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Reviewing Randomly Generated Playlist
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Reviewing Randomly Generated Playlist (continued)
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Hey Nate & John!
I’ve been listening to Deep Purple since high school — Machine Head had just come out & was hooked right away! Followed Rainbow as well for a while. I found The Deep Purple Podcast through Scott’s Smoke On The Podcast. I had stumbled across Smoke On The Podcast looking for a song that I didn’t have a copy of. I started at the beginning & binged everything he had released through last September on a road trip from Nebraska to Las Vegas. I had heard you guys guesting & then started on The Deep Purple Podcast. I am currently alternating between old episodes (Up to #60) and current ones. I especially enjoy the DP adjacent album reviews. And of course, John’s nicknames
btw — I’m an East Coast boy myself. I grew up in Rosedale, Queens, NYC, and am a blues deejay on a community radio station (Rosedale Mississippi is where Robert Johnson supposedly sold his soul to the Devil) John’s East Coast accent is a taste of home!
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Glenn Hughes & Dead Daisies in St. Charles, IL on May 30th, 2026.
Who Do We Think We Are (1973) was the fourth and final studio album of the Mk2 Deep Purple line-up of Ritchie Blackmore, Ian Gillan, Roger Glover, Jon Lord and Ian Paice. At the time of release, Purple were the most successful, top-grossing, stadium-touring heavy rock band on the planet; a position confirmed by the virtuoso performances captured on the double live album, Made in Japan (1972), and the Billboard chart success of the double A-side Live/Studio single “Smoke on the Water.” The idea for the title of the album came from drummer Paice, who told Melody Maker that the band received “piles of passionate letters either violently against or pro-the group”, with the angry one’s typically beginning: “Who do Deep Purple think they are?” This quote appears as part of the album artwork, a collage of press-clippings that dramatically contrast the success of the band with the controversy that surrounded it, particularly negative reviews of the band smashing up their equipment as the finale to their live performances. Like Black Sabbath and Led Zeppelin, Purple were derided as proponents of “heavy metal” rock.
But, as this volume’s innovative and internationally recognised Metal Music scholars argue, it was their success in communicating – over the course of a series of ground-breaking studio albums and especially in live performance – with a new, younger rock audience that helped to define the genre template we now recognise as “classic” heavy metal. Without this success, heavy metal would not have developed in the way that it did nor forged a lasting bond with its audience amidst the controversy which surrounded its rise; a controversy which centred on the way it choose to communicate with this audience, through extremes of volume and dramatic musicianship, particularly live.
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This set is culled from two nights of live performances at Ebbets Field in Denver that Tommy put together during the time he was in James Gang. The band was basically the then defunct ENERGY minus Tom Stephenson, with a “beeped” up percussion section. The versions of “You Know, You Know”, and “San Francisco River” are from the other night than the versions contained on the “Archives Volume 1”. The format of these shows allowed Tommy to dominate with some of his most ferocious guitar work. One night was broadcast live on KFML, and one night on KHPI.
This is the first self-release title by the Tommy Bolin Archives under their label.
Ebbets Field named after the famed Brooklyn Dodgers ballpark was a small club in the early to late 70’s located on 1020 15th street in Denver Colorado.It held 238 people which made for an intimate setting between performer and audience.The stage faced bleacher type seating which resembled seating at a sports venue.The walls,floor,and seating were all covered in black,orange,and brown shag carpet. Most of the Ebbets shows were broadcast on station KDPI and KFML in Denver.Shows were supported By The Listen Up Company who also were responsible for the fine sound of these shows.The club was paid by the bands record label to record the shows.Some shows were broadcast as they happened and others were broadcast later with the bands, permission.Music from Rock to Country To Bluegrass to Jazz was played there.I’m always interested in trading for any Ebbets Field shows I don’t have.Also looking to upgrade any shows that need upgrading.Any corrections on setlists and dates would be appreciated.Grading is based on sound quality only.Defects such as background noise,cut songs, & digital noise are noted.
