Episode #132 – Gillan – Mr. Universe (Japanese Version)


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    • Nate the weatherman – USA – 5 stars!
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Lead up to the Album:

  • Lineup change: Bernie Torme comes in to replace Steve Byrd who returned to session work.
  • Phil Banfield comes onto the scene to work as Ian’s manager.
  • Ian and Phil went to the south coast to get the picture for the front of the UK album.
  • Gillan says: “He wanted a picture of me with only water behind, and, t o achieve the effect, he said I had to jump. So there I was, with my manager shoultin, ‘Jump,’ and I’d jump. Again and again. From that moment we agreed that when Phil says jump, I jump!”
  • In 1979 Phil got the band in front of audiences, booking the National Jazz Blues and Rock Festival which became known as the Reading Rock Festival.  Gillan were on the same bill as Steve Hcket, Think Lizzy, and Rory Gallagher.
  • ON September 20, 1979 the original version of this album was released in Japan by Toshiba-EMI.  This album was billed as Ian Gillan.  Australia and New Zealand got it later in the year.
  • That version of the album had a different track list.
  • Japanese version: https://www.discogs.com/Gillan-Mr-Universe/release/9594353 including tracks not on the UK release:
SideUK ReleaseJapanese Release
1Second Sight*Vengeance
1Secret of The Dance*Mr. Universe
1She Tears Me DownShe Tears Me Down
1RollerYour Sister’s On My List***
1Mr. Universe
2VengeanceStreet Theatre**
2Puget SoundRoller
2Dead of Night*Puget Sound
2Message in a Bottle*Move With The Times**
2Fighting Man*Sleeping On The Job**

*Tracks that does not appear on the Japanese version.

**Track that does not appear on the UK version but does appear on the 1993 “Gillan – The Japanese Album” compilation.

***Track unique to the Japanese version.

  • In 1993 RPM released a compilation called “Gillan – The Japanese Album” which combined the tracks from the Japanese “Mr. Universe” (except “Your Sister’s On My List”) album with the original Gillan “Japanese” album. 14 tracks in total.
  • Since we’ve already covered 4 of the tracks on the UK version we will focus on the Japanese release of Mr. Universe.
  • When you look at it the UK version is really more of a sort of compilation featuring 4 tracks previously released, one with a different lineup.  The Japanese version, however, is a brand new album.
  • Stargazer – Issue #20 from December of 1979 also breaks down the differences between the versions.
  • Simon Robinson states that he doesn’t detect any real difference between the duplicated tracks.

Personnel:

  • Bass, Mixed By, Arranged By – John McCoy
  • Drums, Arranged By – Mick Underwood
  • Guitar, Arranged By – Bernie Torme*
    • Played in a band called The Urge in the early 70s
    • Also played in a band called Scrapyard with John McCoy in the mid 70s
    • He then formed The Bernie Torme Band which released his first recorded work in 1979 – this was his only recorded credit prior to Gillan
    • Sadly he passed away in 2019
  • Keyboards – Colin Towns
  • Vocals – Ian Gillan

Technical:

Album Art & Booklet Review

  • Photography By – Mick Gregory
    • Photography for Deep Purple, Bernie Torme solo, Genesis
  • Photography By – Yuka Fujii
    • Visual for Bernie Torme, Iron Maiden (debut album),  
  • Photography By [UK Front Cover] – Victor Watts
    • Only credit on Discogs
  • Artwork [UK Sleeve Design] – Jubilee Graphics
    • Worked with Elton John, ELO, 
  • No Japanese credit for the cover design.
    • Cover is a pic from Ian Gillan at the Reading Festival in 1978 playing with the brand new Gillan

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Album Tracks:

Side One:

  1. Vengeance (Gillan, Towns)
  2. Mr. Universe (Gillan, Towns)
  3. She Tears Me Down (Towns)
  4. Your Sister’s On My List (Gillan, Towns)
    • Robinson: “… has lyrics which you would expect from a title like that! Musically it starts off sounding a little Zeppelin like (early stuff), just the way the riff is constructed and churned out.”
    • Robinson compares the ending of the track to an imitation of “Hard Lovin’ Man.”

Side Two:

  1. Street Theatre (Towns)
  2. Roller (Gillan, Towns)
  3. Puget Sound (Gillan, Towns, McCoy, Torme, Underwood)
  4. Moving With The Times (Gillan, Towns, McCoy)
  5. Sleeping on the Job (Gillan, Towns)
    • Released as the next UK single per Stargazer Issue #20 per Ian.
    • Song is about Leyland night workers
      • Found this article: https://www.aronline.co.uk/archive/sleeping-on-the-job-essay/
      • “The story first hit the headlines on 12 November 1979 when it was revealed that 14 night shift workers had been caught sleeping at a British Leyland plant. The men were found tucked up in sleeping bags when management swooped on the priming shop at the Range Rover plant in Solihull, near Birmingham.
      • “After two days of disciplinary hearings and appeals, BL dismissed 13 Land Rover car workers, who had been caught sleeping on the night shift. A Supervisor who was sleeping was also dismissed, along with a Foreman. The company refused to comment while a hearing was still continuing into charges against a Superintendent.”

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Reception and Review

  • The album reached No. 11 in the UK, selling over 2 million copies worldwide.
  • With all the craziness surrounding the track listing and versions of this album there is also another song from the Mr. Universe sessions that is considered lost.  The song is called “Parliament Square.” 

