’ve occured, I know there is one with Paice and McBrain about cymbals ;p
• PAISTE CYMBALS – 2 Legends 1 Sofa – Nicko McBrain (Iron Maiden) & Ian Paice (Deep Purple)

Best Albums according to Dickinson:

• In Rock by Deep Purple (1970)
• Are You Experience by Jimi Hendrix (1967)
• Aqualung by Jethro Tull (1971)
• Led Zeppelin IV by Led Zeppelin (1971)
• Vol.4 by Black Sabbath (1972)
• Rising by Rainbow (1976)
• Live and Dangerous by Thin Lizzy (1976)
• Van Halen by Van Halen (1978)
• Live Bootleg by Aerosmith (1978)
• Strangers In The Night by UFO (1979)
• British Steel by Judas Priest (1980)
• Blizzard of Ozz by Ozzy Osbourne (1980)
• Back In Black by ACDC (1980)
• Come An’ Get It by Whitesnake (1981)
• Number of The Beast by Iron Maiden (1982)

Martin Birch Connection:

Deep Purple

• 1969 – Concerto for Group and Orchestra (engineer)
• 1970 – Deep Purple in Rock (engineer)
• 1971 – Fireball (engineer)
• 1972 – Machine Head (engineer)
• 1972 – Made in Japan (engineer)
• 1973 – Who Do We Think We Are (engineer)
• 1974 – Burn (engineer, mixing)
• 1974 – Stormbringer (co-producer, engineer, mixing)
• 1975 – Come Taste the Band (co-producer, engineer, mixing)
• 1976 – Made In Europe (producer, engineer, mixing) – recorded live in April 1975
• 1977 – Last Concert in Japan (co-producer, engineer) – recorded live in December 1975

Iron Maiden[edit]

• 1981 – Killers (producer, engineer)
• 1982 – The Number of the Beast (producer, engineer)
• 1983 – Piece of Mind (producer, engineer, mixing)
• 1984 – Powerslave (producer, engineer, mixing)
• 1985 – Live After Death (producer, engineer, mixing)
• 1986 – Somewhere in Time (producer, engineer, mixing)
• 1988 – Seventh Son of a Seventh Son (producer, engineer, mixing)
• 1989 – Maiden England (producer, engineer, mixing)
• 1990 – No Prayer for the Dying (producer, engineer, mixing)
• 1992 – Fear of the Dark (producer, engineer, mixing)

• Who Cares? Featuring Nicko McBrain, Ian Gillain, Tony Iommi, Jon Lord and Jason Newsted. Definitely worth listening to at least one or the tracks.
• Spacetrucking studio cover (let’s not okay that one in full tho, I think it’s a pretty dreadful version xD
  • Iron Maiden – Space Truckin’ (Re-Machined – a Tribute to Deep Purple’s Machine Head) ~ Audio

Collaborations:

• Deep Purple Jamming with Iron Maiden in London 2002
• Tony Iommi (Black Sabbath), Ian Gillan, Jon Lord (Deep Purple) & Nicko McBrain In Studio
  • 8:20 mark ridiculous hat into meeting with John/Nicko
• Who Cares Ian Gillan, Tony Iommi, Jon Lord, Nicko McBrain and Jason Newsted Out Of My Mind
• Bruce Dickinson, Dream Theater | PERFECT STRANGERS | (Deep Purple Cover)
• Celebrating Jon Lord concert (2014)
  • Glenn Hughes, Bruce Dickinson, Ian Paice, Don Airey & Rick Wakeman 🎸Burn
  • Bruce Dickinson & Deep Purple – Hush
• Quebec performance of Concerto
  • Bruce Dickinson Live Orchestra 2021 Perfect Strangers
• Running into Nicko McBrain in Florida with Carmine Appice

Thanks to Our Core Level Patrons:

• The $7.77 KeepItWarmRat Tier
  • Michael Vader
• The Episode $6.66 Tier
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• $5.99 The “Nice Price” Tier
  • Fielding Fowler
  • Robert Smith
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• $5 “Money Lender” Tier
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  • James North
  • Mark Hodgetts
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  • Will Porter
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  • Tim “Southern Cross” Johnson

Thanks To Our Foundation Level Patrons:

• The $3.33 Half Way to Evil Tier
  • Raff Kaff
• $3 “Nobody’s Perfect” Tier
  • Peter Gardow
  • Ian Desrosiers
  • Mark Roback
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  • Stuart McCord
  • Flight of the Rat Bat Blue Light
• Øyvind Fjeldbu
• Runar Simonsen
• $1 Made Up Name Tier
  • The “22 Leaky Avenue” Leaky Mausoleum
  • Stephen Sommerville The Concerto 1999 Fanatic
  • Spike, The Rock Cat
  • JJ Stannard
  • Hank the Tank
  • Private Eyes
  • Ashen Lionel
  • Sugar Tits – NEW PATRON ALERT!