When Tommy Bolin took a break from being in the James Gang, and returned home to Colorado 1974, he gathered up some of his closest musical buddies for two nights of performances at Denver’s legendary tiny Ebbets Field. Both nights were broadcast on the radio, and the result is this CD. If you love technically charged, inventive passionate guitar music that flows from powerful rock to over the top fusion playing, this set is for you. In it, Bolin proves why he is one of the most loved and respected of guitar cult legends. The likes of Jimmy Page, Jeff Beck, Joe Perry, Vernon Reid, and David Hidalgo are all huge fans of Bolin. With the purchase of this CD, you will understand why.
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Album Tracks:
All songs written by Blackmore/Night unless otherwise specified.
Storm
“The clouds grow dark, lightning splits the sky and the winds surround you. It is as if you could close your eyes and be swept away by the intensity of the storm. This song allows it to happen.”
Mid Winter’s Night
“Borrowed from a Provencial French carol from the sixteenhundreds a cold winder’s night in a small French farming town. A bed of straw and the church bells won’t stop ringing – sleep does not come easily.”
Merlijn:
Traditonal: “Maire, Lei Campagno” This traditional song dates from around the 16th century, and the Occitan language, which is now endangered. Broadly speaking it is about bells ringing on a mid-winter’s night keeping the narrator awake. It has been recorded in recent years by the Terra Nova Consort, as in link Maire, lei campagno
“Remember that feeling of the love that made every moment seem like a gift; every day seem like summer? You felt as if you could fly and you couldn’t help but smile all of the time. That feeling is All Because of You.”
Albert Dannemann – bagpipes on “All Because of You”
Waiting Just For You
“Going against what others tell you for love’s sake is part of living and loving, when you know its [sic] right – advice from outside influences makes no difference. Even if you have to wait for it. The main theme of thes [sic] melody is taken from an 18th century song by Clarke.”
Jeremiah Clarke (c. 1674 – 1 December 1707)[1] was an English baroque composand organist, best known for his Trumpet Voluntary, a popular piece often playeat wedding ceremonies or commencement ceremonies. Blackmore’s Night copied the melody of this song. Note for note. “Trumpet Voluntary”: Prince of Denmark’s March / Trumpet Voluntary – Jeremiah Clarke
Michael Praetorius (born as Michael Schultze, probably 28 September 1571[1] – 15 February 1621) was a German composer, organist, and music theorist.[2] He was one of the most versatile composers of his age, being particularly significant in the development of musical forms based on Protestant hymns. His family name in German appears in various forms including Schultze, Schulte, Schultheiss, Schulz and Schulteis. Praetorius was the conventional Latinized form of this family name,[3] Schultze meaning “village judge or magistrate” in German. The Latin Praetorius means “magistrate-related or one with the rank of a magistrate. Praetorius was a prolific composer; his compositions show the influence of Italian composers and his younger contemporary Heinrich Schütz. A more commonly known Praetorius piece, for courante (French fo
Benzai-Ten
“In Japanese folklore there is a story of the Seven Gods of Good Fortune. Benzaiten is the only goddess in this group of deities. Legend has it that she is the daughter of a dragon and that she married a dragon king to stop him from eating humans. Her story spans the ages of the 11th century through to the 16th century. It is said she is the goddess of music, marriage, happiness, wealth and love. She plays an instrument called the Biwa which is a type of Japanese lute and that she lives at the bottom of Lake Biwa by the medieval city of Kyoto.