Reviews from Simon Robinson in Stargazer Issue #20, December of 1979:

Mr.Universe (UK) – Album Review
I recently rated the last studio album, issued only in Japan, as the best ex-purple disc to date. This comprises five tracks from it (three of which have been re-recorded), plus five new tracks. So how could they go wrong? Well they have. How they can honestly turn this out after that Jap. LP is beyond me. The material I can take, what I can’t take is the abysmal mix. It is just bloody terrible. Gillan’s vocals are buried, and though the drummer is presumably playing a whole kit, only the cymbals can be heard.
Mr.Universe (Japan) – Album Review
This contains five tracks from the UK edition (which sound the same to me), plus four new ones. Of those, ‘Your Sister’s On My List’ is quite catchy, and has lyrics which you would expect with a title like that! ‘Move With The Times’ is kept going by bass, drums and piano (sort of Pot Black style!). ‘Sleeping OnThe Job’ is very catchy, but not as good as the live version, because Gillan is mixed down too far. ‘Street Theatre’ is a short Towns instrumental, probably destined for a stage opener some day. Overall, that spark which made Gillan ‘Gillan’ outstanding is absent.
  • Robinson in Stargazer #20 says that the Japanese version is the best ex-purple disc to date.
  • Robinson speaks very unfavorably about the UK version, mostly having issues with the mix.
  • In the UK they promoted the album touring with Randy California.  Samson with Bruce Dickinson were also there.
  • Gillan: “I loved the band; Bernie and John galvanized audiences with their electrifying stage act, and, in John’s case he was described in one review as a ‘walking absurdity’ with a presence that oozed rock ‘n’ roll.”
  • Gillan’s story about meeting back up with Ritchie from “Child in Time” pages 139-140.

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Episode #131 – Whitesnake – Live… in the Heart of the City


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Lead up to the Album:

  • Live In The Heart Of The City (June 23-24, 1980)
  • Live At Hammersmith (November 23, 1978)
  • All songs recorded at The Hammersmith Odeon, London.
  • Sides 1 and 2 were done with the Rolling Stones Mobile Studio at the Hammersmith Odeon. 
  • Sides 3 and 4 are the previously-issued, Japan only, “Live At Hammersmith” which was not released in the UK.

Personnel:

Technical:

Album Art & Booklet Review

  • Art Direction – John Pasche
    • http://www.johnpasche.com/
    • Designer of the Rolling Stones “Lips” logo, founder of Gull Graphics
    • Worked with Fleetwood Mac, The Rolling Stones, 
  • Artwork By [Cover Painting] – Jeff Cummins
  • Design – Shoot That Tiger!
    • Over 1,000 entries on Discogs
    • London based design company
    • Covers for Status Quo, Black Sabbath (Live at Last), Alkatrazz, Motorhead and many more
  • Photography [Back Cover] – Hiro Ohno
    • Work for early Whitesnake, Iron Maiden (Maiden Japan)
  • Photography [Insert] – George Bodnar

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Album Tracks:

Side One:

  1. Come On
  2. Sweet Talker
  3. Walking In The Shadow Of The Blues
  4. Love Hunter

Side Two:

  1. Fool For Your Loving
  2. Ain’t Conna Cry No More
  3. Ready An’ Willing
  4. Take Me With You

Side Three:

  1. Come On
  2. Might Just Take Your Life
  3. Lie Down
  4. Ain’t No Love In The HEart Of The City

Side Four:

  1. Trouble
  2. Mistreated

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Reception and Review

  • Charted at number 5 on the UK charts and number 146 on the Billboard 200.
  • From Jorg: “There is a clipping that says “release on Oct 20”. I’m not sure if that happened, I think it was postponed to November 3.”
  • Jorg: “Japanese release was Dec 5th, I don’t have a date for the US.”
  • Jorg: “The release caused some negative reactions from people who bought the Japanese “Live At Hammersmith” as import some monthes earlier and now they had to buy that 1978 part again. The Japanese release only had the 1980 part as single album, I think the North American releases were the same.”

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Episode #130 – Jon Lord – Sarabande

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Lead up to the Album:

  • Jon Lord is said to have worked on composing and scoring this album between January and August of 1975.
  • It was recorded between September 3-6 at Stadthalle Oer-Erkenschwick, near Düsseldorf, Germany.
  • Remixed at Musicland Studios, Munich.
  • This is the next in the progression of his “classical” works from The Concerto For Group and Orchestra, Gemini Suite, and Windows, to this.
  • The backdrop for the composition of this work is at the end of Deep Purple’s original run.  Blackmore had left the band in early 1975, playing their last few shows in the spring.  By summer of 1975 Jon Lord was scoring this album.
  • Immediately after they would have Tommy Bolin join the band and record their final album until the 1984 reunion.
  • Jon moved near Dusseldorf and recorded Sarabande between September 3-6 of 1975.  Eberhard Schoener would join him again, this time conducting the Philharmonia Hungarica.  Other rock musicians were invited to join for this recording. Unlike with Window this time none would be from Deep Purple.