For Further Information:

• https://www.planetn.se/maiden-az
• Gain It For Riffs – 39 – Captain Beyond New Year’s Special!

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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Patron Updates:

• Steve Coldwell writes: “Thanks to our February school vacation schedule, I just got around to listening to this episode on Friday while shoveling snow…just in time to encounter my own version of “the Dixie Dregs guy,” at a Dream Theater show in Boston, Friday night. This particular gentleman—who looked like he was solidly in his 70s— doubled down on your Dixie Dregs fan, and actually had TWO catchphrases that he was screaming at the top of his lungs: alternating between “Boston matters,” and the oddly off-brand for Dream Theater, “Git ‘er done!”

Listener Message regarding Florida Show Recap:

• Michael reaches out regarding his reaction to our Florida show:

Apple Podcasts Reviews:

• Deep blackmore – USA – 5 Stars!
• Great podcast!!!
• Been a fan of deep purple for more years then I can remember recent episode for elf Carolina county ball / la59 album even if the hosts didn’t like the album this is the album that turned me on to the great Ronnie James Dio and the saw elf open for electric light orchestra and deep purple way back in 1974 in Indianapolis indiana keep up the great work

Postcards From The Edge . . . of Connecticut!

• Two postcards from the one and only Peter Gardow!

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Thanks to Our Core Level Patrons:

• The $7.77 KeepItWarmRat Tier
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• The Episode $6.66 Tier
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  • Kenny Wymore
• $5.99 The “Nice Price” Tier
  • Fielding Fowler
  • Robert Smith
  • Peter from Illinois
• $5 “Money Lender” Tier
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  • Adrian Hernandez
  • Jesper Almén
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  • James North
  • Mark Hodgetts
  • Kev Roberts – (courtesy of his wonderful children: Matthew, Gareth, and Sarah)
  • Will Porter
  • Zwopper The Electric Alchemist
• Tim “Southern Cross” Johnson