Japan 14th century, anonymous. A benzaiten (Benten) is an Asian Buddhist Goddess. She plays an instrument called Biwa which is a type of Japanese lute. She lives at the bottom of Lake Biwa by the medieval city of Kyoto. Based on traditional anonymous song. Traditional Japanese Music | Relaxing music by Traditional Japanese | Shamisen Music Collection #2 Koto & Shamisen music of the Edo Period – Japanese folk music (example of Benztaiten songs)
Blackmore’s Night : Fires At Midnight SPV 085 72432: EU : August 2001It’s now five years since Blackmore embarked on his current musical direction, attempting to forge some sort of medieval inspired pop/rock fusion and get away from the hard rock he’d publicly stated was now too boring for him to want to play (whatever that means). It was a typically dramatic move by the man and whatever one thinks of the results, you can’t argue that he’s better off doing something he actually enjoys. And lets face it, the last Rainbow album was so contrived, anything had to be preferable.I found his debut Blackmore’s Night album bland and uninvolving for the most part. Come this third offering I thought I’d give it a try and see whether anything had moved on. So far as I can tell it hasn’t; overall the production is crisper, the guitar work is integrated into the sound more fully and the acoustic playing seems to be more natural, but when it comes to the music we seem to be dancing round the same maypole once again.A short rocky opening piece leads right off into the single “The Times They Are A Changing” (SPV 056 72463 – with a non-album track and video as extras. Some percussion which reminds me of The Third Ear Band, plus nice guitar flourishes, are swiftly buried by non too subtle medieval musical pointers and tacky hand-claps. I don’t have a single Bob Dylan record to my name but Candice’s bland approach to this fierce sixties anthem makes me want to dash out and buy the original. “I Still Remember” opens well enough but is again flattened back thanks to the one dimensional vocal technique. There are a few bursts of stunning guitar in here, even a couple of “Gates Of Babylon” flourishes, and when you dig deep enough there’s enough here to suggest that an instrumental remix would be well worth spending some time on. Any such musings are quickly dashed by the reality of “Home Again” and I finally realise that Candice sounds like the more mannered excesses of Petula Clark’s more theatrical work. An unbelievably kitsch rowdy pub crowd sound effect throughout is simply risible, and the late night Italian restaurant mandolin bits near the end merely add to the unintentional humour of it all.There are a few quite disciplined solo acoustic pieces interspersed throughout the CD, “Fayre Thee Well” is the first, and if that’s your cup of tea then you’ll find them engrossing. The album title track is a biggy – over seven minutes worth. Another atmospheric opening passage before Candice jumps in, sounding exactly like she does on every other number. It’s all humming along, complete with a few bars of up tempo bagpiping, and you’re starting to lose it until at 4.15 seconds (index it now) Blackmore just suddenly opens up on the Strat and blazes away. Almost a minute and a half of blistering guitar that just blows away the last five years in an instant. As the rest of the musicians return, the whole thing – with Candice buried in the mix a little, storms along with a hint of what Blackmore could really achieve if he had the desire and vision to push this to the limit. Revel in it. After that nothing else comes close.
Special thanks to Merlijn Rotte for his extra help in gathering historical information and reviews for these episodes!
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By 1987, he worked as the official photographer with many major pop and rock bands of the early to mid-80s era including Culture Club, Thompson Twins, Guns n’ Roses, Bon Jovi, Motorhead, Terence Trent D’Arby, among others with his own studio in Chelsea London. By 1990, he was headhunted by the Rolling Stones to be their official tour photographer on the Urban Jungle/Steel Wheels tour of Europe and toured the world several times over with the biggest bands of the early 90s including Guns n’ Roses, Iron Maiden, Aerosmith, Ozzy Osbourne, Whitney Houston, and others.
Hanging Tree Artwork by Heather Findlay
Artist and musician who worked with and toured with Blackmore’s Night
Music video included as a bonus feature on CD release.
I Still Remember
“Reflections of a love long gone, but never forgotten. We all reminisce and wonder what could have been, sometimes. Part of this melody was taken from a traditional Renaissance song called ‘Mon Ami’ – my friend…how fitting.”
“You can travel to the ends of the earth and all that you are searching for will be right at home, awaiting your return.”
Ruby’s Choir credited “live on Home Again” in the album liner notes. The members are listed as Michelle, Anita, John, Cathy, Ken, Robert, Mike, Trish, Scott, Sue, Carmine, Mary, and Pete.
Crowning of the King
“Mainly a Tielmann Sussato song – this is the celebration of majesty and pageantry. Representing a new hope and a new chance with a new royal leader.”