Personnel:

Technical:

  • Engineer [Assistant] – Hans Menzel
  • Engineer, Mixed By – Martin Birch
    • Regular flavor Birch on this one.
  • Lacquer Cut By – Nick W.*
    • Worked for Abbey Road starting in 1968 with The Beatles
    • Almost 1,000 entries on Discogs

Album Art & Booklet Review

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Album Tracks:

Side One:

  1. Fantasia
    • This functions as a 3.5 minute overture in three sections.
  2. Sarabande
    • The Sarabande is a Spanish dance from the 16th century which originated in the East.
    • Sarabandes are often in triple time
  3. Aria
    • Scored for piano and synthesizer.
  4. Gigue

Side Two:

  1. Bouree
  2. Pavane
    • This is a courtly dance often associated with a Galliard in the early BAroque period. It fell out of favor in the seventeenth century.
  3. Caprice
  4. Finale

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Reception and Review

  • The turbulent final days of Deep Purple pushed off the release of Sarabande until October off 1976.
  • The album got a good amount of promotion.  The album sleeve was given a lot of care as they needed to catch the eye of Jon’s largely rock audience.
  • Sarabande is often mentioned as Jon Lord’s finest individual piece of work outside of Deep Purple.
  • A couple of years after this Shoener would join Summers in recording the debut album for The Police named “Outlands d’Amour” which Jon Lord says was one of his favourite albums.

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Episode #129 – Rainbow – On Stage

Video episode not available this week. Please see Apple Podcasts or link below for audio episode.

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Lead up to the Album:

  • It’s a double live album recorded in late 1976 in Germany and Japan during the world tour for “Rising.”
  • The tracks are spliced together from multiple shows.
  • The order of the songs is not the normal order of the setlist because they had to try to fit the longer performances onto the four sides of vinyl.
  • Set list from Nippon Budokan in Tokyo, Japan for December 16, 1976:
    • Jingle Bells (James Lord Pierpont song)
    • Over the Rainbow (Harold Arlen song)
    • Kill the King
    • Mistreated (Deep Purple cover)
    • Sixteenth Century Greensleeves (Preceded by “Greensleeves” intro)
    • Catch the Rainbow (Preceded by “Jesu, Joy of Man’s Desiring” intro)
    • Man on the Silver Mountain (with “Lazy” and “White Christmas” intro, “Blues”, and vocal improvisation)
    • Starstruck (Followed by “Man on the Silver Mountain” reprise)
    • Stargazer (Preceded by keyboard solo)
    • Still I’m Sad (The Yardbirds cover) (With drum solo+”1812 Overture”)
    • Do You Close Your Eyes (Preceded by guitar solo)
  • A note from Norman Weischlebaum:
    • Hi Nate,
    • maybe this might be interesting to listeners:
    •  In Rainbow/Dio-Days you always see a Tape Recorder next to RB´s Marshalls.
    • Background:
    • RB was not satisfied with Echo-effectboards that were available at that time.
    • So he brought on his home-based AIWA TP-1011 tape recorder, that had one specific feature:
    • This machine had a socalled „Sound-on-Sound“ button, providing echo effect by pushing just one button that adjusted the tape speed.
    • 19 cm/sec or 9.5 cm/sec = 1/3 sec delay or 2/3 sec delay.
    •  That´s who these guys fixed problems back in those days…
    • Best
    • Norman

Personnel:

Technical:

Album Art & Booklet Review

  • Art Direction – Fin Costello
    • The everpresent Deep Purple and rock photographer.
  • Design – Ken Anderson (4)
    • Did album covers for Bill Withers, Sly & The Family STone, and Bing Crosby.
  • Photography By – Dieter Zill*
    • The legendary German photographer.
  • Photography By – Fin Costello
  • Photography By – Watal Asanuma
    • Photography credits for Queen, Elton John, Eric Clapton, The Police
  • Photography By – Watanabe
    • Only credit on Discogs

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  • Tim “Southern Cross” Johnson

Album Tracks:

Side One:

  1. Intro: Over the Rainbow
    • Nuremberg 28 September 1976 (first 1:03)
    • Munich 29 September 1976 (remainder of the song)
  2. Kill The King
    • Nuremberg 28 September 1976 (first 1:03)
    • Munich 29 September 1976 (remainder of the song)
    • This was the first release of the song “Kill the King.”  It was later released in 1978 on “Long Live Rock ‘n’ Roll.”
  3. Man on the Silver Mountain
    • Tokyo 16 December 1976 (Afternoon Show)
  4. Blues
    • Tokyo 16 December 1976 (Evening Show)
  5. Starstruck
    • Tokyo 16 December 1976 (Evening Show)
    • Man on the Silver Mountain reprise?
    • Tokyo 16 December 1976 (Afternoon Show)

Side Two:

  1. Catch The Rainbow
    • Osaka 9 December 1976

Side Three:

  1. Mistreated
    • Cologne 25 September 1976

Side Four:

  1. Sixteenth Century Greensleeves
    • Tokyo 16 December 1976 (Evening Show)
  2. Still I’m Sad
    • Nuernberg 28 September 1976

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    • Spike, The Rock Cat
    • JJ Stannard
    • Hank the Tank
    • Flight of the Rat Bat Blue Light

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Listener Mail/Comments

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Episode #128 – Deep Purple – The House of Blue Light (Part 2)


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Lead up to the Album:

Album Art & Booklet Review

  • From Darker Than Blue (#33, January 1987)
    • Posters for the LP went up around town early January, with press ads about the same time. The “mystic symbols” which appeared in the ads (and again on the front sleeve) may have puzzled some of you, but we & others assumed them to relate to the name of the band. Two are astrological signs – the bow & arrows are Sagittarius the archer, for Roger Glover, the two masks are Gemini, the twins — Jon Lord’s sign. Ritche has been having owls about him since the first Rainbow LP. The rocket may relate to Garth, the crossed hands for Paicey, but we ain’t sure why. The sleeve itself didn’t look very promising, and we were right! A real K-Tel special — obviously they ran out of the right letraset doing the name and had to finish with something off another sheet . . .