In The Charts

• Hush
  • Peaked at #4 (#58 in the UK)
  • US Top 40 Singles for the Week Ending 28th September, 1968
  • TW LW TITLE –•– Artist (Label)-Weeks on Chart (Peak To Date)
  • 1 3 HEY JUDE –•– The Beatles (Apple)-3 (1 week at #1) (1)
  • 2 1 HARPER VALLEY P.T.A. –•– Jeannie C. Riley (Plantation)-6 (1)
  • 3 2 PEOPLE GOT TO BE FREE –•– The Rascals (Atlantic)-11 (1)
  • 4 4 HUSH –•– Deep Purple (Tetragrammaton)-7 (4)
  • 5 15 FIRE –•– The Crazy World Of Arthur Brown (Atlantic)-4 (5)
  • 6 8 THE FOOL ON THE HILL –•– Sergio Mendes and Brasil ’66 (A&M)-8 (6)
  • 7 5 1, 2, 3, RED LIGHT –•– 1910 Fruitgum Co. (Buddah)-10 (5)
  • 8 9 I’VE GOTTA GET A MESSAGE TO YOU –•– The Bee Gees (Atco)-7 (8)
  • 9 16 GIRL WATCHER –•– The O’Kaysions (ABC)-7 (9)
  • 10 13 SLIP AWAY –•– Clarence Carter (Atlantic)-12 (10)
• Kentucky Woman
  • Peaked at #38 in the US (Did not chart in the UK)
  • Week Ending 14th December, 1968
  • 1 4 I HEARD IT THROUGH THE GRAPEVINE –•– Marvin Gaye (Tamla)-4 (1 week at #1) (1)
  • 2 1 LOVE CHILD –•– Diana Ross and the Supremes (Motown)-9 (1)
  • 3 3 FOR ONCE IN MY LIFE –•– Stevie Wonder (Tamla)-7 (3)
  • 4 7 ABRAHAM, MARTIN AND JOHN –•– Dion (Laurie)-8 (4)
  • 5 5 WHO’S MAKING LOVE –•– Johnnie Taylor (Stax)-8 (5)
  • 6 2 HEY JUDE –•– The Beatles (Apple)-14 (1)
  • 7 8 WICHITA LINEMAN –•– Glen Campbell (Capitol)-7 (7)
  • 8 9 STORMY –•– The Classics IV Featuring Dennis Yost (Imperial)-8 (8)
  • 9 11 I LOVE HOW YOU LOVE ME –•– Bobby Vinton (Epic)-7 (9)
  • 10 6 MAGIC CARPET RIDE –•– Steppenwolf (Dunhill)-11 (3)
  • …
  • 31 34 GOODBYE MY LOVE –•– James Brown (King)-6 (31)
  • 32 44 LO MUCHO QUE TE QUIERO (The More I Love You) –•– Rene and Rene (White Whale)-4 (32)
  • 33 50 PAPA’S GOT A BRAND NEW BAG –•– Otis Redding (Atco)-3 (33)
  • 34 25 QUICK JOEY SMALL (Run Joey Run) –•– The Kasenetz-Katz Singing Orchestral Circus (Buddah)-11 (25)
  • 35 29 CYCLES –•– Frank Sinatra (Reprise)-10 (23)
  • 36 49 SON-OF-A PREACHER MAN –•– Dusty Springfield (Atlantic)-3 (36)
  • 37 40 GOODY GOODY GUMDROPS –•– 1910 Fruitgum Co. (Buddah)-8 (37)
  • 38 38 KENTUCKY WOMAN –•– Deep Purple (Tetragrammaton)-6 (38)
  • 39 58 A RAY OF HOPE –•– The Rascals (Atlantic)-2 (39)
  • 40 63 IF I CAN DREAM –•– Elvis Presley (RCA Victor)-3 (40)
• River Deep – Mountain High
  • Week Ending 25th January, 1969
  • Entered charts at #72 (Peaked at #53)
  • 1 1 I HEARD IT THROUGH THE GRAPEVINE –•– Marvin Gaye (Tamla)-10 (7 weeks at #1) (1)
  • 2 4 CRIMSON AND CLOVER –•– Tommy James and the Shondells (Roulette)-7 (2)
  • 3 2 I’M GONNA MAKE YOU LOVE ME –•– Diana Ross and the Supremes and the Temptations (Motown)-8 (2)
  • 4 3 SOULFUL STRUT –•– Young-Holt Unlimited (Brunswick)-9 (3)
  • 5 15 EVERYDAY PEOPLE –•– Sly and the Family Stone (Epic)-9 (5)
  • 6 5 HOOKED ON A FEELING –•– B.J. Thomas (Scepter)-11 (5)
  • 7 8 TOUCH ME –•– The Doors (Elektra)-5 (7)
  • 8 9 WORST THAT COULD HAPPEN –•– Brooklyn Bridge (Buddah)-6 (8)
  • 9 16 I STARTED A JOKE –•– The Bee Gees (Atco)-6 (9)
  • 10 10 SON-OF-A PREACHER MAN –•– Dusty Springfield (Atlantic)-9 (10)
• Help! (France)
• Emmaretta – Peaked at #128 in the US, did not chart in the UK
• Hallelujah – Peaked at #108 in the US, did not chart in the UK
• Black Night – Peaked at #66 in the US, #2 in the UK
  • Week Ending 5th December, 1970
  • Entered the US charts at #90
  • 1 1 I THINK I LOVE YOU –•– The Partridge Family (Starring Shirley Jones and Featuring David Cassidy) (Bell)-9 (3 weeks at #1) (1)
  • 2 2 THE TEARS OF A CLOWN –•– Smokey Robinson and the Miracles (Tamla)-8 (2)
  • 3 6 GYPSY WOMAN –•– Brian Hyland (Uni)-14 (3)
  • 4 3 I’LL BE THERE –•– Jackson 5 (Motown)-12 (1)
  • 5 4 WE’VE ONLY JUST BEGUN –•– The Carpenters (A&M)-13 (2)
  • 6 5 FIRE AND RAIN –•– James Taylor (Warner Brothers)-13 (3)
  • 7 25 ONE LESS BELL TO ANSWER –•– The 5th Dimension (Bell)-7 (7)
  • 8 24 NO MATTER WHAT –•– Badfinger (Apple)-6 (8)
  • 9 9 HEAVEN HELP US ALL –•– Stevie Wonder (Tamla)-8 (9)
  • 10 16 SHARE THE LAND –•– The Guess Who (RCA)-7 (10)