Trad by Tielman Susato
Merlijn:
Tielman Susato: La Mourisque (one of the 12 Dancereys). First published in 1551 La Mourisque – Susato Tielman Susato (c. 1510 – after 1570) was a Renaissance composer, instrumentalist and publisher of music in Antwerp. While Susato’s exact place of birth is unknown, some scholars believe that because of his name—Susato meaning de Soest, of the town of Soest — he may be from the town of that name in Westphalia, or the town of Soest in The Netherlands. Susato was also an accomplished composer. He wrote (and published) several books of masses and motets which are in the typical imitative polyphonic style of the time. He also wrote two books of chansons which were specifically designed to be sung by young, inexperienced singers: they are for only two or three voices. Most important of his publications in terms of distribution and influence were the Souterliedekens of Clemens non Papa, which were metrical psalm settings in Dutch, using the tunes of popular songs. They were hugely popular in the Netherlands in the 16th century. Susato also was a prolific composer of instrumental music, and much of it is still recorded and performed today. He produced one book of dance music in 1551, Het derde musyck boexken … alderhande danserye, composed of pieces in simple but artistic arrangement. Most of these pieces are dance forms (allemandes, galliards, and so forth).
“Bonfires illuminate the darkened hills. Silhouetted figures celebrate the coming of the night. There you stand with the Seven Sisters watching over you as you ponder, in awe, the mysteries of the world.”
Alfonso X del Castille. King of Spain around 1200 Cantiga 353 Also sung version of it. Here is Cantiga 353 (Quen a omagen da Virgen e de séu Fillo honrrar) from Cantigas de Santa Maria, a collection of 420 poems with musical notation dedicated to the virgin Mary during the reign of Alfonso X of Castile El Sabio (1221-1284). The story: Only surviving son of a wealthy man is sent to live in a monastery. He was fascinated by a statue of the Virgin and Child and brought it food every day. The statue spoke to him and said come eat with my father tomorrow (shades of Don Giovanni). That night the boy and the abbott came to the statue, fell ill, died and were taken to heaven. Might have been nice to have lived a full life first, but that’s medieval logic.
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Went on to work in acting. Was a recurring villain on the show MacGyver named Murdoc. Also played the maître d’ in the episode of Seinfeld titled “Smelly Car.”
The only child of Philip and Irene Des Barres. Philip and Irene had the title of Marquis and Marquis Des Barres. Michaels is the 26th Marquis Des Barres. The title originated from his 13th century ancestry Guillaum II Des Barres who was a French knight who had rescued King Philip II of France during the Battle of Bouvines in 1214.
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After Metallica released a cover of “Killing Time” in 1991 as the B-side for the single of “The Unforgiven” Sweet Savage experienced a new interest in the band. The band decided to reform and signed with the label Neat Records. In 1996 they released an album featuring a rerecording of “Killing Time.” The album also had a lot of remakes on it. In 1998 they recorded their an album of all new materian called “Rune.” Simon McBride replaced Ian Wilson who was working on other projects.
After touring for those years with Andrew Strong McBride formed the band Blind Friday, a made up of McBride, Robin Martin (The Horse), Marty McCloskey on drums, and Mark Adair on bass guitar. Blind Friday were endorsed by PRS (Paul Reed Smith) Guitars, Gretsch Drums, and Framus Amplification. They recorded one album, 2007’s “Wake Up.”
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The Way It Is – Album Review GLENN HUGHES THE WAY IT IS SPV Records SPV 085 21032 : Europe : April 1999 The pan-European release of Glenn’s new CD is given away by the awkward translation of German text in the press adverts for the disc. “Marks the momentary climax in his career”?! Still, at least they’ve tried to get it together and co-ordinate things – in the past his titles have had a chaotic release schedule to say the least. Glenn has gone for a more laid-back approach this time, and the heavier elements which marked out “Addiction” don’t get too much of a look in here. Vocally he’s in as fine a voice as ever but one wonders whether he needs to look to some other way of making a mark in a wider public consciousness – otherwise I don’t know who the CDs will sell to beyond the faithful. Perhaps SPV would be better spending their budget on trying to break a single or two to give Glenn the boost he needs. As this disc has literally appeared just as we’re going to print, we’ll try and look at it in detail next issue. Guests by the way include Keith Emerson, Stevie Salas and Matt Sorum (think he was in Guns’n Roses m’lud)
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