Album Tracks:

Side Two:

  1. Hard Lovin’ Woman (Gillan, Blackmore, Glover)
    • Gillan: “Well, we had a song called ‘Hard Lovin’ Man’ in the early days, so we thought ‘Hard Lovin’ Woman’ would be a laugh. Roger and I wrote a whole list of potential titles up on the wall of this little room in Stowe where we recorded the album, and that was one of them. We wanted to do a hard rock’n’roll song with tight harmonies and that kinda thing…and that title fitted the bill.”
  2. The Spanish Archer (Gillan, Blackmore, Glover)
    • Song is 35 seconds longer on the 1987 CD release.
    • Gillan: “‘Spanish Archer’ is the next, isn’t it? Well, if you give someone the ‘Spanish Archer’, you give them the ‘elbow’ as you probably know, and so that song is about giving some lump the heave-ho. I don’t actually think this song should’ve been included. I mean, it isn’t properly arranged – it’s just a series of verses with jamming in between (and Ritchie takes about four solos!) – and it wears on me. But everyone else disagrees with me – which is par for the course anyway, ha! -so it’s been included.”
  3. Strangeways (Gillan, Blackmore, Glover)
    • Song is 1 minute, 40 seconds longer on the 1987 CD release.
    • Gillan: “In contrast, ‘Strangeways’ is my favourite song on the album at the moment. I like the vocal harmonies on the intro…have you heard this one yet? You should, I’m very pleased with it.”
  4. Mitzi Dupree (Gillan, Blackmore, Glover)
    • Gillan and Glover made a demo of the song to bring to the band to flesh it out.  Blackmore didn’t like the song so he added a rough guitar track to the demo and refused to explore the song further with a proper studio recording.
    • The version they used on the album was the demo.
    • As Gillan relates the saga of trying to get Ritchie to approve the song “Painted Horse” for inclusion on “Who Do We Think We Are” to the saga of Mitzi Dupree.
    • Gillan: “And ‘Mitzi Dupree’ is a good one, too. Actually, it’s a true story. I was on a plane going to Salt Lake City when I was in Black Sabbath and I saw this most amazing boiler – oh, a sensational lump! – so I went over to talk to her and she said, ‘Hi, I’m Mitzi, Mitzi Dupree…’ and I thought, ‘Wow, what a great name!’ I was in love.
    • “Anyway, it turned out she was going up north to a mining town in Canada to do a show. So I asked her what she did and she told me that she did a show with ping-pong balls… Now, I’ve actually seen women do this before – in a small room behind a kitchen in Bangkok – and it’s absolutely amazing. There was this Siamese girl onstage, and there were five Italians in the front row, all with a glass of wine each. She bent over backwards and – pop-pop-pop-pop-pop – these five ping-pong balls were fired out of you-know-where and each one landed in a glass – I swear to you! This bird also pulled out 50 double-edged razor blades from the same place all attached to bit of cotton, she signed autographs, she did paintings … it was unbelievable! ANd this was what Mitzi did.
    • “‘Mitzi Dupree’ is a dead live song. It came out of a jam and we just recorded it for reference. I played it afterwards and thought it was great – I couldn’t stop singing it – so I said to Roger, ‘We’ve _got_ to do something with it.’ And he said, ‘Well, we can write on it, but we don’t have to play it again because everyone else hates it’. So we wrote the lyric and I sang it to the jam tape, and Roger and I decided to leave it like that, because it sounded so natural and spontaneous. It’s a great track.
  5. Dead or Alive (Gillan, Blackmore, Glover)
    • Song is 18 seconds longer on the 1987 CD release.
    • Gillan: “The last track on the album, however, ‘Dead or Alive’, is a pile of s**t.”
    • When asked what he doesn’t like about it: “It’s just not any good,” the singer laughs, shrugging his shoulders.”
    • Answering why it’s on the album: “Exactly. Don’t ask me. No, it’s going to be good onstage…maybe _that’s_ why it’s on there. I _did_ write it,but under protest I might add. I think everyone else likes it, but I don’t.”