• Speed King (Germany, Netherlands)
• Strange Kind of Woman
  • Did not chart in the US, Peaked at #8 in the UK
• Fireball
  • Did not chart in the US, Peaked at #15 in the UK
• Never Before
  • Did not chart in the US, Peaked at #35 in the UK
• Lazy (US/Canada)
  • Did Not Chart
• Child in Time
  • Did Not Chart – released in select EU markets
• Highway Star
  • Released in US/Canada and Japan
  • Did not chart
• Woman From Tokyo
  • Did not chart in US or UK
  • Had success in assorted EU markets
• Smoke on the Water
  • Debuted at #85 week ending May 25, 1973
    • P1 4 FRANKENSTEIN –•– The Edgar Winter Group (Epic)-12 (1 week at #1) (1)
    • 2 6 MY LOVE –•– Paul McCartney and Wings (Apple)-7 (2)
    • 3 5 DANIEL –•– Elton John (MCA)-8 (3)
    • 4 2 TIE A YELLOW RIBBON ROUND THE OLE OAK TREE –•– Dawn Featuring Tony Orlando (Bell)-15 (1)
    • 5 1 YOU ARE THE SUNSHINE OF MY LIFE –•– Stevie Wonder (Tamla)-11 (1)
    • 6 9 PILLOW TALK –•– Sylvia (Vibration)-10 (6)
    • 7 3 LITTLE WILLY –•– The Sweet (Bell)-19 (3)
    • 8 7 DRIFT AWAY –•– Dobie Gray (Decca)-14 (5)
    • 9 10 WILDFLOWER –•– Skylark (Capitol)-15 (9)
    • 10 13 HOCUS POCUS –•– Focus (Sire)-13 (10)eaked at #4 in the US
  • Peaked at #4 in the US – Week Ending July 28th, 1973
    • 1 1 BAD, BAD LEROY BROWN –•– Jim Croce (ABC)-15 (2 weeks at #1) (1)
    • 2 3 YESTERDAY ONCE MORE –•– The Carpenters (A&M)-9 (2)
    • 3 4 SHAMBALA –•– Three Dog Night (Dunhill)-11 (3)
    • 4 7 SMOKE ON THE WATER –•– Deep Purple (Warner Brothers)-10 (4)
    • 5 2 WILL IT GO ROUND IN CIRCLES –•– Billy Preston (A&M)-18 (1)
    • 6 11 DIAMOND GIRL –•– Seals and Crofts (Warner Brothers)-12 (6)
    • 7 5 KODACHROME –•– Paul Simon (Columbia)-11 (2)
    • 8 8 BOOGIE WOOGIE BUGLE BOY –•– Bette Midler (Atlantic)-12 (8)
    • 9 20 THE MORNING AFTER –•– Maureen McGovern (20th Century)-6 (9)
    • 10 6 GIVE ME LOVE (Give Me Peace On Earth) –•– George Harrison (Apple)-11 (1)
  • Did not chart in the UK
• Super Trouper
  • Released in some EU markets
  • Did not chart anywhere
• Might Just Take Your Life
  • Debuted at #99 for Week Ending March 23rd, 1974
  • Chameleon by Herbie Hancock debuted at #96 that same week
  • Peaked at #91 in the US
    • 1 3 DARK LADY –•– Cher (MCA)-10 (1 week at #1) (1)
    • 2 1 SEASONS IN THE SUN –•– Terry Jacks (Bell)-11 (1)
    • 3 4 SUNSHINE ON MY SHOULDERS –•– John Denver (RCA)-9 (3)
    • 4 2 BOOGIE DOWN –•– Eddie Kendricks (Tamla)-12 (2)
    • 5 6 MOCKINGBIRD –•– Carly Simon and James Taylor (Elektra)-8 (5)
    • 6 12 BENNIE AND THE JETS –•– Elton John (MCA)-6 (6)
    • 7 14 HOOKED ON A FEELING –•– Blue Swede (EMI)-6 (7)
    • 8 10 JET –•– Paul McCartney and Wings (Apple)-7 (8)
    • 9 11 ERES TU (Touch the Wind) –•– Mocedades (Tara)-11 (9)
    • 10 7 JUNGLE BOOGIE –•– Kool and the Gang (De-Lite)-16 (4)
  • Peaked at #55 in the UK
• Burn
  • Released in US/Canada and JApan
  • Peaked at #105 in the US – does not show up in top 40 (I think it’s only the top 100)
  • Did not chart in the UK
• You Can’t Do It Right
  • Released in US/Canada
  • Did not chart
• Lady Double Dealer
  • Released in Japan
  • Did not chart
• Stormbringer
  • Peaked at #26 in Italy
  • Did not chart elsewhere
• Gettin’ Tighter (US/Canada)
  • Released in US/Canada
• You Keep on Moving
  • Did not chart

Thanks To Our Foundation Level Patrons:

• The $3.33 Half Way to Evil Tier
  • Raff Kaff
• $3 “Nobody’s Perfect” Tier
  • Peter Gardow
  • Ian Desrosiers
  • Mark Roback
  • Duncan Leask
  • Stuart McCord
  • Flight of the Rat Bat Blue Light
• Øyvind Fjeldbu
• Runar Simonsen
• $1 Made Up Name Tier
  • The “Chart Topper of Leaking Tombs” Leaky Mausoleum
  • Stephen Sommerville The Concerto 1999 Fanatic
  • Spike, The Rock Cat
  • JJ Stannard
  • Hank the Tank
  • Private Eyes
  • Ashen Lionel

For Further Information:

• https://en.wikipedia.org/wiki/Deep_Purple_discography#Singles
• https://top40weekly.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.