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Reception and Review

  • Gillan: “So that’s it; ten tracks on the album, and that’s more than you usually get on a Purple album, so… I’m pretty pleased with it. I would say ‘delighted’ but I won’t because I feel there should only be eight tracks on it. Still, it is a good album overall.”
  • The album hit number 10 on the UK charts and number 34 on the Billboard 200 in the US.  It was also top 10 in six other countries including #1 in Germany, Sweden, and Norway; number 3 in Switzerland, Number 5 in Australia, and Number 9 in Japan.
  • Overall the 1987 CD release is 4 minutes, 32 seconds longer than the LP, cassette, or 1990 CD release.
  • The LP and cassette version are shorter featuring shorter versions of some of the songs.
  • CD released in 1987 though some version have a copyright of 1986 but may be because it was released on January 12, 1987.  Not sure if an earlier release was done in any other countries.
  • In 1999 they released a CD version using the master tapes which matched the track length from the original LP and cassette version.
  • Promo materials:
    • Lord: “We decided from the start we weren’t going to do just one album and tour. This is keeping our promise.”
  • Gillan said this was a long and difficult album to produce comparing it to the “Who Do We Think We Are” session in Rome.
  • Gillan: “I look back at House Of Blue Light, there are some good songs on that record, but there’s something missing in the overall album. I can’t feel the spirit of this band. I can see or hear five professionals doing their best, but it’s like a football team, it’s not functioning. It’s like 11 superstars that are playing on the same field but are not connected by the heart or by the spirit.”
  • Blackmore: “I think I played like shit on it, and I don’t think anyone else really got that into it.”
  • Blackmore also says that many parts and songs were rerecorded.
  • Gillan: “…so long as Ritchie was happy with the guitar parts the lads were happy. I wasn’t and said so. But let’s not blame everything on Ritchie . . . I was a wanker too.”
  • Lord: “House of Blue Light was a weird album and hard to put together. We made the massive mistake of trying to make our music current. We discovered that people didn’t want us to do that.”
  • Glover: “Perfect Strangers, we kind of knew what the album was going to be called, very early on in the album, it was one of the hot contenders. But The House of Blue Light — we finished the album and we didn’t have a title. I was producing, so I was, ‘Okay, what are we going to call it? And there were lots of suggestions, but no one could agree.  In the end, we were getting really desperate — we needed a title, so I came up with The House of Blue Light, which of course is a line from ‘Speed King.’  Everyone kinda went, ‘Oooer, yeah, it’s okay’; and because everyone went, ‘It’s okay,’ that was the one. It wasn’t the best one, it wasn’t the most appropriate. It was simply the only one everyone seemed to agree on, and that’s not a pleasant thing to do. If you have a title at the beginning, it gives you a landscape for what you’re doing.”
  • The album seemed to be Gillan, Glover, and Ritchie bringing in ideas on their own rather than working together.  Of this Lord said, quoting Winston Churchill: “A camel is a horse, designed by a committee.  Deep Puprle seems to make a better horse by committee!”
  • Lord also compared House of Blue Light to Fireball: “We always do one good album, a confused one, and then another good one.”
  • Review from: http://www.deep-purple.net/DPASmags/dtb33.htm#1 by Simon Robinson
    • Many numbers just don’t have the extra spark to lift them onto my play-list. Let’s face it, there are only so many hours in a day, and I don’t feel inclined to waste too many listening opportunities putting on stuff which I really wanted to like but can’t. To me, as an album it doesn’t scale the heights which Purple have scaled before.
    • BAD ATTITUDE knocks me out, I’ve been playing it over and over, it’s probably the most powerful cut on the LP, with a no nonsense feel and edge to it which is often lacking elsewhere. Gillan does a great vocal, and the backing does him justice. Nowhere else on the LP does the production sound balance out quite as well as here either, with the right amount of everybody present all of the time. THE UNWRITTEN LAW by contrast is weak. and the efforts to introduce “current technology” only serve to water things down even further. MAD DOG contains the most truly godwaful keyboard noise in Jon’s solo. Whatever it is, destroy it or wipe it from the computer discs AT ONCE! STRANGEWAYS is a great track and shows what they can still do. I suppose it’s the fact that they keep coming up with goodies like this which makes it all the more frustrating with the lesser cuts. The overall balance is back too – somehow this does seem vital in keeping the Purple feel alive. I like DEAD OR ALIVE, not least for the proper organ and guitar solos – and about bleedin’ time! There is something special about the vocal though which I can’t really put my finger on, it just has a weird haunting quality. All the more curious that lan should write it off in the recent Kerrang feature.
    • It’s a long album, something around 46 minutes or so. Originally they’d been going to ditch a couple of the numbers, (MITZI DUPREE was one they couldn’t all agree on including), or save them for the CD. The CD is in fact a few minutes longer than the vinyl. The single b-side will be STRANGEWAYS with the CD length cut on the 12″, so this is a help for non-CDers like myself. The sound quality on the LP does suffer as a result of getting so much on (as well as the usual thin vinyl.), and it does need to be cranked up for full effect. I do feel they’d benefit from someone from outside coming in to handle production or something, someone who isn’t bothered about any outside pressures and who is also capable of capturing the essence of Purple on disc. That would entail a greater effort from the band too, the disc is very patchy. I personally will be surprised if people take to it unreservedly, the people I’ve heard from or spoken with so far haven’t (some have been down right damning!). After two years I had hoped for rather more.
  • Gillan says that Glover looked so drained after returning from mixing the album that he said, “I tell you what . . . I’ve got an idea. Let’s go and make a record.
  • Gillan Glover and Blagona departed for George Marin’s AIR Studios in Montserrat where they relaxed and made Accidentally on Purpose to unwind before the House of Blue Light tour.
  • The tour for House of Blue Light ended up being a difficult one with personality conflicts reigniting.

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For Further Information:

Listener Mail/Comments

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Episode #127 – Jesus Christ Superstar (50th Anniversary Edition)

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Unboxing the Deluxe Edition:

Patron Updates:

  • Postcards from the edge . . . of Connecticut!
    • Boston Baked Beans recipe from Peter Gardow!

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  • Deep Dive Podcast Network
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    • 5 Stars! Andy Emmanuel from the UK
    • Down to Graham
    • Excellent podcast, found it by accident when searching for the Graham Bonnet era Rainbow album Down to Earth. Really enjoyable podcast by a couple of decent guys who are clearly genuine fans. Working my way through the others now, keep up the excellent work lads !! Andy Bolton Cambridge England
Two of the concerned listeners with the show’s host as well as one unidentified man.

A Note From Some Concerned Listeners:

Bonus Tracks:

  1. Ascending Chords
  2. Damned For All Time / Blood Money (Guide Vocal)
  3. King Herod’s Song (Try It And See) (Guide Vocal)
  4. I Don’t Know How To Love Him (Tim Rice And Murray Head Vocals)
  5. I Don’t Know How To Love Him (Murray Head Vocals)
  6. This Jesus Must Die (Scat Vocals 1)
  7. What A Party

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  1. This Jesus Must Die (Scat Vocals 2)
  2. Heaven On Their Minds (Instrumental)
  3. I Don’t Know How To Love Him
  4. (Too Much) Heaven On Their Minds (German Single)
  5. Strange Thing (Mystifying)
  6. Jon Nineteen Forty-One (Remastered 2021)

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Episode #126 – The Dead Daisies – Live in Joliet, IL (September 11, 2021)

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  • Deep Dive Podcast Network
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    • Welcome 2 “new” shows to the network
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    • #2 is Universally Speaking – The Red Hot Chili Peppers Podcast – a podcast that’s been around just about as long as The Deep Purple Podcast.
      • https://www.bentownsendmusic.net/rhcp-podcast

The Show:

Set List:

Link to Setlist.fm: https://www.setlist.fm/setlist/the-dead-daisies/2021/the-forge-joliet-il-1b8c11e0.html

  1. Unspoken – Holy Ground
  2. Rise Up – Burn It Down
  3. Dead and Gone – Burn in Down
  4. Chosen and Justified – Holy Ground
  5. Mexico – Revolucion
  6. Bustle and Flow – Holy Ground
  7. Lock ‘n’ Load – The Dead Daisies
  8. Fortunate Son (Creedence Clearwater Revival cover)
  9. Midnight Moses (The Sensational Alex Harvey Band cover)
  10. Drum Solo
  11. Mistreated (Deep Purple cover)
  12. My Fate – Holy Ground
  13. Leave Me Alone – Burn It Down
  14. Like No Other (Bassline) – Holy Ground
  15. Holy Ground (Shake the Memory) – Holy Ground

Encore:

  1. Long Way to Go – Make Some Noise
  2. Burn (Deep Purple cover)

Show Recap:

  • 6 Songs from Holy Ground
  • 4 Covers
  • 6 Songs from previous The Dead Daisies albums
    • 3 from Burn it Down, 1 from Revolucion, 1 from Make Some Noise, 1 from The Dead Daisies
  • Drum Solo

Show Breakdown:

  • Drive to the show
  • Scanner and Getting my audio device in
  • Meeing Ryan M!
  • Seating fiasco
  • The Black Moods
  • Don Jamieson
  • Glenn’s false start
  • Drum Solo
  • This Time Around? No, Mistreated
  • “Juliet?” No, Joliet
  • Burn
  • Photo shoot
  • The lights!
  • John’s Deep Purple Podcast family adventure!

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Episode #125 – Deep Purple – The House of Blue Light (Part 1)


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Lead up to the Album:

  • In the winter of 1985 Gillan and Glover began working on their new album.
  • Gillan says they did so without Blackmore because he “wasn’t really interested in listening to us.”
  • In spring of 1986 they returned to Stowe, Vermont where they’d recorded Perfect Strangers.
  • Early on Gillan said that there didn’t seem to be any motivation by the band to put this album together.
  • Glover said the Perfect Strangers tour had gone really well but when they tried to put this album together that it was a struggle.
  • As with the previous album they set Colin Hart to the task of finding a place.  They wanted to remain in Stowe but this time found The Stowe Playhouse and rigged up Le Mobile to be able to record there.
  • This time each band member was booked separate accommodations along with their families, spouses, girlfriends at the time.
  • Glover and Gillan arrived ahead of the others to begin working on material.
  • The standard argument about writing credits cropped up again with Ritchie wanting to be careful not to hand out too much credit to the others in the band.
  • Colin says in his book that he disagreed with this because the way they put together songs was as a band.  He also says that no one other than Gillan would confront Ritchie about this.  He says that Paice, Lord, and Glover would quietly complain about parts of the songs but it would be left to Gillan to confront Ritchie.  Hart says: “The others would load the gun as long as Ian would fire it.”
  • This paints an interesting picture.  Ritchie would act surprised by these complaints and tell Bruce Payne that the others seemed fine with it.
  • Hart says that it seems like Ritchie wanted out but didn’t know what he wanted to do instead so until he figured that out he was going to be difficult.
  • Hart says Gillan and Glover worked in one corner on writing, Ritchie kept to himself, and Lord and Ian were interested by non-confrontational observers.”
  • Gillan describes the writing conditions as less than optimal in his book Child in Time.  He says he and Roger were in a small windowless room with bits and scraps of paper cobbling together lyrics.  For that reason they decided to drive the mobile unit to Roger’s house in Connecticut and finished the tracks Mad Dog, The Spanish Archer, Bad Attitude, and Unwritten Law there with Nick Blagona.
  • They finished the record by the end of June but no one seemed too happy with it.

Personnel:

Technical:

  • Producer – Deep Purple, Roger Glover
  • Production Manager – Raymond D’Addario
    • Worked with Elf, Rainbow, Deep Purple
  • Engineer – Nick Blagona
    • http://www.nickblagona.com/
    • Covered previously on show
    • Worked a lot with Deep Purple and Ian Gillan, Cat Stevens, Nazareth, Crack the Sky
    • Sadlly passed away in 2020
  • Recorded By – Guy Charbonneau
    • Le Mobile studio operated by Guy Charobbeau
    • Recarded at the Playhouse in Stowe, Vermont
  • Tour Manager – Colin Hart (2)
    • A man who needs no introduction.
  • Management – Bruce Payne, Thames Talent Ltd.
  • Mastered By – Greg Calbi
    • Mastered at Sterling Sound in New York
  • Mixed By – Harry Schnitzler
    • Mixed at Union Studios in Munich, West Germany
  • Crew – Charlie Lewis (4)
    • Worked with Roger Glover on Mask, Gillan/Glover, Rainbow
  • Crew – Cookie Crawford
    • Worked with Blackmore for years in Rainbow before following him to Deep Purple
  • Crew – John Murphy (15)
    • Deep Purple only.
  • Crew [Maintenance] – Dawk Sound
    • Only three DP credits. Need additional info on this one.

Album Art & Booklet Review

  • Photography By [Portraits] – Dieter Zill*
  • Design, Art Direction – Andrew Ellis
    • Previously an assistant at Hipgnosis
    • Co-founded Icon in 1982
    • Worked with Alan Parsons Project, Pink Floyd, and UFO
  • Design, Art Direction – Davies And Starr
    • http://www.chalkiedavies.com/
    • British photographic husband-and-wife duo who started working together in 1979 primarily to produce record sleeves and promotional material for rock bands. In 1988 they moved to New York and decided to leave rock photography and concentrate on their still-life work instead.
    • Worked with Pete Townshend, Tears for Fears, David Gilmour, and David Bowie
  • Cover Symbols?
    • Owl/Demon – Ritchie? Owl? Moon?
    • Broom/Rocket – Gillan? Garth Rockett?
    • Arrows & Bow – Roger, a Sagittarius (the archer) – Spanish Archer
    • Theater Masks – Jon who had a background in theater?
    • Crossed Arms – Paicey? Drums?  Ritchie? Slaves and Masters
John’s 1993 sketch of “The House of Blue Light” artwork.

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Album Tracks:

Visit my website https://vinyl-records.nl for complete album information and thousands of album cover photos

Side One:

  1. Bad Attitude (Gillan, Blackmore, Glover, Lord)
    • Song is 32 seconds longer on the 1987 CD release.
    • Gillan: “I was pissed off…for a change!” Ian wheezes with laughter and leans forward to plant an elbow on each knee. “No, it’s a thing everyone says in America – and I hate posey expressions. I wish people could talk properly. When we reformed a few years ago, Ritchie and I were playing football and we had a row on the pitch which ended with me telling him to piss off. So he turned round and said, ‘There’s no need to cop an attitude’ and I said, ‘What do you mean, ‘cop an attitude’, can’t you speak English?’
    • Gillan was upset that Ritchie had picked up some Americanisms after living in the US for the past 12 years.
    • “Anyway, that theme just kinda developed and this song attacks that kinda thing. It has no hidden meaning or anything, it’s just a groove.”
  2. The Unwritten Law (Gillan, Blackmore, Glover, Paice)
    • Song is 20 seconds longer on the 1987 CD release.
    • “‘The Unwritten Law’ is next, and that’s about The Clap. I mean, there is a code – know what I mean? If you’ve got a dose you don’t go spreading it around. It’s a general comment on how people should have a little more responsibility. We tried to think of other unwritten codes to include in the song…but I can’t think of any at the moment!”
    • Gillan: regarding being asked if this was a different kind of song for Deep Purple: “Yeah, I nearly killed Ritchie when I heard that riff -it’s the most difficult riff I’ve ever had to write for! I was going round for ages going ‘diddle-id, diddle-id’ behind his back,” the singer laughs, mimicking the riff. “Still, it’s a different vehicle, and that’s one of the great things with this album – without doubt it’s my favourite album since ‘Fireball’.”
  3. Call of the Wild (Gillan, Blackmore, Glover, Lord)
    • The song was released as a single later that year, and made it onto the UK Singles Chart at #92.
    • Regarding Vince Gutman’s Marc System drum system Ian Paice was using:
    • Gillan: “Yeah, that’s a telephone call about this bird…oh, it’s a cheap pun really, but it’s an interesting lyric and it has an interesting chorus. We thought it was too soft and sloppy at first – it nearly got rejected, strangely enough – but when it was finished it seemed to have a nice edge to it. It sounds like some of the more accessible songs Purple have done in the past.”
  4. Mad Dog (Gillan, Blackmore, Glover)
    • Song is 7 seconds longer on the 1987 CD release.
    • Gillan: “Right, what’s next? ‘Mad Dog’… that’s just good fun.”
  5. Black and White (Gillan, Blackmore, Glover, Lord)
    • Song is 1 minutes longer on the 1987 CD release.
    • Gillan: “And then there’s ‘Black & White’, which is a light-hearted attack on the press – and not only the press, but people’s attitudes towards it. Some people believe that if they see something in black and white it must be true, although very often it isn’t true at all. I mean, I have no objection to the press in the slightest – _bastards!_ – but it is difficult to tell people that what they read in the papers isn’t necessarily true. _’A reliable source informed me…’, ‘A close friend said…’_, what a load of bollocks! It _can_ be entertaining, and we do get a selection of newspapers at home… Although I don’t get any music press because I don’t like music very much…”
    • Gillan goes on to explain that he likes making music and he does have the radio on at times but he’s not really interested in what goes on in the business because the business doesn’t interest him.

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Episode #124 – Eddie Hardin – Wizard’s Convention (Bonus Tracks)

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    • Persistent twitching eye
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Bonus Tracks:

  1. I’m Looking Forward To Tomorrow
    • Written by Hardin
    • Vocals by Billy Ocean
    • Masters version includes another very different take on the song featuring Maggie Bell
  2. Time For Another
  3. The Put Down Song
    • PATRONS!!!!
  4. Goodnight Children
    • Vocals by Eddie Hardin
  5. Summer Days
    • Released as a single on June 20, 1975.
    • Written by Hardin and Mike d’Abo.
    • Features lead vocals by Hardin and Dio
  6. Seems I’m Always Gonna Love You
    • Vocals by Eddie Hardin and Ronnie James Dio

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    • Hank the Tank
    • Flight of the Rat Bat Blue Light

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Episode #123 – James Gang – Miami

Link to video on Cocoscope: https://www.cocoscope.com/watch?v=94558

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Lead up to the Album:

  • They headed into the studio in spring of 1974 to record “Miami.”
  • Bolin once again was the chief songwriter writing or co-writing every song on the album.

Personnel:

Technical:

Album Art & Booklet Review

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Album Tracks:


Side One:

  1. Cruisin’ Down The Highway (Bolin, Peters)
    • Single release from the album with “Miami Two-Step” as B-side.
  2. Do It (Bolin, Kenner)
  3. Wildfire (Bolin, Tesar)
  4. Sleepwalker (Bolin, Tesar)
  5. Miami Two-Step (Bolin, Peters, Fox)

Side Two:

  1. Praylude (Bolin)
  2. Red Skies (Bolin)
  3. Spanish Lover (Bolin, Cook)
  4. Summer Breezes (Bolin)
  5. Head Above The Water (Bolin, Peters)

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Reception and Review

  • Miami was released in July of 1974.
  • The album made it to #97 on the charts.
  • On its release it was a little disappointing to fans of “Bang.”  The material on this album was not viewed as being as strong.
  • When the James Gang called after Joe Walsh had left them, Bolin figured, “What the hell, I’ll eat this month instead of starving.” He remained with them through nearly a year and two successful albums, Bang and Miami (writing most of their material and sharing production credits), but he does not recall his tenure with the Cleveland cowboys as a high point in his musical career. “I left the James Gang just as they were starting to make good money,” he says with a grin, “but I didn’t give a fuck. I’d be giving the audience everything I had, doing spins and stuff, and I’d turn around and the drummer would be…” (he makes an obscene gesture towards his crotch and breaks into laughter). “They were resentful of my attraction to the audience. My musical communication with them was just lost, and it was affecting my music. And my music is all I have.” Bolin split both the Gang and the Colorado scene to try and build a solo career in L.A.
  • Jim Fox: Miami was a very difficult record to make, and even nearly 40 years later I remember it as challenging. I think the troubles Roy Kenner was going through at the time have been well documented. He was preoccupied by necessity with non-musical things stemming from a very minor drug bust in Los Angeles that involved, rehab, community service, etc. For a time, we felt that might be no alternative but to replace him, and much time and effort was spent auditioning other vocalists, all to no avail. In the end, Roy freed himself up enough to finish the recording process, but while we worked very hard on the record, I feel as if we were never satisfied with it completely. I agree that there were some good moments on it, and with the benefit of time, they are a bit easier for me to see. Still, a tough record to make with mixed results in the end.
  • Jim Sheridan review of Miami, ca. 2000
    • JAMES GANG – MIAMI (1974)
    • The follow-up, Miami, is equally interesting. Tommy gets a few spotlights; the instrumental “Miami Two Step” is a Doc Watson-ish acoustic number with some slide careening in at the end, while “Praylude/Red Skies” lets Tommy dip as deeply into the jazz licks bag as he ever would with The James Gang. The latter track is actually a song Tommy bought with him from his previous band Energy, whose version of the track appears on From The Archives Vol. 1. The riff from “Teaser” has its roots in “Do It,” which contains some smooth slide work. “Spanish Lover” features Tommy’s lead vocals, a beautifully dreamy number that again stands out in the intensity and individuality of the singing — this is the Bolin that Tommy fans look to hear. Two other songs that deserve praise for their majestic vision are “Sleepwalker” and especially “Head Above the Water,” which foreshadows “Wild Dogs.” These discs are both fully realized, atmospherically charged works that demand to be heard.
  • Bolin left the band almost exactly at the time Miami was released.
  • Bolin: “I called my manager, Mike Belkin, in Cleveland and told him I was quitting,” Bolin revealed, “and he told me that I was shortchanging myself because of the band’s potential to make good money. I told him I wasn’t happy anymore and there wasn’t much he could say about that.”
  • Jim Fox, on Tommy Leaving: “Obviously he was hurting. He had things he wanted to do. It was a general consensus after the Miami album that we weren’t where we wanted to be. And it did center around the singer. And we tried a whole lot of singers out. I mean a whole lot of singers, everyone we could think of, including some of Tommy’s close friends. And in the end it just didn’t work we could find someone who could do the job we were hoping to get done. Our singer Roy Kenner was having some personal problems, some distractions and it wasn’t working out.”

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